The portrayal of Facebook co-founder and CEO Mark Zuckerberg (Jesse Eisenberg) in the Aaron Sorkin–David Fincher production of The Social Network, is either that of a loser or someone cooler than everyone around him gives him credit for. I still don’t know which side I’m on. Let the debate begin.
The film begins with an unromantic date between Mark and ‘Erica Albright’ (Rooney Mara), where Mark prattles on about the final clubs, which ‘lead to a better life.’ Their words are speedy my now. Erica starting a sentence with ‘From a woman’s perspective,’ a phrase that from my experience a woman might only say when she gets cornered in a conversation by a group with at least two men in it. The date ends badly since Erica has no sense of humour about going to BU, but in fairness, he didn’t talk about her alma mater with a light joke neither.
Mark then goes to his dorm room, goes on livejournal and implies something about Erica’s last name being Anglicized from ‘Albrecht,’ an implication that short-sighted people resort to in hurting times. That won’t be the last time he makes a ‘Hitler youth‘ implication. God knows I would have done worse. Eisenberg narrates Zuckerberg’s lj with dignity, which is difficult since we’re talking about lj here. He also creates Facemash.com. As well as being proud of having better productivity while drunk and forgetting that drinking Beck’s while making a sexist website, like most things you do drunk, have heavy consequences. He gets called out by the ad board, gives them a telling off that doesn’t make the board sympathize with him in any way and gets an academic probation.
What ensues is the body of the film – two separate lawsuits against Mark from the Winklevi (Arnie Hammer and Josh Pence) and from his co-founder and former CFO, Eduardo Saverin (Andrew Garfield). The three wear suits, are mannered, respectful. Mark, sporting hoodies or uncomfortable dress shirts, pays no deference to the legal process and tries to interrupt the testimonies with snide comments. However, the binaries between the plaintiffs and Mark are hazier than that.
The first scene with Erica shows Mark’s clear stance on the final clubs, but he gets less vocal about them as the time line of the film progresses. He does voice his resentment to the Winklevi by rebutting that he was only allowed in the Porcellian house’s bike room, but that speaks more of the twins’ lack of hospitality that it does his wish for inclusion.
Mark drags both the Winklevi Eduardo down, both having to expose their insecurities of exclusion and daddy issues and thinking he’s going through the same. He tells Eduardo that ‘he wasn’t gonna get in anyway,’ and from personal experience, nerds can be hurtful towards normal people. His remarks get a stranger reaction, as Eduardo starts looking for Mark’s approval, routinely updating him about his final club, the Phoenix. When their partnership really sours, Eduardo freezes the $19000 account to get Mark’s attention. Again, Mark has said zip to confirm that his reasons for betraying the three boys is partly because of his exclusion and their inclusion. What happened? Does having a billion dollars make Mark indifferent to these clubs? Did he grow up? Or are the three still right about him, feeling the same resentment that they’ve carried for years?
The film also makes Mark resort to proud begging, never having neither to plead nor apologize to anyone he’s ever hurt. In trying to appease Eduardo after the account freezing business, Mark tells him that he would love for Eduardo to come down to Palo Alto and resume his work as the website’s CFO. This proud begging specifically applies to his treatment of Erica after his harsh words to her in a bar. He never has the chance to apologize about her or to any of his new enemies, really. Neither does he, thankfully, have an Erica shrine to moon over – he has her Facebook page for that. Instead he asks to get food with her, a private conversation, a friend request. Usually for the latter, when bad break-ups are involved, a friend request follows a message for the other person. Yes, he incessantly clicks refresh instead checking it later like the rest of us cool kids might do. I might sound like I’m over-reading but justifying what others see as an obsession, but it’s as if she has to add him first before she gets to hear what he has to say. Or his friend request is a way to meet her face to face, hopefully. It’s both childish and fair at the same time.
The Social Network isn’t the movie of a generation. Thankfully the movie wasn’t like two Judge Mathis episodes. And sure, the characters here are the most layered ones I’ve seen this year. Its rendition of some ideas, like how to introduce an idea to the public, are greatly done. Yet the film limits itself. It also allows no room for believable emotional eruptions nor awakenings and comes off as cold and distant, and this is from a guy who likes ‘subtle.’ The pacing is off, like a symphony that darts you with violins, only letting us rest when the rain comes. Sorkin needs to slow down once in a while. The women, although some have argued as a stand-in for the audience, have the best lines but also the least dimensions. It doesn’t have the same visual punch as a classic film it’s been compared to, Citizen Kane. Despite of those things, we have Mark, a boy who covets, a performance and character that many more will write about.
- Mark Zuckerberg gets portrayed as a joyless dweeb in The Social Network. (slate.com)
- A story that’s hard not to like (washingtonpost.com)
Un Chien Andalou (1927) – Starting in one place and ending in another.
