We’re attracted to biographies because we’re fascinated with
what makes the famous and infamous tick.
Problem is, due to limitations of both the literary and film mediums,
we’re destined never to get the full story.
Autobiographies have to be taken with a grain of salt, biographies, no
matter how well-researched can never truly get under the skin of their subject,
and films are simply too short to scratch the surface of a life.
In Danny Boyle’s engrossing and immensely entertaining Steve Jobs, Joanna Hoffman (Kate Winslet) coins the phrase “reality
distortion” in referring to Jobs, her boss who remembers things in a certain
way, often leaving out key facts, that is the ones that show he’s at
fault. All biopics should be seen
through this prism, as we are at the mercy of those telling the story and their
own sense of “reality distortion.”
Without question, Boyle’s film suffers from this, yet it doesn’t
shrink away from portraying the genius as a man with feet of clay, burdened by
his talent as much as blessed by it, unable to associate with people politely
or sincerely. Jobs utilizes a traditional
three-act structure and is built around the release of three key products: 1984’s
Macintosh computer, 1988’s NeXT Cube and 1998’s iMac. Shot in 16mm, 35mm and digital video
respectively, each section delves into the behind-the-scenes machinations that
went into the formation of Apple, Jobs’ ouster from it and his eventual return
to the fold, as well as the relationships he formed, kept, torched and ignored
with those in his inner circle. Each of
these is rendered at a breakneck pace as there’s always some crisis brewing
just offstage, unseen by the adoring throng that awaits Jobs each time he
unveils his latest, “can’t-live-without” gadget.
Aaron Sorkin’s script is as clever as it is sharp, the
conversations driven by highly charged emotion, spoken by intelligent
characters and talented actors. The
result is a vivid reminder that the best drama is based on human interaction
and conflict and that nothing is more exciting than seeing two characters go
toe-to-toe and simply speak to one another with passion. Boyle compliments the
script wonderfully by making sure that events are rendered at a breakneck pace
and amps up the drama with quick cutting, inventive camera moves and a vibrant
supporting visuals to create a piece of cinematic adrenaline.
Much of the credit for the film being so engaging is due to
the cast that Boyle has assembled, an A-team from start to finish. Michael Fassbender’s internal intensity is
perfect in bringing Jobs to life and when he uncoils and brings his subject’s
forceful personality to life, these are moments that grab you by the throat, as
do the ones when we see him being insensitive to his co-workers, ex-girlfriend
and neglected daughter. Fassbender embraces
these moments and it’s to his credit that we don’t walk away adoring the man
but feeling pity over his inability to make any sort of human connection.
As Jobs’ confidant Joanna Hoffman, a severely dressed-down
Kate Winslet underplays her part of being the conscience behind the genius to
great effect. Watch her inner conflict when she’s forced to defend her boss
when she knows he’s wrong or her subtle show of anger when she has to do a
menial task. Once Hoffman stands up to Jobs, it’s a moment Winslet nails,
savoring this “long-time-coming” moment as Hoffman surely must have. Equally good are Seth Rogan as Apple
co-founder Steve Wozniak, Michael Stuhlberg as developer Andy Hertzfeld and Jeff
Daniels as CEO John Sculley. These
talented performers respond to the sort of dialogue Sorkin provides and they
revel in being able to deliver it. Only Katherine Waterston gets short shrift
here as Job’s ex-romantic partner Chrisann Brennan, who’s regulated to simply
harping at him for abandoning her and their daughter Lisa.
To be sure, Jobs is not a complete portrait of
the man and only those who knew him well can speak to its veracity. However, there’s no question that it’s an
engaging film from first frame to last, a compelling piece of storytelling that
utilizes the most basic tools at Boyle’s disposal to magnificent effect. There can’t help but be a bit of “reality
distortion” at play here but that doesn’t prevent Steve Jobs from being one
of the best films of the year.
This article appears in Oct 22-28, 2015.
