A friendly discussion of 'The Social Network'

By Sarah Sluis

In case you haven't heard, "that Facebook movie" is coming out in two days. It seems like every critic is raving about the movie, currently rated 100% on Rotten Tomatoes, and every magazine has a Mark Zuckerberg story on its cover, but my advice is this: If you want to enjoy a good movie (not a great movie, mind you, a good movie), don't believe the hype.

While The Social Network is a perfectly competent and enjoyable film, it didn't awe me as much as I expected. When I watch a movie, I expect to be taken on an emotional roller coaster, but this one had the highs and lows and emotional arc of a television show. I was entertained, but not stunned. When I start hearing "Best Picture at the Oscars," my expectations get raised. When I see an awesome trailer, I expect the film to deliver. While living up to those kinds of predictions can be hard, there are definitely films (like Avatar) that live up the buzz.

The Social Network goes by very fast, but doesn't really ever rest on anything. Citizen Kane (which people are unfortunately comparing this movie to) also covered a lot, but it didn't feel rushed the way this does. One technique I didn't think added much was cross-cutting between Zuckerberg's Facebook-related lawsuits and the rise of Facebook. There wasn't a significant difference between Zuckerberg the rising star and Zuckerberg the defendant. If they were going for that stark contrast that you get with a "before/after he was behind bars" kind of movie, they failed.

The writer (Aaron Sorkin), director (David Fincher), and producer (Scott Rudin) of this film are immensely talented, and all have works on my "best" list. I saw bits and pieces of their trademark strengths, but everything didn't add up. Fincher was at his best at showing off Harvard's in-groups, creepiness, excess and conspiracy, hearkening back to his work on Fight Club, Se7en and Zodiac. I loved Sorkin's use of technical dialogue (hello, he is an offspring of Howard Hawks, although I prefer him when he's channeling the geekiness of Ball of Fire, not that His Girl Friday opening sequence).

I'll gladly see the movie again to find out if the Emperor really is wearing clothes, but in the meantime I'll keep my lonely position and set my sights on another film for Best Picture--True Grit.

Analysis of an awesome trailer: 'The Social Network'

By Sarah Sluis
So far there have only been posters and teaser trailers for The Social Network. While movie geeks like me are already sold by the combination of the screenwriter (Aaron Sorkin) and director (David Fincher), it's hard not to get a little tingle on your spine when you hear the tagline, "You Don't Get to 500 Million Friends Without Making a Few Enemies." Who would have thought the story of Facebook would sound more like Wall Street meets The Skulls and less like an underdog winning gold at the Olympics?

Here's the trailer:

The #1 reason this trailer is awesome is that it doesn't introduce any characters until 48 seconds into a 2 minute, 30 second trailer. Instead, the trailer reels the audience in by forcing us to reflect on how we, the viewers, use Facebook. Screenshots of parties, profile pictures, weddings, and babies are edited to the lyrics of Radiohead's "Creep," sung by women with high voices and a melancholy tone (the Vega Choir). The lyrics pretty much say it all: "Don't care if it hurts/Wanna have control/Wanna perfect body/Wanna perfect soul/I want you to notice/When I'm not around/You're so very special..."

The latter, story part of the trailer emphasizes Ivy League intrigue, decadence, and excess among the rich. I counted nine scenes of drinking/partying, including liquor swilled straight from the bottle, champagne spraying, puking during fraternity hazing, and post-success imbibing of appletinis. Will these kind of storylines ever go out of style? I give the trailer one point for an unconventional but oh-so-Ivy scene with an indoor erg rowing machine that uses actual water (never seen one of those, but where else but Harvard?). However, Fincher loses points for a shot of Jesse Eisenberg as the Facebook co-founder Mark Zuckerberg writing a formula on a window. We've already seen A Beautiful Mind and Good Will Hunting, thankyouverymuch.

On a final note, Fincher's Citizen Kane-like epic is also worth seeing for its strong cast composed of rising stars: Jesse Eisenberg, Justin Timberlake, Rashida Jones, and Andrew Garfield, the next Spider-Man. And if you're wondering, like I did, why Zuckerberg hasn't sued, it's because he's a public figure and therefore open to portrayal. Also, it might potentially be more embarassing to sue than to keep things quiet. As for suppression, it doesn't look like The Social Network will be advertised on Facebook due to their advertising rules, but everywhere else is fair game. Zuckerberg doesn't have quite the influence of William Randolph Hearst.