Looney Tunes (1930-1969) – Pointed out by Brad Brevet. Fight captions, as well as Scott leaving through the window.
A Star is Born ’37 – Lights on a cityscape far-ish away ?
The Lady Eve (1941) – Barbara Stanwyck reveals her many – fictional – exes to her new husband on public transportation. In the original graphic novel, Ramona does this on the Yonge-Finch subway train. Ha!
Singin’ in the Rain (1952) – Goofball bursts through painted backdrop. Also, love triangle between histrionic and ‘intellectual.’
Vertigo (1958) – John’s Ferren’s thin white whirlpool. [ETA: Also, zoom in dolly out when Scott and Lucas Lee run to each other and fight.]
Pillow Talk (1959) – Split screen, especially in phone conversations.
Eraserhead (1977) – The white screen.
Hausu (1977) – Asian schoolgirls, one of whom is named Kung Fu, and thus, kicks ass.
Star Wars (1977) – I can’t believe it took me days to realize the swords. Fucking duh!
The Last Waltz (1978) – Sex Bob Omb plays empty room. Also, Young Neil looks like a young Neil Young.
[ETA] Hair (1979) Medium (?) close-up of Knives Chau’s (Ellen Wong) image panning from right to left just like the Asian girl singing ‘Walking in Space.’
Phantom of the Paradise (1980) – Evil rock band contract deals. Final fight scene in rock venue where, SPOILER, both men technically die.
Ferris Bueller’s Day Off (1989) – Scott apparently modeled between Ferris and the other guy.
“Seinfeld” (1990) – I didn’t know Jerry was gay. Not that there’s anything wrong with that.
Poison (1991) – A gay guy and a straight in sleeping in the same bed?
Riki-Oh (1991) – Hero fights hunks first before fighting skinny Asian dudes. What the fuck is up with that?
Dracula ’92 – Enemy evaporates at will?
The Big Lebowski (1998) Dream sequence portraying altitude and doors and love.
Rushmore (1998) – Dweeb in a love triangle between white girl and Asian.
American Beauty (1999) – But instead of roses, there’s a shower of hearts.
Fight Club (1999) – Protagonist fights many enemies and eventually has a fight with SPOILER himself.
High Fidelity (2000) – Pretentious CD store with rude customer service – the Sonic Boom people are nice, by the way – and movie about exes and the one true love.
Romeo Must Die (2000) – Guy uses girl to fight other girl, or the other way around.
ETA: Harry Potter (film series) (2001-2011) – Scott’s sister says ‘It’s been over a year since you got dumped by “she who will not be named.”‘
Gerry (2002) – Hazy desert scene. Dead white boy.
Phone Booth (2002) – By the way, there is no phone booth like that in Bloor and Bathurst.
“Arrested Development” (2003) – Apparently Michael Cera and the lesbian ex dated in a string of episodes.
Kill Bill Vol. 1 (2003) – Animation interludes depicting violent childhood. Also, fight between velvety voiced white girl and shout-y Asian. [ETA: Scott fighting Lucas Lee’s stunt doubles remind me of the Crazy 88.]
Pirates of the Caribbean: The Curse of the Black Pearl (2003) – Pirates are in this year!
Eternal Sunshine of the Spotless Mind (2004) – Dweeb hooks up with girl who changes her hair colour a lot.
Shaun of the Dead (2004) – MegaScott kinda looks like Zombie Ed.
The Fantastic Four (2005) – Chris Evans. Good actor.
The Last Winter (2006) – CGI air animals? We’ve probably seen this before.
Superman (2006) – The unrecognizable Brandon Routh.
[ETA] Juno (2007) – Michael Cera probably loses his movie virginity for the first time here.
Let the Right One In (2008) – The snow and swings. Also, ovaries > balls.
The Fantastic Mr. Fox (2009) – Jason Schwartzman kinda plays a superhero ?
Up in the Air (2009) – Anna Kendrick reuses her archetypal role as the younger but sane one.
Chloe (2010) – Movie about Toronto, awesome architecture, creepy phone calls.
Armond White is correct, okay? There are tons of movie references. If I wanna over-read these references, most of the recognizable are from movies made in the past decade, which means that these movies are worth referring to. Despite my pessimism, new movies aren’t so bad after all.
Yes, it underperformed at the box office, probably because of apprehensions, as Peter Martin points out, that the references do target the ‘video game generation.’ The first reference I pointed out is from 1927. I don’t know if that helps ‘people over 30’ to be herded into the theatres, but if I could see a relationship to pop culture before video games, hopefully someone else will.
