Fashion is never finished

THE SOCIAL NETWORK (2010)

“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

I discover no kinship, no understanding, no mercy

GRIZZLY MAN (2005)

I’d just like to start off by saying that this review is entirely nonpartisan, and that I have no intentions of enforcing any political spin on it. I also refuse to touch on the controversy over the film’s integrity; hoax conspiracies, etc. I walked into Werner Herzog’s Grizzly Man knowing next to nothing about bear enthusiast Timothy Treadwell and came out having experienced a harrowing narrative of a deeply troubled man. The film is a success because it evokes emotion, it isn’t stale or hollow, and it holds your interest. Asinine debating aside, it’s pretty solid filmmaking. Now, admittedly, I’ve only seen about a handful of documentaries, so I remain a bit skeptical regarding Herzog’s subjective take on the events; however, his zealous commentary could simply be indicative of his respect for Treadwell, who – for what it’s worth – was truly committed to his cause.

Alaska’s Katmai National Park and Preserve is where Treadwell spent thirteen, video-documented summers observing bears and, needless to say, met an inevitable demise. Segments of Treadwell’s last five summers were extracted from and covered in Herzog’s documentary, which examines both the logical and sentimental slants on Treadwell’s death. When it comes to understanding men as intricate as Treadwell, you have to consider the motives behind their behavior. Treadwell was a zany character through and through, and those familiar with him prior to his budding fame were aware of this, but they were also aware of his fervid relationship with the environment.

We should also acknowledge Treadwell’s background and upbringing, as he was raised in a fairly animal-centric home and even held a close bond with a stuffed bear that he cherished well into adulthood. He was a man who literally wanted to “mutate” into a wild animal and live amongst the bears he observed so passionately. His technique was quite intense, jarring even, but his admirers characterized him as a man who had only the best intentions, if not a bit misguided at times.

Then there were Treadwell’s critics, ranging from those of commonsense to those of unfounded criticisms. Herzog interviews several bear experts, a couple who were under the impression that Treadwell had a death wish and foolishly crossed the boundaries of nature. Herzog implies in the film that “bear world” is a harsh world, one that we as humans can never be a part of due to our vast differences. Of course, any sane individual would never dream of invading a bear’s territory, because those of sound mind value their life. Some skeptics believed that Treadwell was actually dangerous, doing more harm than good by attempting to habituate bears; which only leads the bears to believe that all humans are safe, which of course, isn't the case. Treadwell’s harsher critics, ignorant of the facts, were only able to define him as a man breaking the norms of society, thus opting to file him under “liberal wackos”.

The moment we assume the abyss housing Treadwell’s kinks and quirks has been filled, we begin to spot several cracks leaking with more questionable evidence concerning the "gentle warrior's" motives. Alcoholism and drug-addiction riddled Treadwell’s life at an early age, and even halted his academic pursuits. He was also interested in celebrity as a youth; he auditioned for Love Connection and Cheers, the latter in which he auditioned for the "bartender role" and was second only to a Mr. Woody Harrelson. He even created an alter-ego – an Australian orphan – to further his career. As our suspicions mount, we discover that Treadwell was planning to edit his documented footage into a television show and catapult himself to stardom. So, with this information, Treadwell’s true intentions become a bit obscure, but if anything’s certain, the man had impenetrable resolve.

I mentioned earlier that Herzog’s opinionated narrative was a bit off-putting, but he makes several valid points. When Herzog comments on his inability to see anything other than hunger and indifference on these animals’ faces, rather than kinship and understanding, I had to submissively concur. Harmony is wishful thinking in this world, and Grizzly Man brings us to the haunting realization that "the common character of the universe is not harmony, but chaos."

8/10