Unmissable cinema, best enjoyed through repeated viewings

Rating: 9/10 (10 November 2010)

It takes two viewings to appreciate the subtly of David Fincher's work in The Social Network. Initially, the film may leave audiences cold because of how repelling Zuckerberg's arrogance and his treatment of other people becomes. A repeated viewing reveals the sophistication of Aaron Sorkin's screenplay, which was adapted from Ben Mezrich's book "The Accidental Billionaires". It raises the timeless moral question of whether one can steal an idea that is not fully tangible. The wittiness of the dialogue and the depth of the characterisation feel more apparent too. Zuckerberg's arrogance is not simply deplorable but painfully funny and ironic when we see how it leads to the demise of his only friendship. This is the heart of the film, the disintegration of his relationship with Eduardo. On a second viewing Zuckerberg's jealously through slight gazes, once easily missed, become more visible. This lends the film a tragic quality because we realise that Zuckerberg has foolishly sacrificed his real relations for acceptance that might be only temporary. Early on we see the juxtaposition between him insulting Erica online and then the inside of a Harvard club that he blindly believes will provide him with a better life. In this moment of ugliness drugs, alcohol and women are disposed of as quickly as they can be provided. There is a thoroughly unapologetic view of Harvard's social scene in this film. Fincher film's this sequence and many others with elegance though. His films are usually stylised by hyper kinetic visuals, he has a background in music videos after all, but here he returns to a more classical style of filmmaking that is beautiful in its simplicity.
The young ensemble cast here are all splendid and three of the main actors are near certainties for Oscar nominations. Jesse Eisenberg was underrated in The Squid and the Whale but as Zuckerberg he's unforgettable. To exude Zuckerberg's coldness, he deftly drops hurtful comments in a nonchalant manner, reflecting his character's utter lack of compassion. His delivery is faultless. We really do start to believe that Zuckerberg lives in his own virtual world. There is also a real nastiness that comes through the performance too, spiteful anger, particularly in dealing with the twins, again suggesting ideas of jealousy and the class divisions of Harvard too. Andrew Garfield leaves a lasting impression as the increasingly distressed Edwardo too. His character brings some sensibility to the madness. He's more skeptical and thoughtful than Zuckberg and regularly acts like his conscience, trying to talk sense into him. The climax of their friendship is a particular stirring finale. There is no shortage of charisma in Justin Timberlake's fine work either. He's wonderfully convincing as the shonky Sean Parker, so smooth and confident that there is little doubt about why Zuckerberg takes to him. The way that he is framed with a different woman in each scene reinforces the notion of many of these characters being after 'the next big thing', trusting only their impulses.
The Social Network is perhaps the most accomplished film of David Fincher's career. In just two hours it inspires timeless ideas relating to originality, conformity and because of our reliance on technology, the constant search for renewal in our lives. There is also a distinct human quality here too though and the film is rich in its visualisation of the breakdown of a friendship. A handful of class performances deliver their sometimes cruel but often funny dialogue with aplomb. Even for those who are not the least bit interested in the webpage Facebook this is unmissable cinema, best enjoyed through repeated viewings.