[CRITICAL] STEVE JOBS

Before Danny Boyle, this is David Fincher , who had begun work on this second biopic centered around the iconic figure of Apple. We will never what would have been the film if the director is sophisticated and pessimistic The Social Network was gone at the end. Because if the name of the English in replacement remained attractive, we can’t help but think coming out of the projection, as we have seen primarily a film writer, rather than a new work of Danny Boyle.

The scenario of Aaron Sorkin takes us in three different periods describing the scenes prior to a major announcement from the firm. In addition, we are invited to evolve the more close to the man over the course of these moments of tension, where doubts, technical problems and personal will of the swarm. On stage or in the dressing room and, despite some short flashbacks, the film boils down to a succession of faces-to-faces dialogués between all this beautiful world : Steve Jobs, his close collaborators and intimate part represented by the mother of his daughter and then his daughter itself. The writing is so ambitious, we have rarely seen a biopic treaty in such a way, but disconcerting, without coming to us to capture that intermittently. Devoid of issue, the film becomes interesting when a character comes up against the stubbornness and pragmatism of Jobs and he decides to push still a bit far away from his argument in the face of the rock that is Michael Fassbender. It is, however, unfortunate to have to undergo some rehashed in speeches despite the change of decade.

This leads us to another aspect that is clearly assumed in the implementation stage : the theatricality. The lodge, the boards and the public also, will be the witnesses of so many of these games, uneven, sometimes without interest or climbing in intensity. Men, women and decor revolve all around Michael Fassbender who became director more than an actor giving a reply (often blazing), a true conductor of the work that we will never see.

Strange thing, STEVE JOBS is also formally, dotted by a few keys inherited from the cinema of Boyle, is a mounting “clippesque” fortunately justified by the narrative on rare occasions, functioning as mental images attacking Steve Jobs. The film grain of the image, changing over time, more as a gadget geek than anything else, while the music with its sounds of organ, remember though it Interstellar.

“Ambitious, but is baffling, the STEVE JOBS Danny Boyle will finally works intermittently.”

It appears unfortunate, when near the end, the way in which the film denies all that he had previously established. Out a secondary character of his hat, the story does not leave us with this image of cold, calculating, and manipulative that we had man seen so far. It is this cowardice finals, which we permanently lost, the writers preferring to leave us on a note on the soft, playing on the fiber of emotional, certainly, but damn unwelcome. The pill does not pass.

In the end, we want to say that we are disappointed to be passed next to the great movie dark and ample promised not only by the cast but also seen in the various trailers, after a Jobs played by Ashton Kutcher , who will stay differently more wrong. But this is probably exactly what he wanted to be the STEVE JOBS for Danny Boyle. A work of twisted and hardly accessible, pragmatic and mysterious, like the man she portrayed for more than 2h. A man that seems to have perfectly identified and in this sense, the exercise is successful, without having, paradoxically, nothing known of him.

Loris Quinto

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