Filmul Steve Jobs a avut ieri premiera in cadrul festivalului de film Telluride si spre surprinderea multora el are parte de recenzii foarte bune din partea celor care au fost invitati pentru a vedea prestatia lui Michael Fassbender.
Scris de catre Aaron Sorkin si regizat de catre Danny Boyle, filmul Steve Jobs a fost criticat din cauza faptului ca actorii nu seamana cu persoanele pe care le interpreteaza, insa se pare ca povestea si modul lor de interpretare au schimbat opiniile multora dintre jurnalisti.
Jurnalistii au spus ca filmul este emotionant si ca merita vizionat in cinematografe, Steve Wozniak afirmand chiar ca el este autentic, prezentand cat se poate de bine evenimentele reale petrecute cu cateva decenii in urma, astfel ca vorbim despre un film care ar putea intrece in popularitate pelicula Jobs lansata in 2013.
Desi nu seamana chiar atat de bine cu Steve Jobs, Michael Fassbender a fost laudat de toti jurnalistii pentru modul in care l-a interpretat pe regretatul CEO Steve Jobs, el reusind sa surprinda cat se poate de bine caracterul fondatorului Apple, iar mai jos aveti primele impresii.
It’s a companion piece to Sorkin’s Oscar-winning The Social Network screenplay — but even more effective. Boyle said the script is 200 pages and it is densely filled with the kind of dialogue only Sorkin seems to specialize in these days. It’s actually thrilling to listen to, an action movie driven almost exclusively by words, a rare thing for sure in today’s visually driven cinema.
[Boyle’s] direction is flawless and really keeps this thing moving, avoiding the static pace it might have been in lesser hands. The result is well worth it, and those magical words provided lots of opportunity for great acting performances led by Michael Fassbender’s spot-on and relentless portrayal of the not-very-likable computer genius.
Working with d.p. Alwin Kutchler, Boyle sometimes sends the camera hurtling after the characters in lengthy, down-the-corridor tracking shots; elsewhere, the brief transitional snippets between acts feature some fairly aggressive stylization, in line with his usual m.o. But for the most part, this is the filmmaker’s most reined-in picture in some time, as if a too-kinetic approach would interfere with the verbal energy of Sorkin’s script.
Besides Guy Hendrix Dyas’ unobtrusively excellent production design, the picture’s major visual coup is the decision to shoot the three acts on three different formats: grainy 16mm film for 1984, lustrous 35mm for 1988, and sleek, high-definition digital for 1998. The distinctions may well be lost on the vast majority of viewers, but it’s just the sort of nicely understated aesthetic flourish that Steve Jobs himself would have surely appreciated.
The Aaron Sorkin-scripted drama features a first-rate performance by Michael Fassbender in the title role, but he’s not the only talent on display. Apple founder Steve Jobs’ legacy has been such an object of fascination over the decades that any attempt to stuff his career into feature-length format is asking for trouble.
How do you get to the bottom of a character like Steve Jobs, a figure so towering and complex that he could arguably serve as the basis of a film as ambitious as Citizen Kane? If you’re a dramatist with the character insight and verbal dexterity of Aaron Sorkin, you make him the vortex of a swirling human hurricane, the puppetmaster who kept all around him on strings, the impresario of a circus dedicated to the creation and dramatic unveiling of technological wonders that changed the world.Racing in high gear from start to finish, Danny Boyle’s electric direction tempermentally complements Sorkin’s highly theatrical three-act study, which might one day be fascinating to experience in a staged setting.
