There's a lot of ego floating around a film set. Let people work in collaboration on a creative venture and, sooner or later, sensibilities are going to clash. Discussions cross a blurry line into insults, you say things you later regret, and at some point, someone's vision gets left in the dust. I don't think I've ever been on a shoot where this wasn't the case (some more notably than others).
More than a thesis on new media culture, I feel this theme takes the forefront of The Social Network. I felt very personally connected to this film, because at some point I've been in the shoes of every character. I've been the impatient whiz kid, the arrogant voice of little experience, the associate who got less than he bargained for, or the close friend who has to say something painfully frank because it just has to be said. (That last one isn't related to creative ventures in my case or the film's.)
Of course, The Social Network isn't about a film set, but rather the creation of the internet giant Facebook. The film has been a jumping off point for many viewers to discuss Facebook's impact on culture and interpersonal communication at its most basic level. It's trailer features a montage of profile picture and status updates set to a melancholy choir-version of the song "Creep" and enjoys a huge renown by its own merits.
For a film that has so many people talking about the social media, the film itself shows very little interest. It could just as easily have been about a film production, a stage play, or a rock group. The only thing that really separates The Social Network from these examples is its lack of reverence, or even interest, in its characters' creation.
I've noticed a tendency for David Fincher to sidestep more conventional screenplays for ones which ignore catharsis in favor of more mundane, realistic through-lines. Whether it's Benjamin Button shrinking back into the womb or Robert Graysmith devoting 25 years (and nearly three hours of screen-time) to a still-unsolved murder mystery, his films are often about conflicts failing to resolve. The Social Network definitely fits this mold, but it sometimes clumsily draws too much attention to this. Eisenberg's Zuckerberg is most fascinating when seen from afar, successfully clashing wits from behind a face totally bankrupt of personality.
I'm being a little hard on this film, but it shouldn't deter you from seeing it. The dialog has the pace and wit of a 1940s screwball masterpiece, and the performances are so intense that you may find it difficult to keep up. If you're expecting a film about Facebook or the Internet or the Matrix, however, you won't find it here (but Catfish might be playing next door). I just want to make sure you get it down in writing before committing to it. If you know what to expect, you might save yourself a whole mess of stress down the line. ;)
I agree with you that the kinds of characters Fincher/Sorkin are dealing with could be just about anybody in the friend/loyalty kind of story, but I wonder if a film production or rock band would have characters who speak in such a hyper-articulate manner as do these people who come out of Harvard and, as Jim Emerson notes, sometimes have an easier time speaking in 'code' than as regular human beings.
ReplyDeleteWhat I found fascinating and, weirdly enough, what I connected to (aside from the film-production comparison which I can totally see as well, albeit by now you've hard more experience than I have as crew with friends or not friends), was the level of obsession that Zuckerberg has that clouds over his personal side. In college I was hoping to make friends, and would try, but it wasn't until junior or even senior year when I felt comfortable with that aspect, and while nowhere near as assholish as Mark, I connected with being driven by something so much that nothing else around you matters - except that there's an idea, you don't know quite what it is yet, except maybe that it's cool. I almost feel bizarre for relating that strongly to that aspect of him. Thankfully, no lawsuits yet ;)