One of the most vibrant scenes in ‘TÁR’ happens right at the beginning, where after a list of achievements, Cate Blanchett’s character begins to talk about the job of conducting an orchestra. Using her hands to control each of the instruments around her is her way of captivate the audiencebut also its control mechanism, which, as will be seen later, cannot but fail because the supposed genius only takes you up to a certain point.
It should come as no surprise that the Steve Jobs of ‘Steve Jobs’, played by Michael Fassbender, identifies with an orchestra conductor. His forceful response rounds out the film’s most electrifying scene, where Seth Rogen’s Steve Wozniak interrogates him. What special talent does he have to be considered a genius? when it does not appear to perform a direct job. Nor do they have any consideration for the musicians who do make the music.
Who the heck is Steve Jobs
It’s the question that Danny Boyle and Aaron Sorkin are trying to answer in this underrated biopic available on SkyShowtime from the famous figure at the helm of Apple. With absolutely free inspiration in the bible about Steve by Walter Isaacson (how can it be otherwise with Sorkin), he recreates three important presentations where several important people in his life approach him and confront him regarding several of the acts and decisions from him.
What really makes Jobs a genius? And if he is, does he justify in any way that he has behaved in a despicable and base way with all those who have worked alongside him, or even with his own family? Far from the infinitely less accomplished 2013 film with Ashton Kutcher, ‘Steve Jobs’ does manages to make a complex and interesting character study that does not adhere excessively to the conventions of the biopic with Oscar ambitions.
Sorkin’s stark three-act structure, condensing nearly every aspect of his life into three relevant product introductions (the Macintosh, the NeXT computer, and the iMac), is as whimsical as it is fully self-aware. The script even jokes about it in one line of dialogue, but it doesn’t change what turns out. effective to propel the dramawhich is narrated in a formidable way by a Boyle who, in addition to always making the least boring shot possible, gives a great lesson in rhythm and also directing actors.
‘Steve Jobs’: playing the orchestra
In a similar way to how ‘The Social Network’ portrays the architects of one of the most important technological changes of this century as egocentric (and almost psychopathic), ‘Steve Jobs’ shows how the admired “hero” who put Apple to the test the vanguard failed its closest circle. It may not seem like the case because Boyle doesn’t have the same cynical fang as David Fincher, but there are always little moments in the scenes where his great intuition to know how people will interact with technology but it’s useless in building a relationship with the people you deal with on an almost daily basis.
The relationship with his daughter seems a priori the most manipulative emotional element that can become pure terrorism in the hands of Sorkin and Boyle. However, it is where he most manages to tell the story of the icon beyond the real events. Her inability to connect with her in any other way than through fabricating technology is truly tragic, and completely colors an ending that is supposed to be about redemption and glorification of the protagonist. Perhaps many of us gave a hard time because these two were going to find so many keys and make such a remarkable film, but you have to take your hat off with them.
In Espinof | The best biopics of all time