From what we deemed to be enlightened, but there is no rule. The one takes is a visit to India, some fall from his horse while stumble so strong upside that it suddenly appears a divine plan, and others throw a bed sheet to love and then the whole world. And there are people who enter an Apple Store where you small and large appliances will be served as if they were hosts, and when they leave the store again, they are called commonly Apple disciples because they have received the Spirit of the Master.
This masterpiece is known Steve Jobs, and the cult and devotion that surround him, are the best proof that we have not yet arrived in post-heroic times, even if cultural critic it tell us again and again. As jobs four years ago died, a video was in the wake of the global sympathy around the world, in which an approximately 12-year-old boy, overwhelmed by his own grief, liturgically strictly enumerates what Jobs had given us all: the iMac, the iPod , the iPhone and the iPad. Basically, as the boy finished his speech: everything.
That would be quite a bit. Steve Jobs is the latest after his death to dazzling mythical figure perhaps not our time, then at least went up the US presence, and for this is in the cinema and on television for several years the screenwriter Aaron Sorkin is responsible, which is now, together with the British director Danny Boyle, a film about Steve Jobs has turned.
It is not the first. Two years ago, only the movie went Jobs , was the only notable realization that Ashton Kutcher looks very similar to the Apple CEO. Michael Fassbender, who now plays jobs, it does not. But simply because of him, the film is worth seeing. The director Boyle said previously, the film should make the sound of Jobs’ spirit audible. From Steve Jobs supposed contradictions can be the one who shocked anyway only one who believes that whoever invents good, inevitably a thoroughly good man should be.
From three parts have Sorkin and Boyle her film composed three chamber games that narrative hardly combines the film together loose ends in a tangled itself biography. Each one follows Jobs backstage in the minutes before one of its famous product presentations: that of the Macintosh in 1984, who, after Jobs had returned to Apple in 1998 of the first computer of his company NeXT in 1988, and the iMac. That alone is an excellent narrative incident, not to show the creation and not their surrender to the world, but only the lampenfiebrigen moments in between. In this intervention only the character study or, better compaction character of what Sorkin has extracted from Walter Issacsons Jobs biography on which the film is based arises.
Sorkin takes certain liberties here. He needs because Sorkin is a gifted writer Dialogue, and as an Orthodox history fidelity would disturb only. Most of what is spoken in the high-speed dialogue is invented. There is a lot of talk, a lot of standing, called much, walked a lot and stood back, in between Steve Jobs his astral feet washed in a toilet bowl.
This static concentration on the dialogues sets Boyle an almost hyperactive camerawork counter who wants rarely linger, rarely as focused as Sorkin’s dialogic maximalism. And from the contrast of the film wins its aesthetic tension, the dialogues bear the brunt. For them the whole mosaic of a person arises: in the war of words, which discharges Jobs with his, by Kate Winslet ravishingly played, assistant Joanna Hoffman, whose discreet insubordination goes to the limit of what can endure Jobs; in the scenes with the former Apple CEO John Sculley (Jeff Daniels), who once Pepsi launched, the interpretation stands in Sorkin’s and Boyle’s one hand as the greatest opponent, on the other hand as a benevolent father figure of known grown as an adopted child jobs (where this biographical detail of Sorkin is slightly overused, especially in the psychological interpretation). In all these confrontations Jobs shine outbreaks of hubris, its hints of madness and mania, arrogance and loneliness. Fassbender eyes blaze in such moments full of obsession and rapt enthusiasm, then suddenly they stare suddenly into the world like an iPhone without electricity, cold, smooth and dead.
From such scenes consists the multiform picture together of the control freaks who want to democratize the technology on the one hand and at the same time she thinks totalitaristisch. The image of the sensitive Wretched who wants to redeem mankind by faulty machines and wants that people love him for it. And the picture of careless father, who for years as such does not acknowledge his daughter Lisa. Should jobs not previously been an art figure, a speculative fantasy in which reflected hypermodernity and romantic cult of genius alike, so Sorkin and Boyle have this notion immortalized on film with all contradictions. All this without ultimately to opt for an interpretation. Him not with a triumphant gesture to unmask as narcissistic tyrant, nor in the sacred devotional tune all those who have canonized him as “iGod”. Opposition, it will leave. “Musicians play instruments. I play the orchestra,” says Jobs to his companions Steve Wozniak. The answers after a short pause merely: “That sounds good, but it does not mean much.” After this film you know: Probably both are true
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