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IMDbPro

Network : Main basse sur la TV

Titre original : Network
  • 1976
  • Tous publics
  • 2h 1min
NOTE IMDb
8,1/10
181 k
MA NOTE
POPULARITÉ
2 092
25
Faye Dunaway in Network : Main basse sur la TV (1976)
Regarder Official Trailer
Lire trailer2:59
4 Videos
99+ photos
Comédie noireDrame sur le lieu de travailDrame

Une chaîne de télévision exploite cyniquement les divagations et les révélations d'un ancien présentateur dérangé au sujet des médias d'information pour son propre profit.Une chaîne de télévision exploite cyniquement les divagations et les révélations d'un ancien présentateur dérangé au sujet des médias d'information pour son propre profit.Une chaîne de télévision exploite cyniquement les divagations et les révélations d'un ancien présentateur dérangé au sujet des médias d'information pour son propre profit.

  • Réalisation
    • Sidney Lumet
  • Scénario
    • Paddy Chayefsky
  • Casting principal
    • Faye Dunaway
    • William Holden
    • Peter Finch
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    8,1/10
    181 k
    MA NOTE
    POPULARITÉ
    2 092
    25
    • Réalisation
      • Sidney Lumet
    • Scénario
      • Paddy Chayefsky
    • Casting principal
      • Faye Dunaway
      • William Holden
      • Peter Finch
    • 478avis d'utilisateurs
    • 135avis des critiques
    • 83Métascore
  • Voir les informations de production sur IMDbPro
  • Film noté 240 parmi les meilleurs
    • Récompensé par 4 Oscars
      • 20 victoires et 27 nominations au total

    Vidéos4

    Official Trailer
    Trailer 2:59
    Official Trailer
    'Network' | Anniversary Mashup
    Clip 1:09
    'Network' | Anniversary Mashup
    'Network' | Anniversary Mashup
    Clip 1:09
    'Network' | Anniversary Mashup
    How Gallows Humor Helped Charlize Theron Make 'Bombshell' Feel Real
    Clip 2:45
    How Gallows Humor Helped Charlize Theron Make 'Bombshell' Feel Real
    Does 'Joker' Exist in a Scorsese-Verse of Films?
    Clip 2:53
    Does 'Joker' Exist in a Scorsese-Verse of Films?

    Photos123

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    + 117
    Voir l'affiche

    Rôles principaux57

    Modifier
    Faye Dunaway
    Faye Dunaway
    • Diana Christensen
    William Holden
    William Holden
    • Max Schumacher
    Peter Finch
    Peter Finch
    • Howard Beale
    Robert Duvall
    Robert Duvall
    • Frank Hackett
    Wesley Addy
    Wesley Addy
    • Nelson Chaney
    Ned Beatty
    Ned Beatty
    • Arthur Jensen
    Arthur Burghardt
    Arthur Burghardt
    • Great Ahmed Kahn
    Bill Burrows
    Bill Burrows
    • TV Director
    John Carpenter
    John Carpenter
    • George Bosch
    Jordan Charney
    Jordan Charney
    • Harry Hunter
    Kathy Cronkite
    Kathy Cronkite
    • Mary Ann Gifford
    Ed Crowley
    Ed Crowley
    • Joe Donnelly
    Jerome Dempsey
    Jerome Dempsey
    • Walter C. Amundsen
    Conchata Ferrell
    Conchata Ferrell
    • Barbara Schlesinger
    Gene Gross
    • Milton K. Steinman
    Stanley Grover
    • Jack Snowden
    Cindy Grover
    Cindy Grover
    • Caroline Schumacher
    Darryl Hickman
    Darryl Hickman
    • Bill Herron
    • Réalisation
      • Sidney Lumet
    • Scénario
      • Paddy Chayefsky
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs478

    8,1181.4K
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    Résumé

    Reviewers say 'Network' is acclaimed for its biting satire on television, exploring themes like media manipulation and corporate greed. Its foresight on reality TV and societal decay is often highlighted. Peter Finch and Faye Dunaway deliver standout performances, though some find the film uneven with slow pacing, preachy dialogue, and an exaggerated plot. Despite these flaws, 'Network' is celebrated for its enduring relevance and dark commentary on media.
    Généré par IA à partir de textes des commentaires utilisateurs

    Avis à la une

    10Sleepin_Dragon

    They don't get much better than this.

    Experienced, but disillusioned news Anchor Howard Beale blurts out one night that he wants to commit suicide live on air, he is fired, but the executives notice that his outburst had a positive affect on ratings, they decide to stick with the unstable news reader.

    Close to fifty years old, and still brilliant. Network is an impressive film, that holds up incredibly well, and still has a powerful message. It dares to discuss the way that people are ruled by a box in the corner of a room, and that people have a morbid curiosity in disaster and tragedy, we can't help but watch it.

