Steve Jobs: Unconventional But Poignant Biopic
Loosely based on Walter Isaacson’s 2011 biography of the same name – a book that was approved but never actually read by the man himself – the life and work of the late Steve Jobs is once again brought to life on the big screen, this time, in Aaron Sorkin and Danny Boyle’s engaging, but niche biopic, Steve Jobs.
The story begins with Steve Jobs (Fassbender) getting ready to launch and share the Macintosh home-computer with the world. As he awaits, rather impatiently, backstage for the auditorium to fill, marketing manager, Joanna Hoffman (Winslet sporting a sporadic and an uneven American-Polish accent) is working hard on containing the pandemonium involving a possible failure-to-launch scenario.
Jobs is soon approached and confronted by ex-lover, Chrisann Brennen (Waterston), and his five-year-old daughter, Lisa (Ross) – whom he refuses to accept as his own – who wants to discuss paternity issues, while Apple co-founder and old-time friend, Steve Wozniak (Rogen), is eager to argue the possibility of Steve actually sharing the credit for their success. Meanwhile, Apple CEO, John Sculley (Daniels) has his own bone to pick with Steve, who, by this point has demonstrated that his blinding ambition and drive to succeed will not be hindered by anyone.
Much like its titular character, Steve Jobs is not an easy film to love; those expecting a more straightforward approach to the story – and an in-depth account of the company’s history and a deeper insight into the man who brought it success – might well be disappointed with its minimal setup. However, those who find time to appreciate Danny Boyle’s unique storytelling, which covers three very distinct Apple product launches – debut of Macintosh, NEXT and the iMac which transpired in 1984, 1988 and 1998 respectively – will see that most of the movie’s strengths lie with its somewhat claustrophobic – albeit intimate – and theatrical setup. Padded with a few flashbacks, Steve Jobs is not interested in portraying the ‘early’ years; instead, it attempts to highlight Jobs’ personality and the interactions that occurred between him and his closest associates during a time which was deemed most critical for the company and, of course, for Jobs himself.
Capturing the often sociopathic and ruthless behavior when dealing with colleagues – friends and family not excluded – and his obsessive attention to detail, Fassbender offers a subtle but deeply-layered performance, completely devoid of any mimicry or impressionism. Meanwhile, Rogen manages to strip off his funnyman suit and deliver a poignant portrayal of the Apple I designer, while Winslet is surprisingly unnoticed as a loyal assistant.
It’s a decent biopic that offers a compelling glimpse inside the head of a man who is often referred to as a pioneer and a visionary of the digital age. The film doesn't exactly portray Jobs a nice man, that’s for sure, but stresses on his importance as one of the most famous figures of our time.