Faye Dunaway as Diane Christensen in NETWORK (1976)

FAYE DUNAWAY

FAYE DUNAWAY as Diana Christensen in NETWORK

The entire cast, five of the six members of which were nominated for Oscars, were all excellent: Faye Dunaway as a ruthless programmer; William Holden as a conscientious newsman; Robert Duvall, (only one not nominated) as a shark-like v.p.; Ned Beatty as Evangelistic board chairman; Beatrice Straight as Holden's suffering wife; and Peter Finch as the mad prophet whose message, "I'm mad as hell, and I'm not going to take it anymore," struck a chord with the American public in 1976 and immediately entered into classic movie lore. Finch won a posthumous Oscar for his outrageous role. My gay film buff comrades would point to CHINATOWN as her signature work, some even, MOMMY DEAREST, but in terms of quality and driving the story forward and signature work I have to go with her 'Diane Christensen'. It’s a one of a kind, at the time, futuristic portrayal of a woman who uses her softness and all the tools in her arsenal to be stronger than her male counterparts. I’m not sure when Faye went by way of Sally Kirkland – in terms of losing it – but I can’t punish her too much for chasing what was once because, I mean, she really did run Hollywood at one point and turned in one hell of a performance here.

Brilliantly directed by Sidney Lumet, the master of American cinema, drama.

Some felt at the time that Faye Dunaway's role as Diana Christensen, a ruthless, power-hungry television executive in Network, is more of an abstract, or type than a realistic character. But Paddy Chefesky was looking into his crystal ball and as we know there are women running around corporate America and network “Reality TV” that are very Diana esk. Many felt Network was pure satire – way over the top but as we know – It’s the fact of the matter in our world today. Nothing but truth in NETWORK. It’s eerie how accurate they were. Diana’s fall line-up with her development team includes suicides, Mafia executions and terrorist bombings. "The American people are turning sullen. They've been clobbered on all sides by Vietnam, Watergate, inflation, depression, they've turned off, shot up and fucked themselves limp and nothing helps ... the American people WANT someone to articulate their rage for them." This was outrageous in the '70s. Today, with "Cops" and "Real Life Home Videos of Bloody Disasters" on every channel, it isn't even ironic. Eerie how beyond perfect Faye Dunaway played the over the top ‘Mad max Diana!’

The UBS network is in financial straits and needs higher ratings and more advertising revenue. Which is where the network's new program director, Diana Christiansen (Faye Dunaway), comes in. She's a cold-blooded, calculating, scheming, devious, driven, dedicated businesswoman who will do anything to attract viewers. She sees dollar signs written all over Howard Beale. She believes "the American people want somebody to articulate their rage for them...they want angry shows," and she sees an angry old man in Howard. "For God's sake, Diana," exclaims Hackett, "we're talking about putting a manifestly irresponsible man on television!" And both of their faces light up in mutual delight. Money is everything.

In fact, some believe that Dunaway was rewarded with the Best Actress Oscar for being a good sport, poking fun at her own screen image as an ambitious career woman. Diana's chief goal is to upgrade the network's ratings, as she unashamedly boasts: "All I want out of life is a 30 share and 20 rating," for which she is willing to use illegitimate, disreputable means, like a program featuring a terrorists' organization.

Obsessed with her job, which permeates every aspect of her life, Diana talks about her work non-stop, even during a sexual encounter. Diana is further ridiculed when she sets the tone and speed of this encounter with a sensitive married executive (William Holden). She sits on top of him and reaches orgasm prematurely, thus imitating what is considered to be a typical masculine sexual practice. Efficient and rational, she is cold and incapable of any human feelings. Faye does thurst herself in every scene in a very unapologetic manner and it’s captivating and unbelievable to witness. She seems to be cutting the heart at what is wrong with America.

Great authors who write about the future invariably stumble onto prophecy. Paddy Chayefsky, in "Network," the greatest screenplay ever to remain un-destroyed by Hollywood and make it intact to the screen, hits the Orwellian mother lode. I doubt that such a movie could ever be made today: America the corporation is now too comfortable with its evils, far too powerful and omnipotent not to slap down and bury with its tentacles any attempt at a "Network II."

Some feminists were upset by the film's use of a woman's drive toward fame or success as the embodiment of sickness and everything else that's wrong in our society, claiming that if a man played Dunaway's role, he wouldn't have been such a caricature. I don’t feel Dunaway was a caricature at all – Dunaway goes for broke and does not apologize or seeks pity with any moment. Her walk through the office is feminine and confident and that of an insensitive steamroller "or I’ll sack the lot of you” and continues her business and never lets anyone question her drive or ambition. Faye may be a whack job in real life and is probably playing close to home but she’s doing it is such a savage bravado – all you can do is cheer is her blunt hardcore “maleness”. Well-done Faye! This performance I call the first the of the true blue ball crusher roles. She plays it at an extremely high adrenaline, step on your face if you get in my way level but that’s who this character is and it’s nuance and realized within that intense speed. She successful in making touching and funny a woman with psychopathic ambition and total lack of feeling.
It’s truly amazing. I think Ms. Dunaway was looking into her crystal ball as well.