    Two hours fly by, it's fascinating from start to finish, it really does explore the darker side of humanity, the sheer exploitation that occurs for wealth.

    When you think of all that's been seen on the small screen since then, this film was almost prophetic.

    This boasts an awesome cast, including William Holden, Faye Dunaway and many more, but for me it's Peter Finch that steals the show,

    One minor detail that's always struck me, the American decor of the 1970's, some of it is so tasteful.

    Even now it's still a phenomenal film.

    10/10.
    10Andrea-Orsini-1

    A Prophet known as Paddy Chayefsky

    To think that this blackest of black comedies was made in 1976 could only means two things: 1) Nothing has changed or 2) Paddy Chayefsky was seeing the future with the most disturbing clarity. I endorse the later of the two because I believe things have changed since 1974 - I wasn't born yet, but I know because of my parents, the movies, literature, etc, etc, etc. Peter Finch as the mad prophet of the airwaves gives Chayefsky a riveting and powerful voice. The scenes between old chums Finch and William Holden are some of the best written scenes in any American movie until the Coen brothers emerged. Finch is superb, superb! and Holden, at the end of a legendary career, gives a performance of such ferocious sincerity that I rediscovered the man, the actor and felt the need to revisit some of his opus. From Golden Boy to Sunset Boulevard, Holden was a man who carried his own discomfort as a weapon. Extraordinary! However, the most alarming character in the whole thing is Faye Dunaway's. She is magnificent in her thin, nervous, bra-less attitude. She is a monster of commercial amorality. Everything in this incredible movie moves with the precision of an inspired clairvoyant's vision. Duvall's executive, Beatrice Straight's betrayed wife and Ned Beatty's god like big shot makes this one of the most frightening, entertaining, funniest, remarkable film from the 70's. Sidney Lumet proves once more that he's as good as his material. Here he is at his zenith.
    10dead47548

    One of the best of all time.

    I can't put it more perfectly than Turner Classic Movies' Robert Osborne who said "What was originally a satire is a stinging mirror of television news today." I strain to think of a film that is a more brilliant take on society, and all of the flaws it has. It's obedience and entertainment by those who rebel, no matter how insane they are. The exploitation of those in peril for any kind of economic profit. And the fact that everything Beale preaches is completely true and completely bashes the people who are producing him. I was amazed by how much he sells out while continuing to rant about how terrible the people he works for are, and the fact that they just keep him on the air because they want ratings.

    It couldn't be more related to today. Turn on the news and you see videos of how horrific the war on terror is and how horrific American society has become, but it stays on the air because people don't want to see the good things in life. They care about the bad and the corrupt. People must have laughed it off back then, but it was such a foreshadow to the near future. The performances are just as brilliant as the social commentary. Each actor becomes so absorbed into their characters that you can't even tell they're acting. It feels like you're watching these people in their daily lives, interacting and becoming more and more corrupt. Finch and Dunaway easily give two of the greatest performances of all time. I could write 20 more pages about it's brilliance, but I'll stop now to keep me from rating. I just have to say that it's so rare to find a film as incredibly flawless as this.
    9requiem1896

    A Cynic's Dream

    This is one of those wonderful films where everything comes together. The acting and the writing is by far the most impressive elements of this film. William Holden and Peter Finch should have both received Oscars for their performances, instead of just Peter Finch. Faye Dunaway pulls of the most dynamic and emotional characters she has ever played.

    The true brilliance of this film is that all elements of it fade appropriately behind the actors and their messages. The film is completely a work of storytelling and, at least for the writer, stunning clarity of message and purpose. Political films come and go but few remain in the annals of film because of their effectiveness at their own message.

    The cinematography, editing, sound, costume design, art direction and production design are all quite simplistic. In some scenes the film can be accused of being almost ugly. However this all lends to the back-washing of the film so as to allow the message to ring loudest. In my opinion, Sidney Lumet took this just a little too far and thus I give it a 9 instead of a 10.

    This is certainly a film for the history books. Every connoisseur of film should be exposed to this movie at some point in their life. If you happen to be cynical, then you will love every minute of this movie as its stark view of life in the 1970's (and onward) touches the hard of even the hardest of cynics. For those educators out there, GREAT film for classes on Media and Politics.
    9Lechuguilla

    "The World Is A Business, Mr. Beale"

    In 1976 when this film came out, there was no cable television, no internet, no cell phones. All that existed, apart from newspapers and radio, were three or four "broadcast" television channels. Since then, technology has exploded with a cornucopia of communication devices. Which renders the story in "Network" painfully dated. And yet ...

    The story's theme is as valid now as it was thirty-three years ago. The theme is that the ratings business has corrupted television, because ad revenue, and therefore profit, is tied to the ratings. Programs and events then, and now, get aired if, and only if, they are likely to result in high ratings. It's all very seamy, very dishonorable, very shabby, and very relevant to today's world of ten thousand channels.

