They also howled with laughter… probably because back then they still could.
The film was mad as hell, no doubt about it.
In a way, a stage version ofNetworkwas inevitable.
Credit: Jan Versweyveld
But also because Chayefskys screenplay always seemed more tailored for the stage than the movies.
His characters talk at one another more thantoone another.
But a feel-good evening at the theater, its not.
But van Hoves overly busy production cant match the bareknuckle force of his leading mans performance.
Whenever Cranston isnt on stage, the show tends to feel a bit didactic.
And some of van Hoves flashy, fourth-wall-breaking technical daredevilry feels distracting and oddly pointless.
Again, other than to make some extra dough at the gate, why?
After all, we all seem to be mad as hell in 2018.
Thats a pretty good cast, right there.
Only Cranston manages to make you totally forget about his big-screen predecessor.
Goldwyn is a fine actor, but he doesnt have the jaded, permanent-ulcer crustiness of Holden.
The action more or less begins with Beale having a meltdown on air while delivering the nightly news.
All hell breaks loose.
Sometimes its hard to know where to look.
Beales on-air freakout turns him into an overnight sensation.
But even their lovemaking feels like a lecture about corporate greed.
Theres no question thatNetworkis a sickeningly timely evening of theater.
Was it always this preachy?
All of those beautifully worded harangues havent aged well.
Yes,Networks message is as urgent and fresh and prophetic as it was back in 1976.
