David Fincher’s ‘The Social Network’ takes the modern story of Mark Zuckerberg and twists into an entertaining, versatile film, partly because of the screenplay by Aaron Sorkin. It catalogs Mark Zuckerberg’s relationship with the Harvard students he allegedly stole the Facebook idea from–and the uprising of he and his company, along with the emotional collapse between Mark and his partner, Eduardo. The two divide when Mark becomes opportunistically attracted to Sean Parker, the founder of the free music site, Napster.
The film is a brilliant meditation on what movies can accomplish when written well: Complex, confused, and morally perplexing. Their is a montage of the muscular twin brothers rowing across the river in a race, mixed with an incredible soundtrack, that displays Fincher’s power of congruity: In each of his films, in the same tradition of Kubrick, you have the lack of feeling as to invoke how meticulate, (or not invoke, I should say) Fincher is in picking his shots; the first scene, a on-set documentary said, took over one-hundred shots to get what Fincher wanted, and it was all dialogue at a table. The actor, Jesse Eisenberg, said he was fine with it because of the nice escape static scene acting was, where like a staged play you really came to hone the scene.
Like the court case, how much the film dramatizes or how much truth it displays is questionable. The thing that’s not questionable, though, is the talent present in the film, and essentially it is an island itself with creative freedoms; In all biographical movie, fact is notoriously boring, and fiction makes a stir, the kind of stir that no matter what it says, still gathers attention for its subject; Mark Zuckerberg has definitely become more known as a result, before this being known as the young CEO who got really sweaty during that one interview.
The film, on many occasions, takes the court-case footage and splices the dialogue together with whatever their talking about; going back in time, and having Eduardo answer the question through the actual action, when it happened. That’s a unique method for dealing with court-cases in such a smooth structural pattern, where the impulses of the characters aren’t described by themselves in the court by shrewd monotone, but in flesh and blood. Because we know during the whole rise of Facebook, none of the original creators were very happy. The Social Network is an astounding piece of filmmaking that takes a rather small-scope character story and turns it into an entertaining look at ‘rights’ and dedication, with Oscar-worthy performances from young actors.