|Rating: The Good – 92.9
Duration: 120 mins
Director: David Fincher
Stars: Jesse Eisenberg, Andrew Garfield, Justin Timberlake
“Creation myths need a devil.” The Social Network was hyped by some as one of the best films of all time on its release and actually, they just might have been right with this one. A master class in pacing and screenwriting, this story about the founding of Facebook and the man behind its creation is one of the most compelling films of the modern era. It may take dramatic license as it reconstructs the details of the personal and legal battles that followed the launch of the website but the result is as focused an examination of the digital generation as we’ve seen thus far.
Deeply sophisticated parallels are forensically drawn through the centre of this story as director David Fincher and writer Aaron Sorkin intertwine Mark Zuckerberg’s rise to prominence with the traditional concept of social popularity while reflecting on the dynamic the latter shares with the new order. Characters and plot are richly conceived as the drama unfolds in Shakespearean proportions and by the time it’s all done, we feel we’ve been let in on something really special. Everyone involved acts their socks off but this film is built around the ever excellent Jesse Eisenberg’s sensational performance as Zuckerberg. It’s an intricate piece of work because much of the character’s thoughts and emotions occur very internally and are therefore left to the audience to infer. But thanks to an abundance of carefully orchestrated and delightfully timed micro-expressions, we do.
For a film which was largely built around an emotionally reserved protagonist, the score was always going to be important and Trent Reznor and Atticus Ross respond to the challenge in resolute fashion with what could arguably be referred to as one of the best scores of the decade. Their subtly balanced electro-rock compositions are perfectly weighted to the different segments of the film and wonderfully carry the audience through the complex social worlds the characters inhabit. As they do in the script, the parallels present in the different compositions help to tie them together into one overarching score that feels as comprehensively part of the film as the cinematography or production design (which by the way were also just about the best we’ve seen in the last decade).
However, the final words of praise should be saved for Sorkin and in particular Fincher who craft this complex, multi-tiered tale into an astute study of the struggle for acceptance in the modern world. In the streamlined focus of the latter’s direction, the former’s writing found its perfect outlet as Sorkin’s potentially wearing indulgences are shorn away in favour of properly individuated character conceptions. Fincher doesn’t get enough credit for his ability to edit scripts but one look at the “behinds the scenes” footage of his writing meetings with Sorkin quickly reveals how he steered Sorkin’s lush script away from the pretentious self-glorification of something like The Newsroom.
But it’s Fincher’s overall command of the project that makes The Social Network such a magnificent experience. A low hum of anticipation builds through the picture, particularly during the early scenes, giving the audience a genuine feel for the magnitude of the project Zuckerberg was embarking on. It’s an implicit but irresistible feeling engineered through structure and Fincher’s impeccable understanding of how much distance to keep between his actors and the camera at all times. In those moments of revelation and/or accomplishment when this sensation actualises, we are witnessing the consolidation of truly mesmerising direction. The ultimate example being the arresting sequence in which Fincher parallels Zuckerberg’s facemash assault with the Phoenix Club’s first party of the fall semester in their mutual misogynistic glory. As a scene of pure drama, it is a peerless piece of impossibly sleek film-making and damn near the best sequence in modern cinema.