Gene Gross Movies

A trenchant satire of "trash TV," Network seems to grow only more relevant with each passing year. Howard Beale (Peter Finch), the dean of newscasters at the United Broadcasting System, is put out to pasture because he "skews old." Network executive Max Schumacher (William Holden), Howard's best friend, is forced to deliver the bad news. Beale can't stomach the idea of losing his 25-year post as anchorman simply because of age, so in his next broadcast he announces to the viewers that he's going to commit suicide on his final program. Network head Frank Hackett (Robert Duvall) is all for kicking Beale out then and there, but when it looks as though the UBS is going to have its greatest ratings ever on the night of Beale's self-destruction, ambitious programming exec Diana Christensen (Faye Dunaway) talks Hackett into treating that fateful final telecast as a special event. Naturally, Beale doesn't go through with it -- but he does begin rambling about the horrible state of the world in general and television in particular. He concludes his tirade by admonishing his viewers to "Go to the window and shout as loud as you can: 'I'm mad as hell and I'm not going to take it anymore!'" With that, Howard Beale becomes the hottest TV personality in America, and Diana becomes the network's fair-haired girl. She draws up plans to treat the nightly news broadcast as garish entertainment (complete with a psychic), all built around the rants of Beale, billed as "The Mad Prophet of the Airwaves." Network won Oscars for Paddy Chayefsky's screenplay as well as for three of four acting categories -- Dunaway for Best Actress, Peter Finch for Best Actor (in the only posthumous Oscar yet awarded), and Beatrice Straight for Best Supporting Actress, in one of the shortest-screen-time performances ever to win an Oscar. ~ Hal Erickson, All Movie Guide

"He sold his soul for rock-n-roll," read the tagline for Brian De Palma's satirical Phantom of the Opera for the '70s rock scene. After hearing Winslow Leach (William Finley) perform a song from his Faust rock opera, Phil Spector-ish impresario Swan (Paul Williams) decides that Winslow's opera would be the perfect debut attraction for his new rock palace, the Paradise. Swan steals the music and has Winslow imprisoned -- but not before Winslow meets aspiring songbird Phoenix (Jessica Harper). Jumping prison, Winslow breaks into Swan's Death Records factory to ruin the recordings, but a record press accident grossly disfigures him. Winslow then sneaks into the Paradise to sabotage Swan's show, disguising himself as the Phantom. Swan, however, cuts a deal with the Phantom to finish his cantata; he promises that Phoenix will sing it but then reneges, hiring prissy glam rocker Beef (Gerritt Graham). Determined to have Phoenix sing, the Phantom soon discovers just how far Swan will go to give the people what they want. ~ Lucia Bozzola, All Movie Guide

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon. ~ Lucia Bozzola, All Movie Guide