The third film to be based on the real-life story of tech-designer Steve Jobs following ‘Pirates of Silicon Valley’ in 1999 and ‘Jobs’ in 2013. ‘Steve Jobs’ is a gripping drama which interestingly chooses to take-place over the time-span of three iconic product-launches, focusing on much of the backstage drama of Jobs’ life as he attempts to revolutionise the world of technology and eventually become the CEO of Apple Inc. Making for the best cinematic-interpretation of Steve Jobs’ life story as of yet, despite the film lacking in memorability in a few areas.
Plot Summary: Steven Paul Jobs has always been known a major player in the digital-revolution of the 1980s and 1990s, his passion and ingenuity being the driving force behind the digital-age we currently inhabit. Yet whilst his commitment to revolutionise the technological-landscape was more than commendable, it was also sacrificial, as Jobs’ work often took a toll on his family life.
Directed by Danny Boyle (Trainspotting, 28 Days Later, Slumdog Millionaire), ‘Steve Jobs’ was actually considered a box-office failure upon its initial release, with the film being pulled from over two-thousand cinemas after just two-weeks. And while I can’t say this is too surprising, as a biography focused around the story of a computer-designer does sound dull at a first mention. In execution, ‘Steve Jobs’ is anything but boring, as the film’s sharply-written screenplay makes for a very captivating watch, and draws many parallels to ‘The Social Network’ from 2010. Which is no coincidence, as both films were written by Aaron Sorkin. Furthermore, David Fincher was once attached to direct the film following his previous collaboration with Sorkin on ‘The Social Network,’ but Fincher was eventually dropped in favour of Danny Boyle after he demanded a higher-salary.
First and foremost, ‘Steve Jobs’ is definitely an actor’s film, as the performances outweigh nearly every other aspect of the film aside from perhaps the writing, with Kate Winslet, Seth Rogen, Michael Stuhlbarg and Jeff Daniels all giving tremendous portrayals of these real-life figures. With Michael Fassbender portraying the titular man himself, and although Fassbender is quite far physically from Jobs’ appearance (with Fassbender going the extra-mile to wear brown eye-contacts to achieve a closer look), Fassbender impresses as usual, presenting Steve Jobs as a brilliant success when it comes to his products, but a significant failure when he tries to communicate with the people in his life. And refreshingly, the film is never afraid to delve into Jobs’ many personality flaws.
With the film playing-out over the course of three different product-launches, beginning with the Macintosh in 1984 and ending with the unveiling of the iMac in 1998. The three time-periods are cleverly represented through the cinematography by Alwin H. Küchler, with each segment being shot on 16mm, 35mm, and digital to illustrate the advancement in Apple’s technology across the sixteen-years of Jobs’ depicted life. And with the camera constantly tracking the actors as they walk through ever-changing locations, the camerawork really helps to make the film more engaging. Director Danny Boyle even integrates some of his signature ‘Trainspotting’ style with the film’s editing, displaying flashbacks through snappy quick-cuts and projection-like images which appear stretched over the walls behind those in frame.
From ‘It’s Not Working’ to ‘Child (Father),’ ‘Russian Roulette’ and ‘1998. The New Mac.’ The original score by Daniel Pemberton is a perfect mixture of minimalist electronic and grand orchestral tracks, encapsulating both the technological achievements of Jobs’ career as well as the spectacle of each one of unveilings. Unfortunately, the one moment the film’s soundtrack falters is an important one, as the film’s very last scene is sadly spoilt by the use of the pop-song: ‘Grew Up at Midnight,’ which feels immensely out-of-place when compared to the remainder of the film’s score.
Whilst ‘Steve Jobs’ is well-written on all regards, with much of the film’s dialogue being continuously witty and humorous in addition to playing-into Jobs’ God-complex and smug nature. However, with that said, a large amount of the film’s writing also relies on tech-specific dialogue, with everything from circuit boards to graphical interfaces and binary code all being casually mentioned in conversations, which I imagine could be fairly confusing for some viewers depending on how familiar they may be with that terminology.
In conclusion, ‘Steve Jobs’ is certainly one of the better biographies in recent years. Although I’m sure many will still be disinterested in the film purely for its main focus, the film does have a lot to offer, and in my opinion not only excels past the previous films based on the story the late tech-designer, but also the novel: ‘Pirates of Silicon Valley’ which the screenplay actually takes heavy-inspiration from. And even in spite of several of Jobs’ associates claiming the film doesn’t represent the man they knew, just like Mark Zuckerberg in ‘The Social Network,’ this version of Jobs is very much a creation of its writer, and what a sensational creation it is. Final Rating: 8/10.