When I started thinking of writing about my favorite opening credits to movies, the first which came to mind were the ones for “A Few Good Men.” Directed by Rob Reiner, it is based on the play by Aaron Sorkin who also wrote the screenplay, and it is about the court-martial of two United States Marines who have been charged with the murder of a fellow Marine. Furthermore, it deals with the difficulties the lawyers are forced to endure in their defense, but you knew this already as the film stars Tom Cruise, Demi Moore, Jack Nicholson and Kevin Bacon among others.
What I love about these opening credits is the military exercises, or choreography if you will, by the Marines on display. They were performed here by the Texas A&M University’s Corps of Cadets Fish Drill Team, and I was enthralled at how in sync each member of this team was with the other. Throughout, they all move and react in a uniform way to where there is no weak link in the bunch. These military officers have been trained thoroughly to act as one unit, and it shows here as not one of them misses a beat throughout their exercises. They do not even have to look at one another to make sure they are in sync as all of them move like a well-oiled machine.
The drill these Marines perform during the opening titles hang over the rest of “A Few Good Men” as the film deals with many characters who are forced to deal with the death of a recruit whose passing has now put this platoon completely out of sync. The unity is now broken, and it may be a permanent break unless those in power can fix the situation to where everything is back in balance. But what will it take to put this platoon back to a unifying standard While some suggest charging the two marines with murder, others come to see they were only acting under orders by their superiors who had a different, yet illegal, way of bringing order to chaos. The whole movie, in essence, is about bringing an unbreakable unity back to a military system which has been seriously run off course by those whose powers have long since become corrupt.
Please check out the opening titles of “A Few Good Men” down below:
So, why was this particular David Fincher film called “The Social Network” instead of just “Facebook” or “The Facebook Movie?” When going into the movie theater back in 2010, I figured this film would be all about how Facebook came into existence and of how its audience grew so quickly, but it was not just about that. Looking more closely at “The Social Network,” I think the title is meant to be intentionally ironic as it describes the key individuals who got it off the ground, particularly Max Zuckerberg, as they were more antisocial than they cared to realize. Max was clearly more comfortable being up close and personal with a computer screen than in interacting with real people. The Facebook phenomenon may have brought people closer together than ever before, but ten years later after this film’s release, we are reminded of how it also succeeded in keeping us further apart. And in the year 2020, this is more apparent than ever before.
The beginning of “The Social Network” quickly illustrates Max Zuckerberg’s (Jesse Eisenberg) antisocial behavior as we watch him talk with his girlfriend Erica Albright (Rooney Mara), and it quickly devolves into an increasingly awkward conversation to say the least. Max can’t look her in the eye, and he ends up insulting her without even realizing it. It looks as though his mind is moving at 100 miles a minute to where he never really slows down enough to take in the reactions coming his way. This is our first look at the young man who has long since become the youngest billionaire in America thanks to his bringing about the world’s most prolific social networking website, and he is proving to be anything but social. Erica makes her frustration with his one-track mind and insensitive nature perfectly. Max fears that unless he gets into one of Harvard’s exclusive clubs, he will never be taken seriously and will just be some techno nerd in everyone’s eyes. Erica, fed up with his attitude, tells him people will keep their distance from him because he is a jerk, not because he is exceptionally bright.
Well, love has a very strange effect on us all, and instead of trying to reconcile with Erica right then and there, Max instead heads straight back to his dorm room and creates a page along with his roommates called “Face Mash.” With this page, he allows students to pick which female students at Harvard are the prettiest by comparing them to one another. Of course, this is right after Max cruelly disses his now ex-girlfriend Erica in a number of ways which includes describing her bra size. “Face Mash” ends up bringing in so many viewers in one night to where Harvard’s computer network crashes completely, and Max becomes one of the most vilified individuals on campus, by girls mostly, as well as one of Harvard’s most ingenious students. In record time, he exploited the network’s vulnerability in a way Harvard never saw coming, and the university is quick to cover their own ass as a result.
