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Boyle, so often the energizer bunny of his snap-crackle-pop-culture movies, keeps the action flowing, walking and talking but without undue gimmicks. And yet Steve Jobs absolutely works as a film in its own right. Paradoxically, it’s a much fairer film than The Social Network, whose blithe erasure of Mark Zuckerberg’s ongoing relationship with his girlfriend (and now wife) allowed Sorkin to push his cute, but inherently made-up, theory about a jilted creep substituting virtual connection for human intimacy. You want documentary realism? Byte me, say the filmmakers. Structurally, Steve Jobs adopts a blatantly theatrical (and this text is a stage play, and probably a musical, waiting to happen) angle of “emotional truths” rather than actuality. Still, it’s this gradual acceptance of, and softening towards, Lisa that marks its protagonist’s character arc here (there’s no reference to his later lasting marriage and three children) and this overly emphatic, cathartic ending is the film’s only real glitch. When faced with a claim that Lisa is his daughter, Jobs not only denies paternity but sets out to disprove it (and defame his ex) with an algorithm that suggests 28% of American men could be responsible. Every scene is effectively a standoff between Jobs and an aggrieved colleague or family member, be it Apple co-founder Steve Wozniak (Seth Rogen), desperately appealing for recognition for his team browbeaten programmer Andy Hertzfeld (Michael Stuhlbarg), often at the sharp end of Jobs’s perfectionist demands or impoverished ex-girlfriend Chrisann (Katherine Waterston) and her young daugher Lisa.
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This is partly because Sorkin and Boyle keep Jobs in check, and Fassbender on his toes, with a crack ensemble cast.
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Yet he also reveals the wounded fragility that underpins the (micro)chip on his shoulder and need for a computer, even a lifestyle, that’s a “closed system.” Most impressively of all, it’s an awards-bait performance that’s largely free from grandstanding, some achievement when delivering one-liners as floridly catchy as Sorkin’s. Fassbender rides the distinctive rhythms and textures of Sorkin’s trademark spring-loaded verbal sparring like a pro, offering us a vanity-free look at a man of relentless focus, drive and disregard for any entity, breathing or binary coded, outside his own creation. But in every other aspect, this is a Kutcher upgrade. Famously not first choice for the role (courtesy of the Sony email hacks, which had Christian Bale and Leonardo DiCaprio as favoured picks), Fassbender, unlike previous Jobs incarnation Ashton Kutcher, looks nothing like his real-life counterpart.
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And keeping the action backstage, where Jobs’s personal and professional life threatens to shut down, is a bold gambit, especially for a man who micro-managed the public presentation of himself and his work.Īs Jobs, Michael Fassbender is onscreen for virtually every second of the film. So, instead of a standard biopic, we get three distinct time frames (with occasional flashbacks interspersed), each a heightened, concertinaed version of three product launches: 1984’s Macintosh personal computing revolution, 1988’s NeXT costly gamble and 1998’s iMac redemption. From the very start, the film’s approach is entirely in keeping with Jobs’s own sometime corporate mantra and ethos: think different.
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Yet, somewhat perversely, Sorkin opts to end his movie before the first iMac is announced to the world, and avoids any Pixar involvement entirely.
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As Apple CEO, his various iProducts – Mac, Pod, Phone, etc – were game-changing devices and his role in Pixar’s CG animation success story was key. Steve Jobs, who died in October 2011, was arguably a more iconic public figure than Zuckerberg. He’s back again, this time paired with Trainspotting and Slumdog Millionaire filmmaker Danny Boyle, to dramatize a strikingly similar anti-social networker another big-brained, giant ego, control freak computer wiz kid whose inventions have, for better or worse, helped redefine modern human interaction. The last time Aaron Sorkin, America’s patron scribe of motor-mouthed smartasses, tackled a flawed techno-visionary on the big screen, he gave us his version of Facebook’s Mark Zuckerberg and, together with director David Fincher, one of the defining films of the 21st century.