- Michael Cera tries 2 revive his career by making a viral video with Tony Danza (hipsterrunoff.com)
Yes, half of the cast of Mad Men was given the red stamp last Sunday, but I wanna talk about the half-rejected. Like the brassiere ad campaign that Pete Campbell (Vincent Karthesier) has to handle, which is contentious specifically because the print makes the model look Puerto Rican. As Pete says ‘I don’t care if she looks like a Puerto Rican. Puerto Rican girls buy brassieres.’
And Sharon, the black model Peggy Olson (Elisabeth Moss) meets in the youthquake. The girl’s parents don’t know. I’m really crossing my fingers that Peggy gets the ovaries to ask the girl to model for one of the products that SCDP work for. Don’s feeling risky this season, maybe he’ll bite too. Also double rejected in the room is Joyce, brushed aside both by Peggy and Life Magazine.
Also, the secretaries of SCDP took their powder room problems to this focus group. What went wrong here? Smaller sample size? Also reminding everyone that Peggy has been a part of focus groups like this too. When she was on the secretaries’ side of the mirror, she managed to wow Freddy. I guess girls like Peggy only come a generation. Allison’s problem is not her problem indeed.
White boys get rejected too. Ken Cosgrove (Aaron Stanton), who, despite of his great client list, rejected in SCDP ‘s inception. It’s funny seeing and listening to him being the abrasive one, since that’s pretty much Pete in 1963. Ken’s over it though, telling Pete about the ‘the worst…retards in the same room’ of McCann Erickson. In between those superlatives, he tells Pete about his mother being a nurse, Ken representing the other half of SCDP who isn’t born with a silver spoon.
Moral lessons suck, but I like Joyce, Sharon and Ken’s getting-there survival stories, becoming the unsung heroes of this episode.
- MM@M: Jean “Peggy” Seberg (filmexperience.blogspot.com)
Adapting the late award-winning CBS producer George Crile’s book, Aaron Sorkin wrote Charlie Wilson’s War and probably had a play in mind, since most of the scenes consist of place, characters and their lines electrically ricochet. There’s little visual manipulation or tricks from director Mike Nichols. He’s the best director for these kind of ‘play’ movies, winning for Tony’s and all. We’ll jump to a scene where our hero, Congressman Charlie Wilson (Tom Hanks) and American spy Gust Avrikotos (Philip Seymour Hoffman) pay a visit to Zvi, an Israeli arms dealer.
Zvi: Afghanistan and Pakistan don’t recognize our right to exist, we just got done fighting a war against Egypt, and everyone who has ever tried to kill me or my family has been trained in Saudi Arabia!
Gust: That’s not true, Zvi. Some of them were trained by us.
A few minutes later, Charlie reveals a pending coke charge against him, And Zvi replies with ‘I love you Charlie, but you are a grown man who still hasn’t learned to look both ways before crossing the facking street!’
In many scenes of the movie, Hanks plays the straight guy and takes the back seat for Hoffman and Julia Roberts’ Joanne Herring. It’s wonderful to see Hanks as a part of an all-cast ensemble, but then again, when Julia Roberts is in the room, everyone else is a bag lady.
Speaking of her, Julia Roberts is both overrated and underrated. She dominated the box office in the 90’s yet people wanted to throw something at her when she won an Oscar against Ellen Burstyn. Charlie Wilson’s War is her second movie with Mike Nichols, the first being a happy woman with a dubious past. She’s also a mainstay in Steven Soderbergh’s movies as well as two early movies by disgraced director Joel Schumacher. Her hook up with directors isn’t as edgy as if she worked with Michael Haneke or Lars von Trier, but Nichols and Soderbergh give her great work she deserves.
Charlie Wilson’s War is a satire of Washignton’s lack of foresight, the Orwellian ‘Eurasia and Eastasia’ insanity that America has adopted, like a superpower that by its own fault has enemies and war zones change by the decade. One can see US imperialism, as shown in the film, as a parasite doing its mission in one country and leaving it devastated after the mission is accomplished.
But it’s not just the Americans who are at fault here. A young Afghan tells Charlie, ‘Don’t send us rice and bandages. Give us guns.’
Charlie Wilson’s War is gonna be on AMC again tonight and tomorrow afternoon. It’s a good laugh, or six.
Waitress shows pie maker Jenna’s (Keri Russell) unhappy, unique life and family through filters of both comedy and tragedy. I understand that the decision to portray such a life might repel some viewers, but both can coexist is life and it makes sense for both to harmoniously coexist within the same film. The kooky cast of characters entering and exiting Jenna’s hospital room, no matter how set-up it is, has the same emotional gravity as the scene when Jenna’s husband, Earl (Jeremy Sisto), hits her in his car, discovering her plan to run away from him.
