Fincher's Facebook

As a director, no one can accuse David Fincher of running away from disagreeable things. Serial killers and bare-knuckle fistfights have been his bread and butter for the most part. Why he decided to make The Social Network, though, is beyond me. A dorm room drama with a side of financial hooha, the film does not have a point, does not know if it has a hero or only villains, and does nothing to explore the really deep issues that it dances around. It is less a statement on the nature of these times than a product of the general confusion that reigns in the great valley of ethics and technology.

I am not here (on a technology and ethics blog) to talk about great performances, for which it may be acknowledged that at least Jesse Eisenberg's Mark Zuckerberg and Justin Timberlake's Sean Parker constitute a couple of decent contenders.  It has long (long, long...) been the case that Hollywood's pool of acting talent far exceeds its suppy of cinematic vehicles worthy of them. Nor do I wish to deny that the film manages, albeit it a rather formulaic way, to make a dramatically captivating tale of personal betrayals and egomania out of what you might call the classic story of the classic nerd. I suppose I could bite halfway into the summary on Rotten Tomatoes, "Impeccably scripted, beautifully directed, and filled with fine performances, The Social Network is a riveting, ambitious example of modern filmmaking at its finest." The first half, I suppose - though after it was over, my partner and I both kind of wondered aloud why anyone would really care about the story once you knew how it unfolds. As for "modern filmmaking at its finest", I hope not. Modern filmmaking at its finest ought to explore philosophical and social issues in a profound and aesthetically probing way; it ought to be art, specifically. The various comparisons to Citizen Kane that appear explicitly or otherwise in the capsule quotes on RottenTomatoes.com seem to me particularly inappropriate. That film works on so many levels it's hard to count; utilizes revolutionary cinematic techniques; and more than anything, probes its subject so deeply you can feel the nerves jangling and smell its breath. By comparison, The Social Network is nothing more than a stock Hollywood drama with a slightly unusual slant.

Why ain't this art? For one thing, the status of Mark Zuckerberg throughout the film seems to gyrate between admirable genius and objectionable "asshole" - a word used twice to describe him, and which seems to bookend the film. (That such language is startling enough to stand out in this way gives you an idea just what thin soup we are dealing with here.) Is Zuckerberg a technical genius with a keen sense of social needs and trends, or merely a hacker who managed to steal an idea from other Harvard students and through a combination of luck and deceit rode it to fame and fortune? The film version of Zuckerberg is quick with bright-sounding comeback quips, arrogant and consdescending to just about everyone around him. Legal proceedings to him are opportunities to stare out the window; a hurt and angry friend is just another body in the room. Yet, Fincher manages to make him just this side of cute and lovable too, largely on the strength of his abiding confidence in his own mission, and misguided but recognizably vulnerable appeals to people who he has hurt. The man emerges from the film as neither a really good dude, nor a really bad dude, just a somewhat confused kid who grew up too fast. Whether that is adequate subject matter for a film is a matter of taste, I guess, but for me, the character is neither tragic nor heroic nor evil, just morally and spiritually confused

Apart from the uninspired treatment of Zuckerberg's character, the film raises issues in ethics and technology, but does virtually nothing to move the debate forward, or even deepen the issues for our contemplation. Obviously, the moving idea behind it is the question of intellectual property rights. The Winklevosss brothers who sued Zuckerberg over Facebook and received a $20 million settlement are given plenty of screen time, but the matter of what constitutes an original idea, or whether an idea in itself constitutes intellectual property, or what material evidence is relevant to the question of who had an idea first, or what constitutes "theft" of creative ideas, or what constitutes deception with regard to informal working relationships - all this is somehow alluded to, but at best superficially explored. This is in spite of the fact that the film partly hinges around a hearing in which evidence is presented for and against such claims. These scenes largely involve a personal standoff between Zuckerberg and one or more of the examining attorneys; there is very little to make you think about the issues involved, which are among the most difficult and serious issues before us as a society.

This is disappointing for anyone who is looking to find insights, or even a particularly incisive or perspicuous presentation of issues, here. Fincher has shown some depth in exploring the psychology of the serial killer in Seven (which I have seen) and Zodiac (which I have not seen but read enough about). One might have expected that this entry into the subject matter of technology and its relationship to society would have produced similar depth. Instead, we get a gooey admixture of romantic and financial subplots and submerged philosophical issues. Zuckerberg is heard averring that the Winklevoss brothers are merely pretentious incompetents while he himself is the creative genius. But the question as to what that means, or what would constitute a reason for making that judgment, is left hanging throughout the film. There is even a suggestion that he developed Facebook while pretending to work for them as a matter of personal revenge for a perceived insult, thereby distracting attention from the potentially much more interesting issue of how society might navigate the competing claims of creative initiative.

The superficial approach to ethical issues is further emphasized by the portrayal of Sean Parker, a Napster founder played by Justin Timberlake. The whole Napster episode and file-sharing in general raises issues big enough for a separate film, and one might have expected that the prominent role given to Parker in this film would bring the moral issues under the surface bubbling up. But far from it. Parker is identified early on as a drug abuser and manipulative egomaniac, and his 2006 arrest for cocaine possession is duly played out, while the whole question of a Napster/Facebook connection - perhaps it represents some unstable emulsion of technical genius and moral decay among "Generation Y" (or Z, or on beyond Zebra) - is barely given a nod. The only impact Parker's arrest has on Facebook is to turn Zuckerberg's face glum and send him to his own site to "friend" an ex-girlfriend. The whole second half of the film is a missed opportunity to say something interesting on this subject.

