Creator. Entrepreneur. Father.
Steve Jobs is defined by three years of his life: 1984, 1988 and 1998.
The movie, Steve Jobs, covers these years of his life. So will this review.
Steve Jobs (Michael Fassbender) is on edge. The Macintosh is malfunctioning. He is told by his technicians that the computer won’t say “Hello” to him. It’s 40 minutes before the product launches. His ex-girlfriend is waiting in the other room with her daughter, who Jobs insists isn’t his, wondering why they are both living on welfare while he is making millions. He paces back and forth in between his professional and personal problems. He tells his technician to fix it and walks off stage.
Fassbender is mesmerizing as Jobs. He’s ecstatic, energetic, passionate. He’s tense, egotistical, confrontational. He’s at peace when thinking about how many people’s lives this new computer will impact. He’s angry at people who come up to him, trying to stop him from completing his mission. His expression shows that they’ll fail. He’s too determined to let his ambitions die.
The filming in this sequence is enclosed, personal. It uses tracking shots to follow Jobs as he paces back and forth, looking at TIME Magazines, drinking his sparkling water, his mind racing with everything that needs to get done. The reel itself has a texture to it that I couldn’t quite point out until it hit me: this sequence is shot on celluloid film, reminiscent of the decade that it’s reflecting. A great choice of stylistic direction from Danny Boyle (Slumdog Millionaire, 127 Hours), but just like the time period we’re in, we know that it won’t last long.
Jobs handles his personal issues. The technical issues are resolved. He steps out onto the stage and introduces the Apple Macintosh.
The Macintosh underperformed in sales. Jobs is let go by Apple, the company that he helped start. He feels betrayed by his closest friends, alone in his struggle for significance.
He meets a few of his former colleagues who want to wish him well. Steve Wozniak (Seth Rogen) starts acting friendly to him, but then confronts him on not giving him enough credit on the launch of the Macintosh. He asks him what he does.
“I play the orchestra, and you’re a good musician,” Jobs says. “You sit right there and you’re the best in your row.”
The scene switches to another where Jobs is confronting a former confidant. The editing is off, choppy. It’s cross-cutting between this scene and a flashback so rapidly it’s hard to keep track of the two conversations. I don’t know what Boyle was trying to do here. Maybe he thought he was adding tension to the scene. I thought he was adding confusion.
Jobs visits his daughter in the next room, who is skipping class to come and see him. She’s in middle school. He tells her she needs to go to school before she rushes up to him and hugs his legs.
“I want to live with you, daddy,” she whispers to him.
She and her mother leave. Jobs is shaken. He steps out onto the stage.
This is it: the launch that has come to define both Apple and Jobs for years to come. This is the most important act of the film, and the one I will talk less about for the sake of spoilers.
Jobs looks different. He looks older. His hair is whiter. He’s sporting the iconic glasses and turtleneck that most people recognize Jobs in. Fassbender is no longer just acting like Steve Jobs. He has become Steve Jobs.
The framing of shots is similar to the beginning. It tracks Jobs while he walks from one place to another. He’s more sure of himself in relationship to Apple, less sure of himself in relationship to his daughter. Boyle captures the panic on his face, the fear recognizing his failings as a person and as a father.
It’s nearing the end of the film, and I realize the thing that I love most about the movie is its screenplay. Screenwriter Aaron Sorkin captures both the genius and fragility of Jobs, the sharpness in his words and the intimacy of his emotions. This is a good change of pace for Sorkin. From a filmography of lightning-quick, witty characters and dialogue from A Few Good Men to The Social Network, this is his most emotive work yet. It makes you feel more than it makes you think.
I exit the theater. I call my dad on my iPhone and tell him I love him. Steve Jobs too realizes that the greatest thing he ever made wasn’t an Apple product. It was his daughter.
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