The very definition of a modern masterpiece

Rating: 10/10 (1 October 2010)

What I think is going to make The Social Network such a sensation is that it can be experienced in a number of different ways. On one hand, it's an extremely intriguing look at a fascinating 21st century event that people don't really know much about, moving at a pace that matches the wits of the film's brilliant protagonists. On another level, it's a movie that absolutely sums up the way the world has changed during the Digital Age; you don't have to be likable, persuasive, or forceful (like the Winklevoss twins who Zuckerberg duped) to succeed in an era where nerdy little college students can become billionaires from their computers.
If you aren't particularly interested in the founding of Facebook or the film's representation of the Digital Age, you can still view it in a totally different context. It's a movie about youth in the 21st century, people who think they're "connected" via Facebook and texting but really live in a state of disconnect. The film deals with a wide variety of main characters - most of whom are college-aged - and each of these characters is in some way "deformed" Zuckerberg cannot relate to others, Parker is morally corrupt, Eduardo cannot properly run his business, Eduardo's girlfriend is literally insane, and the Winklevi are almost inhumanly strong creatures yet somehow can't handle the scrawny kid who stole their idea. Viewed as nothing more than a study on America's current generation (which isn't nearly the focus of the film), The Social Network is already an incredible accomplishment.
And while each of these pieces plays a significant role in shaping this film into something great, what makes it for me an extraordinary film - a masterpiece, even - is a radically different aspect of the movie. Through the pen of Aaron Sorkin, the eye of David Fincher, and the performance of Jesse Eisenberg, the character of Mark Zuckerberg stands as one of the most tragic figures of loneliness in the history of film. Every single frame of the movie complements this notion. In the opening scene, Mark sits at a distance from his date, with her final words being "It's because you're an as.shole" before storming off. Mark runs home alone and essentially crafts Facebook out of his anger and seclusion; while other Harvard geniuses party, he works at his laptop. As the film progresses, the camera almost always catches him standing alone, sitting alone, away and apart from other people (often people with whom he is interacting). He can't even feel close to his friends. His hands are often contained within his sweater pockets, burying him within himself. Sorkin's harsh words and the blistering pace at which Eisenberg recites them frame him into somebody by whom we are fascinated but to whom we could never truly relate. Despite all that money and success, he isn't somebody we wish we were.
This portrait of desolation and heartache (which is often powerful enough to move one to tears), paired with an entertaining depiction of Facebook's creation (which is often hilarious enough to move one to tears), as well as an incredible ensemble cast, gorgeous cinematography, pitch-perfect musical work by Trent Reznor, impeccable editing, and a poignant ending that brings the themes of the story full circle, The Social Network is a film that makes conversations cool again (something that hasn't been true since Pulp Fiction ), a film that defines our generation and times in a way that a film hasn't done since possibly The Graduate, a film that can be enjoyed by virtually anybody above the age of 13, a film that I know I will watch a few more times in theaters, and an experience I (and soon to be you) won't forget for quite some time. In fact, it will probably resonate with us longer than will Facebook itself.