The Social Network

You know, for as much as they're criticized, I don't really blame people who think that The Social Network is "just that Facebook movie". After all, I thought the exact same thing when I first read about the project. The sheer talent involved - most notably director David Fincher, but also Aaron Sorkin - intrigued me, but ultimately I couldn't figure out what would draw people to a movie about the founding of Facebook.

Now that I've seen the movie, I completely understand, of course. For my money, The Social Network is still the best movie of the year on a variety of levels. Whether you look at it as a piece of bravura filmmaking, a showcase for some outstanding acting, a compelling depiction of a complex story, or a snapshot of the times (be it the film's times or our own times), The Social Network manages to succeed on every level.

Much of that success has to be laid at the feet of David Fincher. Ever since Se7en, Fincher has been a force to be reckoned with, and time after time he's brought something incredible to the table when he's worked on a film. From the hyperstylized Fight Club to the picture-perfect evocation of the 70s police film in Zodiac, and even in the middling Curious Case of Benjamin Button, Fincher constantly brings a strong sense of composition, an ability to get great performances, and an eye for detail that makes his films the work of a consummate craftsman. And The Social Network is no different. Fincher largely reins in his stylistic touches, only using them for specific scenes or moments, with perhaps the most memorable being a regatta sequence where the rest of the world feels like a model which these titans are rowing through. And, yes, it wouldn't be a David Fincher film without an unusual technological touch, here provided when a pair of identical twins are played by a single actor (a feat accomplished so convincingly that after one screening, the actor who plays them was complimented for his acting but informed that he needed to work on helping his brother learn not to overact). But by and large, Fincher's work on The Social Network is an observer, recreating a time not very long back and bringing it to vibrant, addictive life, and allowing his compositions to convey the excitement of, say, a forbidden fraternity party, or a pulsing club beat, or the slow build to a Facebook milestone. (It should be noted that Fincher's choice of score, an unusual techno mix by Trent Reznor and Atticus Ross, is a superb touch in setting the mood of the film, and really is one of the film's most overlooked achievements.)

Fincher's not alone in his talents here, though. The film wouldn't be as outstanding as it is without a series of great performances, from Andrew Garfield as Zuckerberg's financial partner to Armie Hammer's knockout dual role as the Winklevi to the perfect casting of Justin Timberlake as the "rock star" of the group, Sean Parker, whose self-hype is hard to separate from the truth. But more than anyone else, Jesse Eisenberg is this movie. As captured by Eisenberg, Mark Zuckerberg comes to life as neither a hero nor a villain, but something more complex - an insecure but brilliant figure, a technological genius with almost no social skills, a man obsessed with what he can't have. For all of the concern whether the movie was a "hit piece" on Zuckerberg, no one who's seen the film should really feel that way; Zuckerberg here is nothing less than human, and a complex and fully realized one at that. It's a testament to Eisenberg that the final scene, which largely consists of a lingering shot of him, works as well as it does and causes such unexpected emotions.

Ultimately, though, what makes the film so relevant and timely is its story and how it tells it, both of which come to us courtesy of the outstanding screenplay by Aaron Sorkin. There are no real heroes or villains to be found in The Social Network; this is a story about very flawed people struggling to claim their pieces of a very wealthy pie, but as told by Sorkin, the story is far more about bruised egos, class privilege, resentment, envy, and betrayal than it is about money. At its core, The Social Network is as much about Facebook as Citizen Kane is about a sled or The Treasure of Sierra Madre is really about gold; it's more about status, success, and entry into the life that these men have always wanted and in some ways feel that they deserve - and how far these men are willing to go to make it happen. Yes, the film is no doubt a reflection of the Internet age in which its set - a time in which the Web was ripe for new ideas, and people could become billionaires with the simplest of ideas. But it's also a reflection of the American Dream, and the fact that even the richest of men still may be motivated by things beyond money and fame.

One of the true joys of The Social Network is how complex the morals are that can be drawn from it. Is it a cautionary tale of greed run amok? A look at how even massive institutions can be born from petty motivations? A tale of a modern Citizen Kane who finds himself increasingly isolated by his own success? A warning of the dangers of sudden wealth? A reminder of why friends are truly important? Or just a compelling piece of recent history?

Maybe all of these. Like All the President's Men, The Social Network is as much a reflection of our own times as it is the times it's depicting. And as the news is filled with Bernie Madoffs and bankers who have all but stolen from people's pockets, it's hard not to feel that there's something here about people who turn their back on their humanity in order to be more successful.

On the other hand, I think to focus solely on that aspect is to take a simplistic view of the film. What The Social Network does so well is that it takes a long look at the situation and realizes that these men weren't saints, but they weren't devils, either. Was Zuckerberg driven by ego? Did he probably somewhat borrow his ideas? Perhaps. Was Severin a victim of Parker's pouring poison into Zuckerberg's ear,or was he inadequate at his job? Maybe both. Were the Winklevi victims? Or, as Zuckerberg says to them in one of my favorite lines from the film, "If you had invented Facebook, you would have invented Facebook." Again, and to Sorkin's credit, there are no easy answers; there are only shades of gray.

But that's all life is, really. One of the best aspects of the film is the way it holds back from making judgments, letting the viewer decide the right and wrong of the situation. Even then, during that long, lingering final shot, there's a glimpse of humanity underneath it all, a reminder that behind this massive conglomerate, behind the millions of dollars, behind the lawsuits, behind the world-altering programming, there are human beings, warts and all, driven by the same neuroses and urges that motivate all of us.

In the end, that's what makes The Social Network the year's best film. As a piece of moviemaking, it's a knockout on every level - it's phenomenally directed, beautifully shot, superbly acted, masterfully written, and even wonderfully scored (the outstanding score by Trent Reznor and Atticus Ross is a masterpiece of mood and tone). But all of that can work and still leave a film empty. Luckily for The Social Network, the real subject of the film isn't money, or Facebook, or even computers - it's about humans as social creatures, and the way we interact with each other. And once you realize that the titular social network doesn't only refer to the one on the computer, but instead may refer to our interactions as a whole, you may begin to see just how human this film about computers really is.