“Every creation myth needs a devil,” says Rashida Jones’ underused, but sympathetic attorney during the climax of David Fincher’s Social Network. Ironically, this line – which I found to be the film’s most telling – wasn’t conceived by Aaron Sorkin, Network's screenwriter, but by a Facebook publicist after watching an unfinished cut of the film. The line is effective because it rings true for most works of fiction that underscore corruption, and in a way, reveals Fincher’s latest endeavor as a sort of parable rather than a definitive “true story”.
The most rudimentary of corruption folktales I can think of would be Washington Irving’s “The Devil and Tom Walker”, which illustrates a man’s appetite for wealth and the ultimate soul-exchanging deal he strikes up with the Devil. Fincher’s Network isn’t quite as mythical, but like fiction, it gives the impression of an embellished account of events, only here Tom Walker goes by Mark Zuckerberg – who desires notoriety rather than wealth – and the Devil is embodied by Napster founder Sean Parker. Or so we think. What’s fascinating about Network is that the roles of “hero” and “villain” could possibly be reversed – given your stance on the topic – because the line between the two is so radically blurred. The characterizations feel genuine, and while Zuckerberg’s sensational plight underwent the standard Hollywood treatment (histrionics and disputable plot filler included) Fincher’s framework redeems it from sleazy “based on a true story” territory by applying compelling realism.
Sorkin’s script may be quick-witted, but the story is fairly simple, minus the rapid tech-talk. The film is told through the testimonies of now-billionaire Mark Zuckerberg (Jesse Eisenberg) and his former associate and best friend Eduardo Saverin (Andrew Garfield) during their dispositions in two different lawsuits. Zuckerberg is first being sued by Saverin for betraying him in a deal that ultimately diluted his share of the duo’s brainchild company, Facebook. The second disposition involves twin brothers Cameron and Tyler Winklevoss (played by Armie Hammer and Armie Hammer) and their partner Divya Narendra (Max Minghella) who are suing Zuckerberg for intellectual property theft since they originally came up with the idea behind Facebook under a different alias, Harvard Connection. This judicial angle plays out in fragments segmented between the far more engrossing narrative of Facebook’s beginnings, which introduces us to our “Old Scratch”, Mr. Sean Parker (Justin Timberlake).
I was initially of the opinion that this role was handmade for Eisenberg, and anyone who’s explored his filmography would agree. It’s the geeky, uncouth type of character he’s practically gravitated toward most of his career, yet it's completely different. “Zuckerberg” offered Eisenberg something new: depth. He virtually epitomizes Sorkin’s idea of the Facebook founder; the insensitive, overambitious technophile who constantly feels threatened by the urge to trump his own friends and impress those who “doubt” his ability, all while making a number of enemies in the process. Network’s opening break-up number is sublime at conveying the catalyst for Zuckerberg’s desired notoriety. He feels impotent in a way, and immediately prioritizes success above everything else, including his friendship with Saverin, who he eventually backstabs.
I believe Armie Hammer mentioned in an interview that the production of this film was, at heart, a team effort; from Fincher’s near-flawless direction, to the actors’ sharp deliveries, to Sorkin’s irreproachable script – which harked back to screwball comedies and their fast-talking repartee (a la His Girl Friday) – everything works as a harmonious unit. The film is seamlessly structured, beautifully shot, and coldly authentic. Sorkin’s hard-to-swallow portrayal of women remains generally realistic despite critics’ grumbles over the lack of a “strong female protagonist” who more than likely didn’t exist; but let's not completely write off Rooney Mara’s sound-minded Erica Albright.
Some may find the timing of Fincher's topical feature somewhat premature, but the current technological milieu is absolutely ideal for it, and I couldn’t imagine the film having the same impact twenty, or even ten years from now. Whether Network becomes Fincher’s magnum opus remains to be seen, but if anything's certain, the film is bound to leave an indelible mark on the net generation.
9/10
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