No one’s a genius until Aaron Sorkin says so.
Steve Jobs (Michael Fassbender) is one of the most inspirational human specimens to have ever graced this fine planet. For one, he paved the way we view and live according to technology. At the same time, though, he was incredibly difficult to work with and often times, found himself making more enemies, than friends. Not only did this carry into his work life, but his personal one, as well. And through three important moments in Jobs’ life, we see both of these sides play out and sometimes, clash heads. Though each story takes place in a different year (’84, ’88, and ’98, respectively) each one shares a similarity in that they all take place at conventions and feature Jobs getting prepped-up and ready to premier a recently-made piece of technology of his. While this is already a stressful enough time, now, he’s got everybody coming up to him, bothering him, and constantly making him lose sight of the bigger-picture that he has to work with. Co-founder of Apple, Steve Wozniak (Seth Rogen), wants Jobs to give more credit to what he and his team did on certain items; a former fling of his (Katherine Waterston) has his kid that he refuses to say is actually his own flesh and blood; CEO of Apple, John Sculley (Jeff Daniels), wants to always remind Jobs of what’s really at risk here; and always there for him, almost no matter what, is his dedicated, passionate assistant, Joanna Hoffman (Kate Winslet), who always stands by his side, even though we wouldn’t ever blame her if she did.
So yeah, it’s clear that Steve Jobs is a bit contrived. Each one of these major moments in Jobs’ life, all of a sudden, now feature each and every person from his past coming into the fray, making their presences known, and giving us a certain shadings to Jobs that we may have not gotten had it just been him, all alone, in a room. While I assume that Aaron Sorkin would make that movie still interesting, it’s nice to see that, despite the obvious-nature of the structure of the plot, that he’s able to make it all go away once we realize that yes, this is an Aaron Sorkin-scripted flick. Meaning, everybody talks so electric and stage-y, that no one in the real world would ever speak the same.
Then again, that’s why most of us head out to see Sorkin pieces, and that’s why Steve Jobs, is amazing (the movie, I mean, although the person himself wasn’t too shabby, either).
Though it hits the two-hour mark and is filled with nothing but walking, talking, and narrowly-shot hallways, Steve Jobs never, ever gets boring, nor does it feel overlong. In fact, if there was a complaint I had about this movie, was that it wasn’t long enough; three acts in Steve Jobs’ life is fine and all, but had Sorkin taken it one step further and decided to focus in on a snapshot from way later on in Jobs’ life, it would have most likely been welcomed. After all, Sorkin is known for making even the strangest of conversations and topics seem, somewhat interesting and relateable; even if you aren’t a huge a techno-geek, Sorkin still puts you right by the side of Jobs so intimately, that everything he says, does, or gets pissed-off about (which is a lot), you feel it. It doesn’t matter if you know exactly how many bytes or megabytes have to go into his presentation – all that matters is that you can understand what somebody says when they state, “I hate you”.
But once again, because this is Sorkin, we get many variations on that well-known and understood term, which makes the movie all the more exciting. There’s a exciting feel in the air whenever people start talking in Steve Jobs and it’s one that hardly ever leaves, even in some of the more downbeat moments. Like, for instance, we’ll get one heartfelt scene of Jobs connecting with his she’s-not-actually-mine daughter, that’ll make you see him for the human that he is, and then, in the next scene, you’ll see him get into a verbal-sparring bout in public with Woz, where he practically tells him that “he’s nothing”, that’ll make you see him for the monster he was mostly alleged to be. Sorkin himself is perfect at this type of blending between different tones and/or feelings, and it’s no different with Steve Jobs.
Sure, there’s plenty to laugh at in a snarky way, but still, there’s a lot to be disturbed and saddened by, which is exactly the point of Sorkin’s script.
While Sorkin is, as usual, showing off his skills for writing snappy, inexplicably silly phrases, he is, at the same time, still building up this Steve Jobs character that we often think we know, but this movie actually shows you, warts and all. There’s no real hiding behind the fact that this Steve Jobs, as presented in the movie, was a stubborn, sometimes maniacal son-of-a-bitch; not to just his enemies, but to those who actually cared for and loved him. Sorkin knows this, understands this, and not until the very, very end, try to make amends for it; he sees Jobs for all that he was, and doesn’t hold back in reminding the audience that he could definitely be a terrible person. Did that mean he didn’t, on the rare occasion, commit a nice act for a fellow human being?
