The Social Network
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| Like its central character, the film is genius |
It is almost the perfect film. A contemporary retelling, following the invention of the most significant communicating utility ever hacked out in code, a story in itself almost mythically greek in tragedy, delivered so well with such precision, it becomes the most unique cinematic envisioning, this side of the century.
There is no one facet, that makes this film standout. It is a great culmination of skill, from many contributors. Of course much credit must go to the Director, Fincher, if not for only bringing the Orchestra of talent together. Like a master conductor, he saw and drew out the core of Sorkin's dense script, enticed specific performances out of the cast, cut with pace perfect to a metronome, used special effects seamlessly and isolated a score so different yet so fitting in undertone to act as a perfect seal for the minted masterpiece.
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| The first scene, probably its most vital, took 99 takes. |
The films success, lies in its clever setup. Most of which is achieved in the much praised opening scene. Zuckerberg's character is featured here in a typical conversation with his girlfriend that soon goes spiraling downwards due to his relentless intellectual pride and insistence, revealing at the same time, his social ineptitude. Our knowledge of its premise, immediately sparks our curiousity towards the question of 'how did this guy, in all his empathetic blindness, invent a social communicating game-changer like facebook?' As he wanders off from this disaster to his campus site dorm room, the scores modest brilliance come through, in a soft lonely theme that sets up a character who means well, but is destined for an inevitable, self inflicted, demise. The buzz of rusty strings in its background, and deep electronic chimes, also alludes to the tension and finality that awaits. At this point his character is completely oblivious, but we in our gut, are not. The next important pull is the introduction of his friend Eduardo (co-founder facebook) and the closeness of their relationship. This intrigue is gluing, as we again know through premise, of its eventual capitulation.
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| The equation is simple. Social Network = Best Film |
From there the film has its audience and maintains its hold, with no escape. There are timely montages with cut scenes in and out of courtroom depositions (used cleverly to establish, and throw us in out of pivotal moments in the film), all leading to its dramatic and tragic finale. One could be eternal in its highlighting of praise but one won't as its mostly evident, and for being so, will definitely pick up Oscars for Best Film, Best Director, Best Editing, Best Screenplay based on previous materials and Best Original Score. I would pose its deserves for Best Cinematography too, but the Coen brothers will not be sent away empty handed and True Grit seems most likely to take that. Colin Firth and Natalie Portman are other absolutes. I'm also pipping Hailee Steinfeld (True Grit) for a surprise Supporting Actress nod and Christian Bale to take his for The Fighter. Best documentary should go to Charles Ferguson for Inside Job, but Banksy's cult hit Exit through the Gift Shop, might take that away. Full list of my predictions are below. Don't really care if I'm right or wrong (no doubt I will parade if so) but I do hope The Social Network is recognised in cinema's day of days.
BEST FEATURE - The Social Network
BEST DIRECTOR - David Fincher (The Social Network)
BEST ACTOR - Colin Firth (The King's Speech)
BEST ACTRESS - Natalie Portman (Black Swan)
BEST CINEMATOGRAPHY - True Grit
BEST SCREENPLAY (adapted) - The Social Network
BEST SCREENPLAY (original) - The King's Speech
SUPPORTING ACTOR - Christian Bale (The Fighter)
SUPPORTING ACTRESS - Hailee Steinfeld (True Grit)
BEST SCORE - The Social Network
BEST EDITING - The Social Network
BEST DOCUMENTARY - Inside Job
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