This all leads to an invitation by identical twins Cameron and Tyler Winklevoss (both played by Armie Hammer) along with their business partner Divya Narendra (Max Minghella) to program a new website they want to put together called “Harvard Connection.” The way they see it, it will be a great way for the students at Harvard to connect with one another. Later, Max meets up with his best, and only, friend Eduardo Saverin (Andrew Garfield) and proposes putting together a website he calls “The Facebook,” an online social networking tool which would be exclusive to Harvard University students. Eduardo agrees to help finance the site, and thus begins a phenomenon which just about everyone has a profile on except for those who have long since had their fill of anything with the name Zuckerberg attached to it. But from there on out, battle lines are drawn and lawsuits are underway as the Winklevoss twins and Narendra claim Mark stole their idea, Eduardo ends up suing Max for cutting him out of the whole thing even though he was a co-founder, and friends and acquaintances soon become the most bitter of enemies.
“The Social Network” jumps back and forth between different perspectives of what actually happened. We watch events progress as Max gets “The Facebook” up and running, and of the reaction his supposed business partners have when their friends set up profiles on it. You never know exactly where the film is going as it goes from one event to a litigation between an annoyed Zuckerberg and the infuriated Winklevoss twins and the deeply bitter Divya Narendra. It goes even further to another lawsuit Eduardo files against Max which illustrates how this endeavor forever terminated their friendship. Even if you know everything there is to know about the creation of Facebook, this film succeeds in intensifying the hurt feelings of everyone involved ever so vividly. We know this house of cards will soon collapse on all the main people involved, but you just don’t know how hard the hits will affect you and everyone else.
Now Fincher and screenwriter Aaron Sorkin working together might not sound like a match made in heaven, and it’s easier to expect them trying to strangle one another in the process of making “The Social Network.” But together, they make cinematic magic as Fincher’s razor-sharp direction more than complements Sorkin’s brilliant dialogue and story construction. This represents some of their best work, and there is nary a false note to be found here. The visual elements never upstage the script and vice versa. It’s a perfect marriage of sights and sounds in a story of friendship, power and betrayal.
Ever since Sorkin’s unforgettable work on “A Few Good Men” and “The American President,” he has mostly worked in television where he was best known for “The West Wing,” my big brother’s favorite TV show. But his screenplay for “The Social Network,” which was adapted from Ben Mezrich’s non-fiction book “The Accidental Billionaires,” is full of some of the most creative dialogue I have heard in any film I have ever seen. One standout scene comes when the Winklevoss twins meet up with Harvard President Larry Summers (Douglas Urbanski) to discuss their desire to sue Max. Watching Summers dryly dismissing their accusations and politely tearing them a new one as if they had no reason to bother him in the first place is so indelibly clever to where the exchange merits a whole play unto itself.
But much of the credit for “The Social Network’s” success belongs to the actors, all of whom were perfectly cast. At the top of the list is Eisenberg who, as Max Zuckerberg, is never afraid to make his character less than likable, and I admired how he and the filmmakers were never looking to whitewash him for the sake of good press. Eisenberg makes you see how fast Max’s mind is moving and of how his single-mindedness keeps him from realizing who he is as a person. You do find yourself admiring Max in spite of himself, and Eisenberg really succeeds in creating a believable sense of empathy for him. It’s this empathy which makes us all want to follow along with this alienated genius all the way to the very end. It’s a tough role, but Eisenberg nails it perfectly while delivering Sorkin’s rapid-fire dialogue without missing a beat.
Rooney Mara only appears in a couple of scenes as Erica Albright, but her presence on the screen is quite powerful as she wounds Max for all he is worth. This proved to be a stronger showcase for Mara’s talents as opposed to her appearance in the remake of “A Nightmare on Elm Street,” and it made me all the more excited to see her performance as Lisbeth Salander in Fincher’s “The Girl with the Dragon Tattoo.” The fact her performance as Lisbeth was so brilliant was hinted at in her work here.
