The Mad Prophet of the Airwaves
Peter Finch's posthumous Oscar-winning role as Howard Beale, the unhinged news anchor, is legendary. But Finch, an Australian, was far from the first choice. Director Sidney Lumet initially wanted quintessential American actor Henry Fonda, who had worked
with him before. Fonda, however, found the role too "hysterical" and passed. Screenwriter Paddy Chayefsky's own notes listed Hollywood titans like James Stewart, Cary Grant, and Paul Newman. Stewart also disliked the script's strong language, while others, including George C. Scott and Glenn Ford, reportedly turned it down. Finch, a relative unknown to American audiences, had to audition to prove he could master an American accent. He sealed the deal by studying tapes of news anchors and won over the filmmakers, who knew immediately they had found their man.
The Human Embodiment of Television
Faye Dunaway’s cold, brilliant, and Oscar-winning turn as Diana Christensen defined the character, but the search was wide and varied. Chayefsky initially thought of Candice Bergen, Ellen Burstyn, or Natalie Wood. The studio pushed for Jane Fonda, while Diane Keaton, Marsha Mason, and Jill Clayburgh were also considered. Lumet’s own choice was controversial: he wanted to cast Vanessa Redgrave, whom he considered the greatest English-speaking actress alive. However, Chayefsky, a staunch supporter of Israel, vetoed the idea due to Redgrave's public support for the PLO, leading to a tense exchange where Lumet accused him of blacklisting. Dunaway herself was hesitant to take the part. Her agent, the legendary Sue Mengers, reportedly threatened to drop her if she didn't do it. Lumet was brutally honest with Dunaway, telling her the character had no vulnerability and that he would cut any attempt she made to inject sympathy into the performance.
The Conscience of the Newsroom
As Max Schumacher, the head of the news division with a conscience, William Holden provided the film's moral and human anchor. But the role was almost played by a revolving door of Hollywood's leading men. Chayefsky's initial list included Walter Matthau and Gene Hackman. Glenn Ford was a finalist for the part. Interestingly, Faye Dunaway wanted her co-star to be Robert Mitchum, but Lumet felt he wasn't "urbane" enough for the role. Holden himself had been considered for the Howard Beale part but turned it down, opting for Max instead. His decision was a fortunate one; producers were keen on him due to his recent box office success in The Towering Inferno, and his performance grounded the entire film, earning him an Oscar nomination.
The Corporate Players
The film’s powerhouse supporting cast also had its own sliding-doors moments. As the ruthless corporate executive Frank Hackett, Robert Duvall was perfect, channeling what he called a "vicious President Ford." But the film’s most memorable single-scene performance came from Ned Beatty as the messianic corporate chairman Arthur Jensen. Beatty was a last-minute replacement, recommended by director Robert Altman after the original actor didn't meet Lumet's expectations. He was given a single night to prepare Jensen’s booming, four-page monologue on the primal forces of capital. He arrived, nailed the scene in one day of shooting, and walked away with an Oscar nomination for his efforts.
