How ironic it must be to Mark Zuckerberg to have founded the worlds biggest social networking site, when he himself, is anything but social. Now with David Finchers film bringing even more unwanted attention upon him, it must be a constant chagrin to Zuckerberg, when all he wants is to be left alone with his computer. Or so Fincher's ''The Social Network'' would have you believe. Based on Ben Mesrich's 2009 book, 'The Accidental Billionaires', the film is not, wholly based on 100% fact. This is something that writer Aaron Sorkin, or Fincher ever denied. Sorkin himself was been quite objective on his intentions. He has been quoted 'I don't want my fidelity to be the truth, I want it to be storytelling'. Sorkin wants to entertain, rather than educate his audience. Their intentions known from the start show just what they have achieved here. They haven't set out to fire out facts and events in black and white. They have set out to make a statement. It may be a document of our time, but not of the factual kind. It is yet another triumph added to the most excellent Fincher's list of impeccable triumphs.
When initial reports came out detailing Finchers new 'Facebook Movie', reaction ranged from baffled to outright horror. This was Generation X's movie punk wunderkind, and he was selling out? Fincher was a master of the macabre, of skewering perceptions of the serial killer genre, not once, but twice. He deals in worlds full of threat and darkness and menace. Of radicalizing notions of pop culture in cinema. Every shot is meticulously planned out, and every subject he draws upon, is researched to the max. Robert Graysmith, the author of 'Zodiac' maintains that Fincher got further than he ever did on the confusing, disturbing and very slippery case. Wasn't Facebook below him? Then something curious happened. Finchers backwards fairytail ''The Curious Case of Benjamin Button'' was released to much acclaim. Sure, some purists might have argued against his branching out to more saccharine subjects, but few could argue against the success of his wild genre change. An epic meditation on love and life, there was no severed heads to be found in boxes anywhere. If this was Fincher selling out, then the grace and beauty and simple power of his love story ensured that no one could argue his commitment to it. David Fincher is the consummate Director. He has too good an eye for detail, too much talent and too much range to simply sell out. Suddenly the prospect of David Fincher's Facebook didn't seem so bad. It was only when Aaron Sorkin was announced as writer, that people began to grasp what was in store for them. ''The West Wing'' is one of the greatest shows ever. While I myself have not seen the full seven seasons, I have seen enough of it to know just how finely tuned Sorkin's ear for dialogue is. It is a pleasure to listen to, and therein lies many of the reasons the show appealed even to those who had little or no interest in Politics such as myself. Sorkin writes drama stunningly. If he can make Politicians exciting for me, then surely he can make Facebook exciting for those who turn their nose up at such a subject. Despite what you may think, Sorkin takes Facebook seriously. Perhaps he takes it too seriously, I will go into more detail on that later, but for his commitment to the story he must be applauded. Because this 'Facebook Movie' is so far, front and center primed to take home a lot of awards come early next year.
Set in 2003/2004, the film concerns itself not with the rise of Facebook, but rather the rise of its creator, Mark Zuckerberg (Jesse Eisenberg), currently, the worlds youngest billionaire. The fact that he helped create the Facebook revolution is only all the more stunning that it came out of something entirely negative and ugly. Ridicule of others online. Zuckerberg himself is painted as someone who's genius is matched only by his ego. He wishes to be held by high esteem by everyone, yet holds nothing but contempt for them. Eisenberg portrays him wonderfully. He is a contradiction of mass arrogance. He seeks everyones approval and yet mocks them. He wants friends, and acceptance yet most people are a burden. A very unenviable task for Eisenberg, he is never less than compelling. Of course the legal spiderweb that entailed the creation of Facebook and its success is what focus is kept on. The linear shifts from its beginnings to the legal wranglings of Zuckerberg and his only friend, Eduardo Saverin, played here by Andrew Garfield propels the drama. That there is also the lawsuit of whether or not Zuckerberg stole the original idea from two Harvard rowing champion twins, shows the potential for much of the story to buckle under the burden of its talky weight. Fincher keeps proceedings fresh and distinctive and shows a wry eye for humour along the way. The soon to be the future Spider-Man, Garfield provides much of the emotion of the film. His fractured relationship to Zuckerberg fuels a lot of the drama on screen. At its heart, the film is all about relationships and the strain money and success places on them. Tension is only further exacerbated with the arrival of Sean Parker (Justin Timberlake). The original founder of Napster, his reasons with getting involved with Facebook may not be entirely honourable and yet it is he, who Zuckerberg looks up to and wishes he could be more like. Parker is everything Zuckerberg is not, but in the end one gets the feeling, that Parker needs Zuckerberg a lot more than Zuckerberg needs Parker. Parkers genius lies in making those around him think they need him when all he really is, is a mouth. Unfortunately, of the three leads Timberlake is the only weak link. While perfectly serviceable I could never once get by the fact that 'Justin Timberlake is acting'. He is not wooden and he can certainly deliver a line, but it is his mere presence that is sometimes too distracting. While this might be what the character calls for, I ultimately found that to be too true to the case in point. Timberlake was portraying a character, next to Eisenbergs and Garfields real people.
Sorkin's script is 166 pages long. Usually each script page counts for a minute of film and yet the film runs to just over two hours. Finchers way of getting the running time down, while still including everything the story needed and deserved was to merely get his cast to talk fast. Really fast. That should give you an idea of how rapid the dialogue is presented. From the off in a fantastic pre-credit sequence Fincher draws us into our leads. Two characters involved in quick rapid fire dialogue across a table. Character traits are immediately established along with motives and shifting dynamics. It is the perfect introduction into this Harvard elite Fincher presents us with, and shows how rash decisions can lead to huge consequences. Like the founding of a multi billion dollar online empire for example. Eisenberg and Finchers new 'Lisbeth Salander' Rooney Mara trade insults, barbed delusions about the world and a complete relationship break down all in the space of four minutes. It is a masterclass in dialogue and is arguably the finest and most important scene in the film. Sorkin litters his screenplay with choice moments of necessary humour. The film might get bogged down were it not for this. And yet, I cannot help but wonder if a lighter touch still might have worked wonders for the film. It seems to be lacking from a true sense of drama as there never truly seems to be anything at stake or anything for the audience to invest emotionally in. There is next to no surprises in the plot for the film to be fully captivating. Zuckerberg himself, seems to take a back seat to Saverin and Parker in the second half, which is a shame, as his downward spiral into loneliness and social rejection was one of the most intriguing aspects for me. Fincher however surprises again with his film. He is comfortable dealing in any genre he feels like and his extraordinary vision is evident in every frame. And in those twins, he creates the most seamless special effect I have ever witnessed as one actors head is invisibly grafted onto another actors body. Twice. And you thought an ageless Brad Pitt was good?
Verdict: 78%
David Fincher adds another impressive layer to his bow and Sorkin reminds just how peerless he is when it comes to dialogue. Trent Reznor provides a fantastic debut score and Eisenberg excels. However, the lack of any true drama and urgency and Timberlakes casting takes it back down from masterpiece status. A fantastic nights entertainment with one of the best auteurs of our generation is waiting for those who decide to log on.
