Review: The Social Network (2010, Fincher)
October 14th 2010 00:08
The Social Network (2010, Fincher)
Written October 12, 2010
I remember when Facebook was theFacebook. I remember when you could only join if you had a college e-mail address. I remember thinking, ‘oh, okay, so now there’s this.’ I remember graduating college and receiving an e-mail that since I was an existing member I could keep my account once my college e-mail runs out by simply providing a different e-mail address. I remember the day when Facebook (no ‘the’ now) began allowing high school students to join and eventually, anyone with an e-mail address. This wasn’t all that long ago yet if you ask the majority of Facebook users today I’m sure many of them had no idea that when it all began, you had to be a college student to participate.
When Facebook expanded, it lost something for me. The novelty and intrigue began to wear off. It was suddenly larger than life. Unlike the Mark Zuckerberg in the film, for me this had nothing to do with exclusivity. It had to do with becoming too big for your own good. Once everyone starts loving something, using something, it usually always becomes devalued. One has to wonder if Zuckerberg himself ever felt that way. The Social Network, directed by David Fincher and written by Aaron Sorkin, informs us Zuckerberg started theFacebook because he wanted to be a part of something exclusive; he couldn’t get into final clubs. So when he expanded in 2006 to allow anyone over 13 years of age and with an e-mail address to access his site, had he fulfilled that need by then? Was the fact that he was already a billionaire enough? The Social Network doesn’t provide that answer. In fact, the real Zuckerberg has gone on record to say he never cared about getting into final clubs at Harvard and thus, perhaps the entire question is moot.
It doesn’t matter if theFacbook was created the way The Social Network leads us to believe. It doesn’t matter if it’s embellished fact or fiction, or if Erica Albright actually exists. What matters is the cynical, incredible story that somehow captures an entire generation of internet users, both past and present. Sorkin’s script is breathtaking and contains very little actual direction. Although he’s directed in the past, Sorkin is first and foremost a word master. And due to his lightening fast dialogue, the one page per minute rule is expanded to 2-3 for a man like Sorkin. Fincher changed very little of the script and turned it into something even more impressive, if possible. The entire look of the film, aside from some club sequences, is largely detached, dispassionate. Fincher uses soft, cool tones and soft lenses to isolate the viewer from the world in which he’s capturing, thus setting the cynical, ironic tone of the film. His direction is pitch perfect. Trent Reznor’s hypnotic, sparse score could at times fit into a horror film yet not one note feels out of place.
The key scene in The Social Network comes when Mark Zuckerberg (Jesse Eisenberg) has just broken up with his girlfriend, Erica Albright (Rooney Mara). His best friend Eduardo read about the event on Mark’s blog and rushes to his side. “Are you okay?” he asks, concern evident. “I need you,” Mark replies. “I’m here for you,” is Eduardo’s response but Mark doesn’t want to talk, he wants Eduardo for his intelligence as Mark’s way of coping is to not only degrade Erica on his blog but degrade all the women of Harvard by ranking them side by side on a site he creates in a matter of hours: FaceMash.
In a second pivotal scene, Mark has just confronted Erica while Eduardo looks on, again concerned. When Mark returns, Eduardo says he did the right thing but Mark’s responds with thoughts of computers: “we have to expand.” His plan includes running stories, one of which conveniently placed in the Boston University newspaper. When asked why he wants it in that paper, he responds, “Because I do.” No one mentions it is Erica’s school; no one verbalizes Mark’s true motivations. And since Mark is running on automatic, it’s possible not even he himself understands.
But the facts are simple: Zuckerberg cannot connect. He doesn’t know how to have human interactions without involving code and operating systems. Thus, he creates something to be apart of, while simultaneously alienating himself further from society. A line in the musical RENT states, “connection in an isolating age.” Zuckerberg may have been seeking the former, but ended up further perpetuating the latter through the use of technology. In the end, he loses the only real connections in his life.
Sorkin’s dialogue crackles intelligence and lightening sharp wit. In a spectrum where the norm is exposition and dumbing down, Sorkin rallies against it, creating something smart and new (for the most part). The only unnecessary role in my opinion was Marilyn (Rashida Jones) who is attempting to spoon feed the audience how they should feel about Zuckerberg. She feels bad for him but she also pities him, as she should. He’s a pathetic individual. She says he’s not an asshole, but he is and deep down he knows it. Just as he knows he’s egotistical and pretentious. The text of the film doesn’t let Zuckerberg off the hook; in the end, it would be up to individual audience members to make that conscious choice. It’s been discussed that Zuckerberg could suffer from Asperger’s syndrome. If he does, it’s an extremely mild case and doesn’t manifest itself in violent outrage but rather stays in the realm of ‘I say what I think when I think it and my social interactions are almost non-existent and intolerable.’
The performances are incredible: Eisenberg’s energy is completely unmatched. He took the words on paper and breathed life into them with terrific precision. His chemistry with Garfield is superb and the relationship is honest and painful. Armie Hammer steals nearly every scene he’s in and one must marvel in the fact that although he’s playing two twins yet they’re completely different and identifiable. Justin Timberlake brings a nice balance to Sean Parker, a man who exudes charm and confidence yet underneath he’s a small individual. Rooney Mara only has two scenes yet she almost steals the entire film. She’s smart, raw, and real. She’s the most humanistic presence onscreen.
The Social Network deserves all the praise it is receiving; it speaks loudly about the current state of culture, technology, and human interaction. It should be consumed by all and more than once.
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Comment by Bryn
Horrorphile
Good write up, although admittedly I skim read it, as I want to see the movie before I read too much.
Will anyone remember myspace in a couple more years ...?
Comment by JohnDoe
Film & TV on DVD
I am still very put off by Justin Timberlake's name in the cast. He has dragged down everything i have seen him in (Alpha Dog, Black Snake Moan, Southland Tales) and showed no potential as an actor. Thankfully his role here is small I have heard.
Still the name Fincher invariably means quality (except Buttons) and I will certainly be seeing it now that my own curiosity has been peaked.