Privacy? Anybody heard of any privacy issues regarding Facebook, or social networking in general? It is true that the film presents as a kickoff issue Zuckerberg's zeal to create a site on which he can embarrass the girl who has just dumped him. But to the extent that this is explored, it is mainly as a facet of Zuckerberg's juvenile emotional structure. It is a bit of character-building, and has little to contribute to our understanding of privacy or abuse in social networking. Zuckerberg is morally demeaned by his assinine motivations, but the fact that the enterprise facilitates such abuses, and the many ways in which sites like it contribute to the violation of privacy, is a subject that is shoved far under the rug as the more Hollywood-friendly personal dramas and corporate clashes are unfolded. Speaking of boardroom and bedroom, what about the embarrassments people have faced after sharing things on Facebook that ended up being read out to them in a job interview, or by a professor, or a potential lover? Don't expect to see much about that in the film that proudly proclaims its subject matter as "the social network". Ditto the burning issue of anonymity and identity assumption on social netowkring sites. Allusions and over-the-shoulder glances at these sorts of questions are all Fincher can spare while servicing the narrative requirements of an audience trained to latch onto one-line putdowns, predictable betrayals and obvious moral contradictions.

How about the fact that some people, not least of all high school and college age kids who would do much better to study their calculus and chemistry texts, are all but addicted to Facebook, spending hours a day on it? That is apparently not good movie material either. And if quite a lot of the 500 million-plus members think the whole thing is boring, stupid, intrusive, and a waste of time; if many of them basically joined Facebook just to see what all the fuss is about; if millions of Facebook members have chatted with an old buddy or flame a couple of times, acknowledged a few "friend" requests from people they later realized they didn't really want to be "friends" with, and then forgot about the whole thing - does FB still seem like such a great idea? Well, there's no questioning along those lines in the film; it would take the punch out of the presentation of FB as a phenomenon worthy of big-budget cinema. The denouement of the film starts with Facebook passing the 1,000,000 member mark, as if that in itself is a terrific thing. What if it is a deplorable thing? You won't find much in this film to detract from the sense that the Facebook juggernaut is ultimately something we should  drop our jaws and admire, after all is said and done and the lawsuits are behind us. Zuck may be a jerk, it seems to say, but "you don't get to 500 million friends without making a few enemies". And by the time the closing sequence has rolled by you know that once you have 500 million friends you can always pay off those enemies and perhaps make yourself feel okay about the whole thing. Maybe they will feel okay too.

As for the generation that has largely made Facebook the phenomenon it is, they come off as vapid, party-going types who got o fancy schools, drink beer, have stripper parties, suck up to the rich and famous, and admire people for all the wrong reasons. No doubt a lot of them are just like that; but so are a lot of every other generation. What, then, is special or unique about the generation that grew up in the digital age, indeed the HTTP age? I didn't see much in the film that asks a question remotely so interesting. Perhaps unwittingly (though I doubt it) the film manages to emphasize the childishness of the millenials by casting Brenda Song, the cute but infinitely spoiled and mindlessly materialistic London from Disney Channel's "Suite Life of Zach and Cody", as one of the Facebook team's groupies. (London, I mean Brenda, giving blow jobs in a bathroom stall? Nawwww...!) But this stereotype needs to be examined, not just trotted out to fund the thrilling story of Zuckerberg's rise to prominence on the social mania of his peers.

It is duly noted in the closing sequence that Zuckerberg is the youngest billionaire in the world. Okay, I'm jealous - well, of the first $10 million or so, anyway; I've never been able to imagine what I would do with even $25 million, much less a billion. Does the film examine the unique social phenomenon of very young computer types who manage to come up with a hot new web site and either take it public or sell it for millions of dollars? Not really: Zuckerberg's wealth and his relationship to it are not really explored; he is depicted as an idealist who does not  really care about money all that much, and is just in it for the fun and perhaps some prestige. Maybe that is true of the real life Zuckerberg, but still it is yet another alternative theme that is not really developed.

To be absolutely fair, I must admit that the film is inspiring in a certain way; it triggers a kind of slap-happy feeling that you, too, could come up with a brilliant idea that would match some untapped social sentiment and make you rich - only you would do it with a much more upstanding character, not have to screw your friends along the way, and perhaps use the money to save the world. But this only shows that the model of a brilliant Harvard undergrad leading a quasi-Bohemian life while rising to fame (or notoriety) and fortune is very seductive, a life that anyone with a mission and a sense of self-worth might wish he had led and might possibly believe he could still lead. I am not so sure I want to put such seduction in the positive column when scoring a film.

I must say I regret having to be such a curmudgeon. It is not that this film is worse than a million other Hollywood releases; it's better, in fact, than quite a few. It's just that the billing and the reviews do not really match what is achieved. When all is said and done, the film leaves you thinking a lot more about a slightly troubled individual than about the enormous social questions raised by his venture. It just doesn't have much to say about issues on which we are all waiting for helpful insights of any sort. But the will to say nothing is pretty strong in the arts these days, so maybe this is after all, if perversely, the movie of the decade.