Mad As Hell: The Making Of Network And The Fateful Vision Of The Angriest Man In Movies - Plot & Excerpts
A cinematic calendar of futility, confrontation, and retribution had opened in the winter with the release of Taxi Driver and Travis Bickle’s vow that “someday a real rain will come and wash all this scum off the streets.” By the spring, this message came clad in a more polished wardrobe, with All the President’s Men and its stylized, Redford-eyed treatment of the Washington Post’s investigations into Watergate; and it spent the summer dressed in the genre garb of Westerns such as The Outlaw Josey Wales and horror movies such as The Omen. The cycle reached its zenith in the fall, when screens were spattered with the blood and sweat of Marathon Man and Carrie, and the air was choked with the expended lead and urban decay of King Kong, Assault on Precinct 13, and The Enforcer, the latest trigger-pulling escapade of Clint Eastwood’s “Dirty Harry” Callahan. You want inspiration and uplift? Go watch Rocky Balboa beat up a side of beef. The “cheapjack cynicism” that Network satirized, Vincent Canby wrote in a New York Times essay proclaiming the arrival of the new “cynical cinema,”
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