In existence only a few years and now it is the subject of a major movie.
The Social Network, the new movie, released in the US October 1, directed by David Fincher, Curious Case of Benjamin Button – Fight Club – Zodiac, and written by Aaron Sorkin, creator of The West Wing, is about Mark Zuckerberg and the creation of Facebook.
“The Social Network,” directed by David Fincher and written by Aaron Sorkin, rushes through a coruscating series of exhilarations and desolations, triumphs and betrayals, and ends with what feels like darkness closing in on an isolated soul. This brilliantly entertaining and emotionally wrenching movie is built around a melancholy paradox: in 2003, Mark Zuckerberg (Jesse Eisenberg), a nineteen-year-old Harvard sophomore, invents Facebook and eventually creates a five-hundred-million-strong network of “friends,” but Zuckerberg is so egotistical, work-obsessed, and withdrawn that he can’t stay close to anyone; he blows off his only real pal, Eduardo Saverin (Andrew Garfield), a fellow Jewish student at Harvard, who helps him launch the site. The movie is not a conventionally priggish tale of youthful innocence corrupted by riches; nor is it merely a sarcastic arrow shot into the heart of a poor little rich boy. Both themes are there, but the dramatic development of the material pushes beyond simplicities, and the portrait of Zuckerberg is many-sided and ambiguous; no two viewers will see him in quite the same way. The debate about the movie’s accuracy has already begun, but Fincher and Sorkin, selecting from known facts and then freely interpreting them, have created a work of art.
Cynically, I suspect The Social Network will prove the essential truth of that observation.
However, it will be fascinating to see how the creator of one of the phenomena of our time is treated. In that regard , I found this comment in the review very interesting and thought provoking:-
By focussing on the moment of creation, Fincher and Sorkin are getting at something new. From the first scene to the last, “The Social Network” hints at a psychological shift produced by the Information Age, a new impersonality that affects almost everyone. After all, Facebook, like Zuckerberg, is a paradox: a Web site that celebrates the aura of intimacy while providing the relief of distance, substituting bodiless sharing and the thrills of self-created celebrityhood for close encounters of the first kind. Karl Marx suggested that, in the capitalist age, we began to treat one another as commodities. “The Social Network” suggests that we now treat one another as packets of information. Mark Zuckerberg, as interpreted by this film, comes off as a binary personality. As far as he’s concerned, either you’re for him or you’re against him. Either you have information that he can use or you don’t. Apart from that, he’s not interested.
It may not be fair to Zuckerberg, but Sorkin and Fincher have set him up as a symbolic man of the age, a supremely functional prince of dysfunction. Charles Foster Kane was convivial and outgoing; Zuckerberg engages only the world he is creating. But those viewers who think of him as nothing more than a vindictive little shit will be responding to only one part of him. He’s a revolutionary because he broods on his personal grievances and, as insensitive as he is, reaches the aggrieved element in everyone, the human desire for response. He’s meant to be a hero—certainly he’s Fincher’s hero, an artist working in code who sticks to his vision and is helpless to prevent himself from suffering the most wounding personal loss.