While working for Pepperdine University as a Resident Director, I was first introduced to facebook by an administrator. Though brand new (and frankly silly sounding to me), he spoke of it in common terms. He told me that students were flocking to it, but the catch is that only those with e-mail addresses ending in “.edu” could be on it. I set up a profile due to my “.edu” password, and it felt kind of cool to be portraying some of my college self again – music, films, friends, etc. It soon became fascinating as I heard students ad lib about status updates, pictures, and gossipy pronouncements. Students didn’t censor themselves. They didn’t have to worry about their profiles being observed by curious parents, University employees, or others – just their friends (which of course rapidly changed and again redefined the term “internet privacy”). What at first was silly and fascinating soon became frightening – talking about it with students was like walking on eggshells filled with rusty nails.
“The Social Network” aims to document one author’s perspective on the events and development of facebook. It begins with an anxiety bathed Mark Zuckerberg (played by Jesse Eisenberg) having a conversation of sorts with his girlfriend. The set-up perfectly introduces us to nuances of the character – excluded from clubs, insecure, and brilliant – who goes on to became the world’s youngest billionaire.
First, don’t forget that the movie is a fictional movie. How much of it is true, dramatized, and outright false is not entirely known. In a film like this, truth affects the viewer because we want to know how much of the story can be believed. And just how good is the story? In a word – engrossing. Aaron Sorkin’s screenplay hooked me and ended in what felt like an abrupt manner. It is fantastic – the filmmakers made 120 minutes feel short. Major praise goes to David Fincher (Fight Club, The Curious Case of Benjamin Button) as he handles the acting so well, that my major concerns (especially regarding Jesse Eisenberg) were put to rest. It’s not that I think Eisenberg is a bad actor, it’s just that he seems to play off the same personality type: insecure, anxious, and nerdy (“Zombieland” uses it for laughs, “The Squid and the Whale” to make us cringe). It’s sort of like Michael Cera, who never seems to be anyone but George Michael. However, in the film Eisenberg has a level of depth to him that utilizes these strengths and makes them blend in beautifully with the character, creating a certain kind of depth. A worthy nod during awards season is entirely appropriate.
Big nods as well to Justin Timberlake, who looks about 10 years younger, playing Sean Parker – the founder of Napster/former President of facebook. All other players, especially Andrew Garfield as Zuckerberg’s best friend and facebook co-developer Eduardo Saverin are perfectly cast and played. Everything feels tight, clean, and focused. Much of this is due to rapid fire cuts that highlight Sorkin’s words and Fincher’s trademark browns and natural colors. The movie is a clean, slick, no nonsense production.
So, the filmmaking elements are all in place which leaves the big question – is it a good movie? Yes it is, but its long term relevance is worthy of questioning. It documents something very “2000’s” by displaying a familiar character – the fractured genius who wants to be accepted. But 10 years from now, will we care? While facebook has changed the way we communicate, will it matter in 5 or 10 years? While the question may seem silly, ask the creators of other major internet sites like myspace or Napster – it’s very much a fair question.
Perhaps this is the bottom line – if it were the “myspace movie,” would we care? Probably less so, but assuming the characters and storyline are the same I’d still be interested. Zuckerberg is still the underdog, and I couldn’t help but grin when he snidely remarks that he is happy to be sticking it to people who have gotten whatever they have wanted their whole lives. These kinds of characters are compelling because they are the archetypes of a certain brand of hero. It’s just that in this case, the hero is an insecure brat.