Then you have Andrew Garfield who, at the time, was more well-known for the role he was cast in as Peter Parker and his alter-ego in “The Amazing Spider-Man.” In many ways, Garfield gives this film’s best performance as the most well-meaning guy of the bunch who becomes the biggest victim of all. As we watch him lose control over something he helped create, Garfield makes us feel Eduardo’s vulnerability and pain of being so thoughtlessly cut out of this internet juggernaut all the more vivid and wrenching to witness. We relate to Eduardo’s situation as we have all been duped once or twice. This could have been a performance which might have come across as hopelessly melodramatic and manipulative, but Andrews makes his character so achingly real to where there is no forgetting him once the film has ended.
With Justin Timberlake, “The Social Network” proved there could be no denial of his acting talents with his revelatory performance as Sean Parker, founder of Napster. Fincher made Timberlake screen test for this role a dozen times, and it looks like all those times he hosted “Saturday Night Live” are giving him dividends he truly deserves. Yes, he gave terrific performances in “Alpha Dog” and “Black Snake Moan” beforehand, but his performance here feels all the more astonishing as he seduces not just Max Zuckerberg, but the audience as well. Timberlake slyly turns Sean into the guy who gets inside your skin to effortlessly take advantage of you as he can clearly see what your soul cries out for. Sean makes you believe that the world can be yours and that anything and everything is possible for you and only you. Timberlake is exquisite in Sean seem all the more appealing to be around while making you completely forget he is a back stabbing snake looking to get Eduardo Saverin out of the way.
A lot of praise is also in store for Armie Hammer who portrays the Winklevoss twins, Cameron and Tyler. It helps that Fincher chose an actor most people were not familiar with at the time because, for a while, I honestly thought it was two different actors playing these roles. Seeing an actor playing twins is nothing new, but it hasn’t been done this well since Nicolas Cage played two sides of Charlie Kaufman in “Adaptation.” Hammer nails all the specific nuances of each brother down perfectly to where you can easily tell them apart, and credit also needs to be given to Josh Pence who was a stand in for Hammer. You never catch yourself witnessing special effects whenever Hammer is onscreen, and this makes his work all the more impressive.
Seriously, even the smallest of roles in “The Social Network” are acted with the upmost skill, and no character could ever be mistaken as an easy throwaway. Actors like Max Minghella, Joseph Mazzello, Brenda Song, and Douglas Urbanski all make great use of their time onscreen, and each leaves their mark on our minds.
Trent Reznor composed the score for “The Social Network” along with Atticus Ross, and their music captures how the world around the characters becomes more and more mediatized as the world keeps turning and technology keeps advancing. The electronic sound Reznor is best known for serves to also illustrate the divisions which emerge among everyone here and of how their emotions end up being drained through anger and hurt feelings which may never be fully repaired. Fincher was convinced Fincher and Ross would not receive an Oscar nomination for their work, but they did and eventually won the Oscar for Best Original Score in a way the filmmaker did not see coming. This would lead to a remarkably creative working relationship between these three as they have composed to other Fincher films including the deliciously twisted “Gone Girl.”
“The Social Network” is not meant to be the definitive story of who is truly responsible for the creation of Facebook. Indeed, no one will ever fully know what went on other than the main people involved, and while hefty settlements were made out of court, there does not seem to be a consensus as to what truly happened. Clearly, neither Fincher or Sorkin were interested in getting down to the truth as much as they were in observing the effect this behemoth of a website had on everyone and of how Facebook came to make an inescapable mark in the realm of social media.
Frankly, I don’t give a damn if the movie is completely accurate as there is always a good dose of dramatization in movies dealing with non-fiction stories. What does matter to me is this all makes for a highly dramatic experience which holds our attention from the start to the very end. There are no gun fights or car chases to be found in “The Social Network,” but the emotionally damage inflicted feels every bit as visceral and brutal as any action picture.
The film’s last scene with Max Zuckerberg sitting alone in an office in front of his laptop computer pretty much defines what we have all become in the past decade; a slave to technology and the world wide web. It makes you wonder if we will ever be able to live without such technology as it has long become an inescapable part of our lives. Can we even remember what the world was like before the internet? These days, we are more comfortable being up front and close with our computers than we are with other people, and this was the case before the current global pandemic. Still, there is still a part of us yearning for human contact which we all need, and the fact we are more removed from it than usual is a sad statement on humanity.