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Thinking differently: a review of the film “Steve jobs”

Screenwriter Aaron Sorkin, actor Michael Fassbender and Director Danny Boyle showed the transformation of the hero from your computer in person.

Hollywood bought the rights to the Isaacson biography that exactly two days after the untimely death of Steve jobs, what looked to some extent cynical, but also absolutely unavoidable, in the person of the founder of Apple studios got a perfect star of the biopic, and work immediately began leading minds of Hollywood — uberproducer Scott Rudin and writer Sorkin, who personally knew Steve jobs, and a few months earlier, received every possible award for the dramatization of the history of Zuckerberg and co.

After that, however, the process slowed Sorkin went on to write large smug monologues to Jeff Daniels for “the Newsroom”, about the direction in the door briefly looked familiar to Fincher, who demanded a lot of money and Christian Bale for the lead role, but left without getting either. In car casually slipped an unauthorized independent film from the Edge, North Korean hackers gave everyone an opportunity to read associated with the project Emely angry, and by that point, when real, proper ‘jobs’ have changed the Studio and got to shooting site one year ago, no one thought much about how much they after all that will gather an audience. The audience on this occasion it was his opinion, or he was corny anyway, and so a couple of months ago, the result of the joint efforts landed with a strange combination of positive criticism and outright failure fees.

Perhaps the latter would be higher if the viewer saw a standard biopic of class “from the cradle to the grave”, or something focused on recent history, but Sorkin armed “Oscar” pushed fresh for the genre concept: a film of three parts taking place almost in real time in front of the iconic Apple product launches in the 80s and 90s. while viewing it becomes apparent how logical the idea was for the author, who is never anything so unpopular as to make their characters violently to discuss immediate problems.

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And here is the story of the preparation for the presentation of the Macintosh becomes a nearly flawless 40-minute movie — the jobs, like the shark, which later appears in the frame, makes his way through cramped rooms and corridors and consistently comes in three conflicts, not wanting to acknowledge his daughter Lisa, refusing to mention the on stage II Apple employees and demanding that fresh computer said “Hello”. All this on the occasion is very similar to “the Birdman”, but Sorkin knows how to write dialogs and the actors, having the opportunity to shoot each one of his replicas, work with enthusiasm, and transmitted to the hall.

But it’s worth the first third to end and begin the second, as it turns out, that unusual approach with three acts proved to be a fatal mistake. Again half an hour before the presentation computer and in a frame one behind the other familiar people are back to once again warmly to argue with the jobs behind the scenes or on new or… about the same problems. This is a great example of diminishing returns in films — instead to deal with the consequences of the events of 1984, the film compresses them into a two-minute cuts and skips a few years ahead that is banal to show the viewer another 40-minute variation on what he just saw. And then another one.

The impression this creates is that if in front of us or three full-scale biopic, each of which is cut to 40 minutes, or three episodes of the TV series, taken, for example, from the first, fourth and eighth of the season and cemented together with the addition of clumsy flashbacks, throwbacks and self-repetition that the viewer didn’t lose the thread.

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Of course, all this is written, filmed and assembled so that you can compare notes. One of the most coarse and obvious, example. Jobs on stage, behind his screen, charged with the presentation of the iMac. The hall has a Wozniak and accuses a former friend of ingratitude. On the screen saver – shark. Wozniak finishes the monologue to present that jobs may not always be right. Think different – the screen comes on for a famous slogan the Apple. “Think differently”. The same demonstrative formalism in the decision to withdraw the first action on the film 16 mm and 35 mm, and the third “digital”: “technology” story concealed, thus, in the image itself, which celebrates how the rapidly changing media. And, of course, there are fundamental limitations: as with Apple devices, the film is Sorkin and Boyle is a closed system. We don’t need to see the jobs, working at the computer. None of the presentation we also will not show. Just because jobs is a master of presentation, it should stay behind the scenes.

Charged infinite Arkenstone the film hurtling forward like a locomotive, but look at it the farther away, the less interesting and happening little helps Boyle, who, unlike Fincher, perfectly adapted to your style of Sorkin, runs only for characters, and from time to time, in desperation, throws some pointless but ostentatious reception like the turning of the wall to the screen on which the viewer sees an illustration of the spoken word. The sound and fury that fills the frame, and regain strength only in the climax of act three when Seth Rogen in his next appearance finally pushes all the other actors before we say morality.

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All this despite the fact that a key supporting character according to the authors is not Woz, John sculley and not pursuing jobs on the heels of Joanna Hoffman, but it was Lisa that turns in the course of the narrative from a child to a teenager. That their relationship should be the main emotional thread, but Sorkin first is not paying them enough attention, and then being distracted by other conflicts, and then generates as compensation hideously sentimental finale, which prevailed before between the characters the tension abruptly replaced by smiles, applause and the rays of goodness, and the jobs figures from the arrogant, dismissive and not always pleasant becomes a great man idealized.

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