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The actors could not be better, as they thrust and parry over 14 years with the man who compares himself to Julius Caesar, an emperor surrounded by enemies. Still, their actions and reactions have the ring of harsh, abstract truth. Sorkin moves characters around his cinematic chessboard (shades of Birdman) with little regard to whether they were actually present during Jobs’ backstage rampages.
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Boyle also knows how to fill the spaces between words so they reveal the emotions of the multitudes who come and go in Jobs’ hectic life. It’s a challenge worth taking.Ĭheers to master filmmaker Danny Boyle ( Slumdog Millionaire, Trainspotting, 127 Hours) for directing Sorkin’s three-act play with the hurtling speed of a white-knuckle thriller.
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Echoing Jobs’ rush to the next big thing, Sorkin counts on you to keep up. Dazed by the tech-speak and whirling innovations? Sorkin offers no sympathy. The final part, utilizing high-def digital, takes place in 1998 at San Francisco’s Davies Symphony Hall, where Jobs, back calling the shots at Apple, gives the iMac its famed send-off. The second part, presented on widescreen 35mm, unfurls at the sleek San Francisco Opera House in 1988 when Jobs, axed by Apple, presents his NeXT cube to mass indifference. The first part, shot on low-res 16mm film, is set in 1984 in Cupertino, California, where Jobs, 29, debuts the Macintosh.