No, of course not!
He made iPods for gosh sakes!
But still, all kidding aside, Sorkin’s script is just about perfect. Though the sappiness does begin to take over quite a bit towards the end, the script, as it is, takes over the whole movie and reminds us why most of us out there still stand by Sorkin, even when it seems like he loves to hear himself speak and yammer-on about lord knows what. Steve Jobs, because of Sorkin’s help, is more than just a biopic, it’s more of a character-study and it shows that sometimes, all you need is really interesting characters, mixed with great dialogue, to make a plan, simple scene, more riveting than anything ever presented in a Michael Boy movie.
Of course, you’re actors need to be solid players, too, but that’s a given. And with Steve Jobs, the cast is absolutely outstanding. Michael Fassbender, despite not being the first choice for this iconic role, still does a terrific job as our titular-neurotic, blending both sides of this man’s personality together so well, that you hardly ever notice that there’s a change in his psyche. After awhile, we just sort of come to know, accept and understand that whenever Steve Jobs gets pissed-off, he’s going to snap on whoever is nearest to him, and while it can be hard-to-watch and listen to, the mixture of Sorkin’s winning-dialogue, with Fassbender’s commanding presence, gels so sweetly, that it’s like these two were made for one another. Though we do get a chance to see plenty of the nice attributes surrounding Jobs’ persona, it’s the nastier ones that keep everything riveting, and it’s great to see Fassbender sink his teeth into each and every second of it, loving everything that he’s doing.
Also, speaking of someone whose acting-style blends quite well with Sorkin’s writing, is Jeff Daniels. This may come as absolutely no surprise to anyone who has ever seen an episode or two of the Newsroom, but still, it deserves to be said that with Jeff Daniels, Sorkin may have found his go-to guy whenever he’s counting on a reliable source to deliver this dialogue and not make it seem hammy, or stitled. Which is why it’s all the more surprising to see Seth Rogen, in a very dramatic role, work well with the dialogue as well. Not that I ever doubted Rogen’s abilities as an actor, but still, it’s awesome to see him not just get a chance to stretch out his serious-acting wings, but to do so that works and doesn’t seem odd.
But no matter how much male-posturing and dick-measuring goes on here, it always comes down to the women.
In Steve Jobs, there’s two women that deserve to be mentioned, because they’re the ones who make these men get everything done, even if they don’t intentionally mean to – which, for a Sorkin piece, is saying something, because he’s not always revered for the nice treatment of his female characters. Katherine Waterston, despite being given the difficult role of playing an unlikable woman that constantly bothers Jobs, as well as the audience, does a fantastic job in showing the utter sadness and despair a woman in her situation may feel like. While she doesn’t always go about getting her way in the smartest manner possible, she’s still sympathetic enough to where you’d understand why she’s so miserable and needy.
Kate Winslet, on other hand, has a different character to work with as Joanna Hoffman’s, Jobs’ most trusted friend and confidante. While Hoffman does take an awful lot of crap from Jobs throughout the majority of this flick, there are still those instances in which we see her take control and remind him that, not only will she not put up with so much garbage, but throw it right back at him as well. By the end, the flick tries to bring up some honestly valid points about why Hoffman’s and Jobs’ relationship never became anything more than just business, but also, reminds us that it’s not all about sex to make a person love another; sometimes, it’s all about respect and care. Winslet is amazing in this role and, if things work out her way, she might be looking at another Oscar come that time.
Then again, I don’t want to cross my fingers.
Same goes for Danny Boyle as director. While it looks nice and definitely keeps itself moving at a fine pace, Boyle’s direction, does what it needs to do. I know that’s a surprise to be saying about Danny Boyle, but honestly, the movie didn’t need his direction to make things work as well as they do; it certainly helps, for sure, but the movie isn’t made or broken because of it. It just still works, which is probably all that it needed to be, because it’s my favorite of the year.
Consensus: The combo of an intelligent script from Aaron Sorkin and well-done cast, help allow for Steve Jobs to be more than just an acting-piece, and instead, an actual look inside the mind and life of an icon that we need to know more about.
9.5 / 10