Most biopics glorify their subjects, but not The Social Network. This David Fincher movie goes in the opposite direction, depicting the personal flaws, betrayals and coldness behind the creators of Facebook. Fincher dismantles the myth behind the tech visionary Mark Zuckerberg and instead presents a story rooted in insecurity and detachment. Thus, The Social Network became a movie critiquing the weaving of innovation, capitalism, and loneliness in the making of the modern empire of Facebook.
The opening scene between Zuckerberg and his girlfriend, Erica Albright, perfectly sets the tone for the whole movie. It’s a rapid-fire conversation where Mark talks in circles, desperate to prove his intellect, but comes off as insecure and bitter. Zuckerberg’s genius is undeniable, but so is his inability to connect with people. Thus is the irony of an anti-social individual to create a social network that brings the world closer together.
The movie is structured in cuts of the initial building of Facebook, Eduardo Saverin’s lawsuit over his diluted shares, and the Winklevoss twins’ lawsuit claiming that Zuckerberg stole the idea of Facebook. This fractured style of editing is brilliant, as it shows that Facebook’s origin has no single story but many clashing perspectives shaped by ego and betrayal. Eduardo represents loyalty and partnership towards Mark but is slowly outmaneuvered until he is cut out of the company. The Winklevoss twins see themselves as entitled to victory as if it were their birthright, and they reflect old-money ambition that Zuckerberg envies and wants to overthrow. Then there’s Sean Parker, played by the charismatic Justin Timberlake, who embodies a persona of reckless ambition and seduction of power. He is the initial catalyst for creating a rift between Mark and Saverin, leading to the nasty end to their friendship. Mark is mesmerized by Parker for his magnetic energy and charisma, qualities that Mark lacks but craves.
One of the most affected characters in Facebook’s origin is Eduardo Saverin, played by Andrew Garfield. His portrayal of Saverin brings warmth and humanity to the film, contrary to the dominating cold ambition of the other characters. He plays the role with innocence and empathy, unlike the other figures in the high-stakes world of startups. Saverin’s calm demeanor in early scenes, like when he offers Mark his first investment, is much different to his explosive outburst in the deposition room: “I was your only friend!” Garfield plays this moment with fury and heartbreak to portray both the grief of losing financially and losing a friendship.
Visually, Fincher masterfully mirrors the coldness and ambition through the camera. The scenes taking place on Harvard’s campus are shot in dark and muted tones to evoke elitism and bleakness of the higher class. The stark contrast between Mark’s dimly lit dorm rooms, where he codes Facebook, feel claustrophobic against the wild, chaotic energy of college parties that represent surface level connection without true intimacy. Another technical achievement of portraying both Winklevoss twins played by Armie Hammer greatly accentuates the movie. Through seamless integration of CGI and clever composition, the illusion of two distinct characters is so natural that it becomes invisible — a remarkable achievement for 2010.
At the heart of the movie, The Social Network is about power and loneliness. Even though Zuckerberg built one of the biggest social platforms of the early 21st century, he ends up in isolation. In the final scene, he is alone in an office, refreshing his Facebook page, waiting for Erica Albright to accept his friend request, with text saying “Mark Zuckerberg is the youngest billionaire in the world”.
The film leaves us asking what we are willing to sacrifice in the pursuit of innovation and success. Along the path to power, friendships, loyalty, and trust are all tested. The Social Network reminds us that the technology that connected billions was born out of alienation and deception.