The little sociologist within me has seen within this movie the trials of a woman in her situation. The long times in rural areas to wait for a bus to either get to or from work – in so-obvious studio set pieces, nonetheless – or to get away from an abusive husband. Possibilities that a double-income partnership may still be in danger of the man controlling the money and the woman having to hide money all over the house. Resenting her unborn child. Justifications in being disloyal in loveless marriages and having affairs clumsy guys like Dr. Pomatter (Nathan Fillion). Too real for some people who will be watching this movie.
The film also shows the beginning of the cycle through Jenna’s coworker, Dawn (Adrienne Shelley) and the latter’s persistent admirer, Ogie. He courts her through phone calls and visits to the pie place where they work, and declares that he won’t stop until she says yes. I don’t know if I’m the only one who did a face-palm when she relents. Ogie’s presented in the movie as a gentle soul with his terrible poetry, and pardon the meanness, but he looks more like a beggar than a chooser, so we know he’ll be forever grateful. However, Jenna also talks about how Earl has changed, which makes Dawn and Ogie’s early stages of love seem more suspect.
Don’t, however, forget the comedy. This movie depicts people – as a T.S. Eliot expert on my iPod has said – who either don’t write or can’t write or won’t write. They deal with their neurotic doctors and business owners their own way. Not every abused wife lives like a LifeTime TV movie nor centres her life on her husband. Women like her may have other people in their lives. Adrienne Shelley, who also wrote and directed the film, must have dug into a nice place in conjuring these characters. Sadly, we’ll never know where.
My TA John was talking about subtext in film and talked about this movie in how Julio (Gael Garcia Bernal) and Tenoch (Diego Luna) are using Luisa’s (Maribel Verdu) sexually to hide their feelings for each other. Annoyingly I interject ‘But isn’t it also about the history and sociology of Mexico undergoing generational and political change?’ He, like a saint, replies something in the lines of ‘Yes, as well as about two dudes who secretly wanna fuck each other.’
The second time around, I appreciated how much Luisa rubs that subtext in the guys’ faces.
My mom walked into the scene when Tenoch was having sex with Luisa. And apparently my aunt was ‘shocked,’ even though the latter quipped that my viewing of it was ‘educational.’ That went well.
The first time I full watched this movie was thankfully by the time I was in college, since nudity would be close to nothing to me and just cared about the bleak Mexican landscapes. And this movie also taught me what ‘pendejo’ means.
The second time around might feel like grasping at straws, but when you’re watching a movie the second time do you just look at things like the characters’ tastes in interior design, books, music, etc.? This is a movie about teenage boys, a social demographic that barely if ever cleans their house or are tacky enough to put lots of stickers in their cars. Like the anarchy sticker on the right hind (?) windows, showing how Julio shares his car with his college activist sister. That we’re always looking out through the right set of windows to be reminded of that sticker once in a while. Or, most likely unrelated to teenage aesthetics, that I’m kinda angry that I can’t tell who the girl is in that Vogue Eyewear ad campaign at the background in the end of the movies. Or that Luisa hasn’t touched that Yeats book that her pretentious, cheating ass fiance owns. Or that there’s a hotel in rural Mexico with nice beds and a shitty pool. Or, as Lars pointed out the Jules et Jim and Harold and Maude poster and in the room where Tenoch is fucking either Ana or Ceci. Both posters also foreshadow the film’s plot.
Also, where is Maribel Verdu’s ticket to Hollywood? Yes, she has Pan’s Labyrinth, but where’s her Bad Education or Milk or Vicky Cristina Barcelona? Verdu can tell Debbie Downer stories without sounding like Debbie Downer herself.
Speaking of Debbie Downer, I’m trying to fully articulate what I think about Luisa. She’s receptive of the adolescent goofiness of Tweedele-boi and Tweedle-bum, cries in private, receptive again – no pun intended, then she blows up on them, then receptive again. It’s difficult to believe that she easily adapted a Hanna Schmitz-like role towards these boys and/or that she only came out with them as a now-or-never thing. Tenoch lightly accuses Julio of being a leech, but she partakes in the leechiness too. Sexual favours, her escape towards a paradise death – dying in Heaven’s Mouth, so to speak. And that we only see her cry once without having a barrier between her and the camera shows how we’re seeing this woman from a man’s gaze – we pity her but we will never understand her, and it’s a bit frustrating but thankfully not distracting from the film’s merits.
Bechdel time! Luisa asks tour guide Chuy’s wife Mabel for travel tips for where the other beaches are, and she also asks about the beautiful native names of the beaches and towns. Pass!
And not the biggest fan of the shakycam.
Lastly, I also wonder whether Julio and Tenoch would ever friend each other on Facebook.