The Social Network

Columbia Pictures

4.5 stars out of 5

There has been much ado in the media lately about whether the new film The Social Network tells the real story of Facebook, or a trumped up and dramatized version to make for an exciting film. The truth is that there is no “real” story; there is only the truth as the people involved chose to tell it. This is the dilemma screenwriter Aaron Sorkin faced when adapting the story for the screen.

 Sorkin’s decision was to tell the story from three different perspectives – those of Facebook founder Mark Zuckerberg, his original partner Eduardo Severin who later sued him, and the Winklevoss twins who claimed they actually invented Facebook first. This tactic for dealing with the material was brilliant, and it was the only way the story could accurately be told.

 The result is a biopic that is not about Facebook, but rather, chronicles the lives of a group of young men as they struggle to define themselves against the backdrop of the Harvard social scene and in the midst of the tech boom of the early 21st century. The film transcends its own subject matter to become a fantastically enjoyable tale told at as a fast a pace as any thriller.

 The film begins, suitably, with a discussion between main character Mark Zuckerberg (played by Jesse Eisenberg) and his current girlfriend Erica (played by Rooney Mara) as they discuss his desires to get into an elite social club. Actually, Zuckerberg does most of the talking, and Erica begins to feel more like a hostage than a girlfriend. And even as Zuckerberg proceeds to offend Erica so badly that she breaks up with him, he still has no idea what he said that was so wrong.

 This disconnected obliviousness on Zuckerberg’s part, and the decisions he makes as a result, serve as a catalyst for many of the events of the film. Eisenberg plays the role brilliantly, never imitating the real life Zuckerberg, but instead channeling the single-minded intensity he must have felt in the days he spent creating Facebook. And the amazing part is that Eisenberg also manages to make the character likable.

 I left the film seething with anger at the things Zuckerberg did to the people in his life, but also with an understanding of the fragile ego at the root of all those bad decisions. Zuckerberg, at least in the film’s estimation, is a guy who wanted a girl to love him – who wanted the world to accept him – and who, in the process of pursuing this love and acceptance, made some incredibly selfish decisions. The character is so complex, so multi-dimensional, that he rises above his bad decisions in my mind. And to convey all of that within 120 minutes of film is an impressive feat.

 This feat is accomplished, first and foremost, through the expert direction of David Fincher. Network moves at the pace of any first-rate thriller, and each scene contains so many little details that add to the overall filmic canvas. Zuckerberg is never just in front of a computer monitor. Instead, he is fidgeting in front of a computer monitor with his eyes fixed on the screen and a dart between his teeth to further accentuate his pinpoint focus.

 Sorkin’s writing, too, is top notch. He makes the big decisions about plot and pacing well, but each single word is chosen with the same care. The conversations sound real enough to be believable, and epic enough to make the movie interesting and important. It’s a tough balancing act, and Sorkin walks the high wire like the seasoned pro that he is.

 The supporting cast also shines. Andrew Garfield plays Severin with poise and just enough conviction, and Armie Hammer, who was previously best known for his role on Gossip Girl, tackles the daunting task of playing both of the Winklevoss twins, instilling in each a unique and charismatic personality. And Rooney Mara, although on screen for only a few scenes, instills equal parts charm and vulnerability into her depiction of Erica, allowing the audience to understand how someone as cold as Zuckerberg could be enthralled by her every move.

 The Social Network is a movie that moves the audience as much as it informs them, and there is never a dull moment onscreen. This is not the “real” story of Facebook; this is the human story, behind Facebook. That is why this film will still matter 30 years from now.