    Though most of the characters in "Network" end up being corrupted by television, Howard Beale (Peter Finch) is one who does not. His vision is pure. And he speaks the truth: "... television is an ... amusement park ... a circus, a carnival, a traveling troupe of ... story tellers ... jugglers, sideshow freaks ... and football players ... You're never going to get any truth from us (television) ... We lie like hell ... We deal in illusions, none of it is true. But you people ... believe the illusions ... You do whatever the tube tells you ... you even think like the tube". Worse yet, people elect their leaders based on how they look and sound, and how their words are interpreted by boob tube "pundits".

    "Network" is a film wherein thematic import is conveyed almost entirely through dialogue. Some of the dialogue devolves into speechifying, which may come across to viewers as preachy. Still, the film's message was highly prophetic. Except for the film's climax, everything predicted in this film has already happened. And credit should go to script writer Paddy Chayefsky for his futuristic vision.

    Some parts of the film seem superfluous in retrospect, like the romance between two main characters. But the film has a sense of realism, helped along by the use of technical jargon and a general absence of background music. The film's technical elements, including direction, casting, acting, editing, and cinematography, are fine.

    As social commentary, "Network" is one of the best films ever made, despite a dated, time-bound, story. That "there are no nations, only currency" is becoming increasingly obvious, and as Ned Beatty's arrogant character explains in a frighteningly ominous tone: "The world is a business, Mr. Beale".

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Peter Finch was desperate to win the role of Howard Beale once he had read the script. He even offered to pay his own airfare to New York City for the screentest. But Sidney Lumet was concerned about Finch's Australian accent. Finch won the part after sending Lumet a recording of himself reading the New York Times with a perfect American accent.
    • Gaffes
      Every one of Howard Beale's shows has the same studio audience (note the man in the black vest, with long hair and a beard).
    • Citations

      Howard Beale: I don't have to tell you things are bad. Everybody knows things are bad. It's a depression. Everybody's out of work or scared of losing their job. The dollar buys a nickel's worth, banks are going bust, shopkeepers keep a gun under the counter. Punks are running wild in the street and there's nobody anywhere who seems to know what to do, and there's no end to it. We know the air is unfit to breathe and our food is unfit to eat, and we sit watching our TVs while some local newscaster tells us that today we had fifteen homicides and sixty-three violent crimes, as if that's the way it's supposed to be. We know things are bad - worse than bad. They're crazy. It's like everything everywhere is going crazy, so we don't go out anymore. We sit in the house, and slowly the world we are living in is getting smaller, and all we say is, 'Please, at least leave us alone in our living rooms. Let me have my toaster and my TV and my steel-belted radials and I won't say anything. Just leave us alone.' Well, I'm not gonna leave you alone. I want you to get mad! I don't want you to protest. I don't want you to riot - I don't want you to write to your congressman because I wouldn't know what to tell you to write. I don't know what to do about the depression and the inflation and the Russians and the crime in the street. All I know is that first you've got to get mad. You've got to say, 'I'm a HUMAN BEING, God damn it! My life has VALUE!' So I want you to get up now. I want all of you to get up out of your chairs. I want you to get up right now and go to the window. Open it, and stick your head out, and yell, 'I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!' I want you to get up right now, sit up, go to your windows, open them and stick your head out and yell - 'I'm as mad as hell and I'm not going to take this anymore!' Things have got to change. But first, you've gotta get mad!... You've got to say, 'I'm as mad as hell, and I'm not going to take this anymore!' Then we'll figure out what to do about the depression and the inflation and the oil crisis. But first get up out of your chairs, open the window, stick your head out, and yell, and say it: "I'M AS MAD AS HELL, AND I'M NOT GOING TO TAKE THIS ANYMORE!"

    • Crédits fous
      Paddy Chayefsky's credit in the opening credits says "by Paddy Chayefsky" (rather than "written by Paddy Chayefsky" or a variant thereof).
    • Connexions
      Edited into Grand format: Amérique, notre histoire (2006)

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    FAQ22

    • How long is Network?Alimenté par Alexa
    • Is "Network" based on a book?
    • How does "Network" end?
    • Any recommendations for a female character as annoying as Diana Christensen?

    Détails

    Modifier
    • Date de sortie
      • 16 mars 1977 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Poder que mata
    • Lieux de tournage
      • CTV Toronto Studios - 9 Channel Nine Court, Scarborough, Ontario, Canada(as CFTO-TV Studios, Control room and news studio scenes)
    • Société de production
      • Metro-Goldwyn-Mayer (MGM)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 3 800 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 23 689 877 $US
    • Montant brut mondial
      • 23 701 317 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      • 2h 1min(121 min)
    • Mixage
      • Mono
    • Rapport de forme
      • 1.85 : 1

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