One of the true shames about this film is that many people will choose not to see it for all the wrong reasons. There are those who turn their nose up at it as they don’t see why another film about Steve Jobs has been made (after the Ashton Kutcher film of 2013). Then there are those who vocally oppose Apple products so much that they refuse to accept there is any merit in a film about the founder of the company. This second group, to me, are a curious bunch – did they also feel Downfall wasn’t worth seeing because Adolf Hitler was a bad person? Already in the US, this film has had a poor opening and been pulled from a substantial number of screens, despite critical praise for the director (Danny Boyle), the writer (Aaron Sorkin), and the lead actor (Michael Fassbender), as well as the support cast of Kate Winslet, Jeff Daniels and Seth Rogan among others. Audiences, it seems, are not that bothered with a film aiming to get under the skin of one of the icons of the past few decades.
The film is inspired by the biography by Walter Isaacson, but in true Sorkin style takes a fresh approach, focussing on three key moments in time, and the relationships Jobs had with a small group of people at each point. The film is segmented into 3 chunks of around 40 minutes each, playing almost real-time behind the scenes activity at the launches of the Apple Mac in 1984, the NeXT computer in 1988, and the iMac in 1998. In the time before stepping out on stage to each of these launches, Jobs interacts with his confidant and marketing executive Joanna Hoffman (Winslet), the co-founder of Apple Steve Wozniak (Seth Rogan), the CEO of Apple John Sculley (Jeff Daniels), his former girlfriend Chrisann Brennan (Katherine Waterston), and his daughter Lisa, as well as John Oritz, a GQ journalist who interviews him through the film, and a handful of others. Through his interactions with these people we see both the cold, distant Jobs, focussed purely on his product and company, but with the occasional glimmer of the humanity he buried deep, whilst gaining some understanding over the course of the film as to why he kept such a distance from those around him.
With a script by Sorkin, a writer who doesn’t just hand over his words and walk away, instead sticking around and being an integral part of the film-making process, you can expect swift and fluid dialogue exchanges from the offset, and also plenty of ‘walk-and-talk’ moments (a trope which Sorkin popularised in shows such as Sports Night and West Wing), making dialogue heavy scenes more dynamic, and adding a sense of urgency to every conversation. The result is a conversation heavy film which never seems drawn out, never slows down, and keeps you engaged throughout, and has a light sprinkling of wit to raise a few smiles at points.
But Sorkin is only one piece of the recipe for this film, and Danny Boyle’s direction is solid throughout, with touches of flair that make you remember how much of a visual style director he is. The three periods in time have slightly different looks, from a slightly grainy early 80s, through to the smooth focus of the late 90s segment, and sharp use of backlit images (from Bob Dylan lyrics, to NASA footage) lend striking impact to scenes. In addition the performances he gets out of all the cast ensure that at no point do you write off Jobs as heartless, and the way in which he touched the lives of those around him (who, it has to be said, stayed loyal to him despite his flaws) is reflected well in every scene.
Finally, a mention must be made of Fassbender who delivers yet another fantastic performance, with a commanding presence as a man obsessed with how others seem to betray him, who fails to see that his icy demeanour is have far worse an impact on close friends and colleagues such as Wozniak, and his daughter, Lisa. Jobs was an enigma to many, but Fassbender seems to have deciphered what made him tick and channels everything into the role. He may not look much like Jobs, but he swiftly becomes the man entirely.
Steve Jobs was a complex man, and this film (and indeed any film about his life) can only scratch the surface of what drove him, but Srokin, Boyle and the cast do a sterling job of tapping into the persona of a modern day legend, sparking a desire to find out more about his life, his drive, and his impact on the world – because even if you are not an Apple fan (which I am not), you cannot deny the legacy he left behind after his passing, and the impression he made on the tech world.