"We lived in farms, then we lived in cities, and now we're gonna live on the internet!" - Sean Parker.
We also lived in caves, caves within caves, dark ones, darker;--darker than the curved black gums of old dogs--and blacker. It is, then, remarkable that we once lived in the dry dampness, folding into ourselves, living in cold caverns; but then, considering, we are a remarkable species, and conditions do seem: they seem transparent when seen from a distance--or a reality. Externally, everything changes and changes, nothing remains the same, and nothing erodes. A pen will insist to type. Then, an environment will collapse. People change. Nothing remains.
Mark Zuckerberg, as played by Jesse Eisenberg, understands this, but nothing else, socially. He knows how to write code, lines and lines of it, and he knows how to hack through security systems, and his observational techniques give him aid in the creative process of networking; however, he's a social incompetent, and has the emotional centre of a common robot. His only apparent human characteristic seems to be his ability to drink, as he is seen drinking, which suggests he thirsts; although, this could merely be his fuel source.
The opening scene of "The Social Network" suggests (demonstrates) his awkwardness when he is seen sitting at a bar table with his girlfriend, Erica Albright (Rooney Mara). They talk; they talk in what seems to be code, as every word and phrase speaks a double meaning. She queries him. He debunks and insults her. The conversation ends with their breaking up, though not mutually, as Erica has tired of what she refers to as dating a stair-master. In retaliation, Zuckerberg runs home, gets a bit drunk, and posts disparaging remarks regarding Erica, while comparing her to farm animals.
The remainder of the film is told in a cross cutting style, À la Kurosawa's "Rashÿmon," where Zuckerberg's court dates are explained and conjoined with flashbacks. He is shown as a talented marketer, but unable to empathize or demonstrate sentiment, as well as an affinity for the snide, which may be to the screenplay's credit. His best friend sues him as well as his twin 'business' partners. There are truths and lies to each case, and it retains interest in each--and it makes use of a multiple arc technique when it demonstrates the ability to tell each story at the same time.
Yes, we lived on farms, and we lived in cities, and some of us do live in and through the internet, but Zuckerberg seems to be living a life that slowly decays; and as it decays, it becomes more apparent that this avatar is headed into a hell no icon or profile can emulate.
4.5 out of 5 popcorns.
