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(Slightly leniently, the movie explains it away a little by emphasising that Zuckerberg has had a couple of beers.) It is from this beginning that the smilier, friendlier Facebook emerges. He blogs vengefully about Erica and, in an evil-genius frenzy, creates Facemash, a spiteful and misogynistic site that invites the guys to rate campus girls against each other. When his girlfriend Erica (Rooney Mara) breaks up with him, the director shows how the emotionally wounded Zuckerberg embarks on a retaliatory campaign not far from the sinister world of Fincher's serial-killer films Se7en and Zodiac.
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Here, computer-science student Zuckerberg has the same sense of entitlement and self-congratulation as everyone else, but combined with social resentment about being barred from snobby fraternities and clubs. I wonder if the real-life Zuckerberg has ever physically said as many words as this in his entire life.ĭavid Fincher's direction creates just the right intensity and claustrophobia for a story that takes place largely in a stupefyingly male environment at Harvard University in 2003, shown in flashback from various acrimonious legal proceedings. It's pretty much a non-stop fusillade of put-downs, insights and zingers. (I couldn't help remembering, incidentally, his character's disparagement of Facebook in the movie Zombieland: jeering at idiots with status updates like: "Limbering up for the weekend.") Sorkin gives everyone great lines. He is a borderline sociopath, never smiling, never raising his voice, never conceding an argument, driven to create his masterpiece through the unforgettable pain of being dumped in the movie's opening scene.
The film version perfectly displays Sorkin's gift for creating instantly believable sympathetic-yet-irritating characters, and the chief of these is Facebook's driving force, Mark Zuckerberg, played with exemplary intuition by Jesse Eisenberg. There appears, however, to be nothing accidental about it. Part boardroom drama, part conspiracy thriller, the story is adapted from Ben Mezrich's non-fiction The Accidental Billionaires. He's found an almost perfect subject: the creation of the networking website Facebook, and the backstabbing legal row among the various nerds, geeks, brainiacs and maniacs about who gets the credit and the cash. His whip-smart, mile-a-minute dialogue made The West Wing deeply addictive on TV, and after uncertain works such as Charlie Wilson's War and the strange, small-screen drama Studio 60 on the Sunset Strip – in which Sorkin's distinctive, faintly martyred seriousness was bafflingly applied to the backstage shenanigans of a fictional television comedy – this writer is triumphantly back on form. F rom the first sentence, the first word, the first nervily in-drawn breath, this compulsively watchable picture announces itself as the unmistakable work of Aaron Sorkin.