It would take nothing less than a genius to revolutionize the world of technology and bring a failing company back from the brink, and with the unveiling of the first iMac in 1998, Steve Jobs would become precisely that—a genius. It is unfortunate, then, to come to the realization that Steve Jobs (the film) lacks much of the genius and innovation for which Steve Jobs (the man) has become so well known.
This is not to say that Steve Jobs is without any redeeming qualities. Written by Aaron Sorkin and directed by Danny Boyle, the film recounts the tale of Apple Inc. and its inspired-but-imperfect CEO. Boyle and Sorkin break Steve Jobs into three 30-minute pieces: the unveiling of the Macintosh in 1984, the NeXT in 1988, and the iMac in 1998. The film gains points for originality in that respect. Its plot progression plays out similarly to a Shakespearean tragedy with a number of clearly defined, clearly organized acts. In fact, Steve Jobs’ characterization is remarkably similar to a Shakespearean work in that each character is portrayed with realistic issues and strengths.
Steve Jobs does not come across as a piece of Apple product propaganda, but instead presents an accurate (if somewhat self-inflated) picture of the truly flawed man that Steve Jobs was. His relationship with his coworkers, his family, and his own self-destructive sense of pride are all covered with brutal honesty, and Sorkin’s snappy writing is largely to thank for that.
It would be dishonest, however, to say the Sorkin’s script alone contributes to the hub-bub around Steve Jobs. Standout performances are given by Seth Rogen, playing fellow-genius Steve Wozniak, and Jeff Daniels, playing business associate John Sculley. Both usually star in humorous roles, and it is a relief to see them effectively portray complex characters.
Michael Stuhlbarg, in the shoes of tech wizard Andy Hertzfeld, also gives a heartfelt, emotionally-charged performance, as does Kate Winslet while portraying Joanna Hoffman. Surprisingly, it’s Michael Fassbender, a normally above average actor, who falls short of his contemporaries. Famous for his roles in Shame, Prometheus, Inglourious Basterds, and the X-Men series, Fassbender performance feels rather lackluster in the last third of Steve Jobs.
Despite Fassbender’s lackluster performance, the final 30 minutes of Boyle’s film recounts both the iMac launch and the final moments of Jobs’ relationship with Wozniak, Sculley, and Hertzfeld. Fassbender, however, fails to make an emotional connection with the audience in his dialogue, leaving the last third of the movie somewhat anticlimactic. The problem becomes most apparent in the final scene of the movie. Jobs and his estranged daughter come to terms with their poor relationship, but neither actor succeeds in making the scene a special moment.
Fassbender is not the only factor that causes the film to come up short by the time the credits roll. Plaguing the entire film is the simple reality that the subject matter of the film has already been incredibly played out. After Ashton’s Kutcher’s lackluster performance in the 2013 film Jobs, and this year’s simultaneous release of the documentary Steve Jobs: The Man in the Machine, Boyle’s chronicle of Jobs’ life brings nothing new to the audience that has not already been said by many others.
Even if the film’s material had been completely fresh, however, its method of presenting it creates problems for those who seek to learn more about Jobs, Apple Inc., or their relationship between creator and creation. The story of Steve Jobs is disseminated with little to no exposition throughout the entire film, told in an in-medias-res fashion. Because of this, audience members who have not seen previous iterations of Jobs’ story will find themselves confused by the finer details of the plot, and those who have will ultimately be bored with the repeated material. Boyle takes an artistic risk by limiting the amount of exposition in Steve Jobs, but rather than enriching the film, his choice restricts enjoyment to only the most knowledgeable techies and die-hard Apple followers.
Steve Jobs asks the question, what is a work of art? But at every step it fails to answer it in any real way, either through its story or through its production. Despite a talented cast, excellent cinematography, and a well-composed score, Danny Boyle’s newest film cannot propel itself past its own key problems. Steve Jobs is not a bad film, but if you were uninterested in the Jobs’ life in the first place (or, for that matter, you dislike esotericism), this likely isn’t the film for you.
Featured Image By Universal Pictures
