When a film is executed in just the right way, any source material can be made interesting. A movie about web development frankly sounds pretty dull to those of us not particularly well-versed in C++. Fortunately, David Fincher--that master of mood--brought us an end result that was far more than the sum of its parts. Fincher enveloped Aaron Sorkin’s screenplay in a dark, sultry atmosphere, resulting in the surprisingly intense, captivating feature, “The Social Network”.
This story is about Mark Zuckerberg (Jesse Eisenberg), the creator of the now ubiquitous Facebook. One night, in a drunken bout of vengeance after being dumped by his girlfriend, he has an idea for a website, “Face Mash”. Using an algorithm from his friend, Eduardo Saverin, he creates a website that compares the attractiveness of the various girls at Harvard, using their pictures from the various dorms’ ‘face books’. It is an overnight phenomenon, crashing the Harvard servers, and earning Zuckerberg six months academic probation. This notoriety draws the attention of the ambitious, elitist Winklevoss twins (both played by Armie Hammer) and their lackey, Divya Narendra (Max Minghella, son of late director Anthony Minghella). The three commission Zuckerberg to program a website on which Harvard students exclusively can sign up and connect with each other; a sort of social networking site for the elite.
Zuckerberg agrees to take on the task, but then proceeds to avoid Narendra and the twins whilst creating his own online social networking site, “Thefacebook”. Taking on Saverin (Andrew Garfield) as a business partner, he launches the site. The Winklevoss’ and their short friend find out, much to their chagrin, that their suspicions have been correct and seek justice through the school’s administrative offices. Meanwhile, Thefacebook attracts the attention of Sean Parker, the creator of Napster (Justin Timberlake, in a beautifully arrogant turn). Parker, the young, pushy entrepreneur he is, immediately wants in, and starts charming the pants off Zuckerberg. After an initial meeting, Zuckerberg immediately begins allowing Parker in on many executive decisions. Saverin is wary of Parker and does not trust him, getting increasingly upset about his diminishing role and Parker’s ever expanding influence on the company. Ultimately, Saverin is muscled out of the company, and in two separate court cases, he and the elite trio seek monetary revenge against Zuckerberg.
These cases are all shown in flashforward, juxtaposed with the events occurring in the film’s present. This turns out to be a mostly effective storytelling device, though at times it does break from the mood and feel somewhat awkward. These breaks at times feel very uneven, and this loss of mood results in what is likely the film’s biggest flaw. The film also seems to come to an unexpectedly abrupt end.
On a positive note, Fincher, along with the film’s composer, Trent Reznor (Of Nine Inch Nails) are able to maintain this dank mood for the majority--and when it really counts. They are two people who are certainly not known for making anyone feel better about humanity, and apply the perfect spin on this film. Fincher’s suppressed filters and depressed lighting go alongside Reznor’s black, intense industrial beats with near-perfect symmetry. Sorkin’s nicely paced screenplay sets up a perfect framework with real, fleshed out characters; essential in a piece that is so character-driven.
Jesse Eisenberg plays Zuckerberg with misanthropic brilliance. From the very beginning, we are shown how self-absorbed and stubborn the film’s Zuckerberg is. In this initial scene, his girlfriend breaks up with him, his ignorance to all the problems she points out; in fact, it may just be that he doesn’t see them as problems. Rising star Eisenberg continues to impress with his acting prowess and pulls off what is surely a flawless, brooding performance as a Man With Only One Friend.
For once, Justin Timberlake impresses as an actor. His fast-talking, paranoid Parker is reason for us to maybe start looking at him as a serious actor. Armie Hammer is competent in his dual roles as the square-jawed Winklevoss twins, and Rashida Jones is gorgeous as ever, though perhaps a bit unnecessary, as a junior lawyer working on Zuckerberg’s case.
Us, as viewers, can all relate to this story, on account of the fact that every one of us belong to the Facebook community. When everyone from our grandmothers to our frat buddies are members, it’s obvious that we would all be interested in the story of how this phenomenon started. This telling is very well done and will leave no one disappointed--and many more surprised with its interpretation.
As viewers, we manage to root for Zuckerberg despite witnessing his selfish motives and lack of consideration. Whether this be due to Sorkin’s molding of the character, Eisenberg’s lovable charm, or our collective love for and subsequent addiction to Facebook is the question. This story of our anti-hero Mark Zuckerberg and the birth of Our Beloved Facebook is a brilliant mood piece by David Fincher and Trent Reznor, masters of dark moods and depression. Their pairing was truly inspired, and it shows in this great film.
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Rated PG-13 for sexual content, drug and alcohol use and language
Directed by David Fincher
Screenplay by Aaron Sorkin
Starring: Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Rashida Jones, Max Minghella
