Posts Tagged ‘Steve Jobs’

Michael Fassbinder

Michael Fassbender

“STEVE JOBS” My rating: A- 

122 minutes | MPAA rating: R

Love him or hate him, Steve Job’s life was epic…so epic that any attempt to encompass it in a traditional movie biopic is doomed to failure. (Exhibit A: 2013’s lackluster “Jobs” with Ashton Kutcher as Apple’s genius in residence.)

Leave it to screenwriter Aaron Sorkin (“The Social Network,” TV’s “West Wing”) to find a way to embrace the salient features of Jobs’ life and personality while inventing a near-perfect narrative structure.

“Steve Jobs” works on just about every level, with a near-brilliant central performance by Michael Fassbender as Jobs, a jaw-droppingly good supporting cast, and effortless direction by Danny Boyle.

But it’s the script — not just the snappy dialogue but the way the story is told — that makes the film a small classic of operatic intensity.

“Steve Jobs” is essentially three one-act plays, each unfolding in real time and centering on the debut of one of Jobs’ landmark products.

The first 40-minute segment takes place in 1984 with the unveiling of the Macintosh computer. The second unfolds in 1988 when Jobs, having been fired by Apple’s board of directors, debuts his renegade effort, the ill-fated NeXT work station. Finally there’s the presentation in 1998 of the original iMac…by this time Jobs has returned to Apple in triumph.

Kate Winslet

Kate Winslet

There’s an element of show-biz pizzaz and ticking-clock suspense at work here.  Jobs views each product debut as a sort of Broadway opening involving sound, video and his own central performance. And then there’s the not inconsequential fact that these various Apple products are often unfinished and still plagued by bugs.  When Jobs flips the switch will they perform or just sit there?

In a sense, the film is a sort of backstage drama. As with last year’s “Birdman,” the story is captured with a roving camera (the cinematography is by Alwin H.Kuchler) following Jobs as he stalks the theaters wings and subterranean passages, always in motion, always shouting orders and making demands.

Common to all three segments is a recurring cast of characters who grow older and evolve over more than a decade:

Joanna Hoffman (Kate Winslet) is Apple’s head of marketing and apparently the only person on staff who can tell the domineering and arrogant Jobs when he’s full of shit. OK, she’s more politic than that, but basically she is Jiminy Cricket to Jobs’ Pinocchio.

Steve Wozniak (Seth Rogen) is the computer dweeb who cofounded Apple with Jobs, spearheaded the Apple II (for many years the only Apple product that made money) and over time was nudged out of the company (albeit with a huge golden parachute). Despite the betrayal and hurt, Woz still cares about his old partner.

“It’s not binary,” Wozniak cautions Jobs. “You can be decent and gifted at the same time.” (more…)

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steve-jobs-man-in-the-machine“STEVE JOBS: THE MAN IN THE MACHINE”   My rating: B

120 minutes | MPAA rating: R

The first hour of “Steve Jobs: The Man in the Machine” is pretty much what you’d expect. It’s mostly a history of the late Steve Jobs and Apple, the brand with which his name will always be synonymous.

The second hour?  Well, that’s where things get ugly. Because here filmmaker Alex Gibney (the Oscar-winning “Taxi to the Dark Side” and HBO’s Scientology expose “Going Clear”) delves into the less-inspiring aspects of Jobs’ character, as well as Apple’s corporate malfeasance.

Gibney, who narrates, says that like millions of others he’s in love with Apple products. But he wonders how the brand’s fans can embrace the tech while overlooking the ugly underbelly of Apple’s rise to corporate dominance.

In the first hour we see Jobs’ first TV interview (he’s like a kid in a candy store, awed by the technology around him), his early partnership with fellow tech wonk Steve Wozniak (whom he blithely screwed out of millions of dollars), and the introduction of early Mac desktops (Jobs created the phrase “personal computer”).

Jobs believed — and made the rest of us believe — that he was a paradigm shifter, a rebel, and also a business giant/genius.  He had one speed — full on — but sought relief in the study of Zen Buddhism.

But even in this retelling of Jobs’ heady early years, there are dark rumblings.  Like his refusal to recognize his illegitimate daughter until DNA proved his paternity. The fact that working for Apple was debilitating despite all the countercultural trappings (Jobs could be incredibly callous and cruel toward underlings).

Gibney speculates that having largely failed with human connections, Jobs compensated by creating technology that connected the entire world. At the same time, the film asserts, people aren’t so much connected to Jobs or other people as to his creations.

“My hand is constantly drawn to it,” Gibney says of his new iPhone, “like Frodo’s hand to the ring.”


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