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THE SOCIAL NETWORK David Fincher Starring Jesse Eisenberg Andrew Garfield Justin Timberlake The winning combination of David Fincher's distinctive dark-hued directorial style, Aaron Sorkin's cutting screenplay and Trent Reznor's visceral but understated score will no doubt prove to be the key to this film's success but as far as being 'the voice of this generation' I doubt it. The Social Network is less a movie about the online networking site, Facebook, and more a study on the price of contemporary success; in truth, this could have been about any major business success story, Facebook was merely the captivating hook. Additionally, the scathing inaccurate personal portrayals of the real life counterparts (while the law and case history is accurate) will be considered fact - a decision I believe to be somewhat detrimental to the prominence of this project. Following a frustrated breakup, the socially inept Mark Zuckerberg [Eisenberg] decides to hack the Harvard databases and launch a website that rates the attractiveness of the female students. Assisting him in this cathartic backlash is his long-time friend, Eduardo Saverin [Garfield], who provides the quintessential algorithm to operate the site. After the spooling success causes the Harvard network to crash, Zuckerberg is brought before Cameron and Tyler Winklevoss [Armie Hammer] - identical twins and members of the Harvard rowing team - who propose a joint venture called The Harvard Connection; Zuckerberg, intrigued by the concept, agrees to help. Despite agreeing to help the Winklevoss', Mark feels their project is flawed and overly unappealing; with the base principle of placing the social interactions of the average college student online, Eduardo and Mark generate coding for The Facebook. As Facebook proves to be immensely popular, Zuckerberg gains the attention of the zealous, cocky Napster founder, Sean Parker [Timberlake]; an alliance which truly divides Mark and Eduardo. Intercut between these flashbacks to 2003 are the multiple court cases which Mark is currently undergoing - the first filed by Eduardo for his fair share in the Facebook claim and the second by the Winklevoss twins, accusing Mark of stealing their idea. The whole film is extremely well structured and edited, dancing back-and-forth between the various testimonials of each lawsuit's depositions and the events described. In addition to this, we also have Fincher's brilliantly framed scenes, Sorkin's highly engrossing script and the exceptional score, which perfectly compliments the overall aesthetic - not all too dissimilar to the Dust Brother's contribution to previous Fincher outing, Fight Club. On top of that, the performances, whilst a grand departure from reality, are incredibly solid and engaging. A significant mention also needs to go to the effects department. Too often special effects are heralded and praised when in abundance but it is an oft cited fact that the best computer generated effects are the ones you don't notice. To that degree, few may realise that both Winklevoss twins are in fact played by the same actor - an example of what can be achieved without going overboard, jumping up-and-down and screaming, "Look at my cool effects shots!" . . . . I'm looking at you, Michael Bay. The film's greatest flaw, however, is the nature of the ongoing biography and as such a lack of real resolution; that and the implication that the sole drive for creation and invention is to either impress or wreak petty vengeance on the opposite sex - which may be true but was not necessarily the prime goal of the subject matter in question. It's also incredibly difficult to rally behind any of the characters, solely for the fact that despite being accidental billionaires, they're simply a little too petty, eager to advance and rather ignoble. Like most critics, I will agree that this is an incredibly well made film with many glowing positive elements but with the few aforementioned flaws continually nagging at me, I left the screening very mildly disheartened. Ultimately, this is a highly praiseworthy release but for the elements that make the whole, as opposed to the final product. It's not as glorious as many are hyping it to be but it's damned close. Release Date: 15th October 2010 The Scene To Look Out For: One of the most understated notable points about Zuckerberg's character can be found when he is first approached by the Winklevoss' to work on The Harvard Connection. When asked about his previous success, Zuckerberg mentions an app he created which selects music based on the user's tastes. He is queried further about it, but Mark explains he turned down Microsoft and uploaded it for free. A tiny fragment in a film of standout moments but an important character point, which highlights a unique work ethic in a society of individuals striving for little more than notoriety, wealth and mass envy. Notable Characters: While the majority of the performances hint toward great things for the largely unknown individuals involved, Garfield and Eisenberg certainly offer standout performances. Eisenberg's emotionally disconnected, apathetic portrayal of Zuckerberg is as captivating as it is damning, while Garfield's reactions to continually being ousted are simply riveting. Justin Timberlake also deserves a mention for his embodiment of the rebellious cocksure Sean Parker and his almost bi-polar flops between deep-seated paranoia and egotistical advancement. Highlighted Quote: "You have part of my attention, you have the minimum amount. The rest of my attention is back at the offices of Facebook, where my colleagues and I are doing things that no one in this room - including and especially, your clients - are intellectually or creatively capable of doing. Did I adequately answer your condescending question?" In A Few Words: "A damned impressive release with a stellar cast and supreme crew but I feel if the subject matter had been less constraining, something truly magnificent could have been crafted here" Total Score: 
8/10Matthew Stogdon |
