Thursday, 21, October, 2021


Steve Jobs has a wonderful storyline, but too much dialogue can be very demanding on the viewer

Crítica | Steve Jobs

"It's not binary, did you know? You can have a gift and be decent at the same time“.

This phrase, so timely spoken by Steve Wozniak, in 1998, in the city of San Francisco, on the eve of the launch of the computer iMac, and addressed to your friend and creative partner Steve Jobs, the founder of the computer giant Apple, perfectly sums up the simple complexity of Jobs' persona and life itself, an individual of unique genius, in eternal battle with his belligerent and uncompromising personality.

It is this enigmatic personality that Steve Jobs (USA, UK, 2015), film impeccably directed by Danny Boyle (Who wants to be a millionaire), colossally written by Aaron Sorkin (The social network) and carried out with extreme competence for the increasingly better Michael Fassbender (Macbeth: Ambition and War) seeks to decipher, at the same time as it opens the indisputable ferocity and self-confidence of the man who, without a doubt, transformed the world in which we live today.

The production is structured around three key moments in Jobs' personal and professional trajectory: 1984, on the eve of the launch of Apple's first personal computer, the Macintosh; 1988, year of the launch of the computer Next, Jobs' solo project after his resignation from Apple, after the failure of sales of the computer he had created in '84; and 1998, on the eve of the launch of the iMac, a project that marked Jobs's return to Apple and which consolidated him as the computer genius that we came to know until his death, victim of pancreatic cancer, in 2011, at the age of 56.

Steve Jobs
Michael Fassbender and Seth Rogen on Steve Jobs | Image: Disclosure

Intermingling these capital events in Jobs' life, Sorkin's magnanimous script (undoubtedly one of the best and most complex ever filmed at all times), portrays in a dynamic (but excessively verbose) way, Steve's relations with the characters of day-to-day life, as his former endeavor partner Steve Wozniak (the comedian Seth Rogen, showing he knows how to act), his former boss John Sculley (Jeff Daniels, in Débi & Lídio 2), his faithful chief engineer Andy Hertzfeld (Michael Stuhlbarg, in Men in Black 3), his loyal assistant and handyman Joanna (Kate Winslet, in Intimate Sins), in addition to the problematic Chrisann (the beautiful Katherine Waterston, in Inherent Addiction), the mother of Jobs' only daughter, Lisa, played at three different times by Ripley Sobo and Makenzie Moss, and also by the young Brazilian Perla Haney-Jardine (Kill Bill Vol. 2). Em todas estas interfaces, brilha o dinamismo técnico do roteiro de Sorkin, além da direção sempre arrojada de Boyle (aqui mais discreto do que o habitual).

Unlike most critics and the press, I do not consider JOBS, film released in 2013, directed by Joshua Michael Stern and starring Ashton Kutcher, a really bad production. But just 10 minutes of Boyle's film is enough to visualize the abysmal difference between his production and the one directed by Stern. Steve Jobs give a bath! Sorkin's text is so intelligent and complex that, at times, it reaches cinematic perfection. As if the text and the direction were not enough, the editing work done by Elliot Graham (in Trash: Hope Comes from the Trash) também merece destaque. Uma sequência em particular, em que Jobs interage com John Sculley em dois períodos distintos, mas mostrados de maneira simultânea, é de uma competência tão avassaladora, que, por si só, já mereceria uma ovação em pé. Neste, e em vários outros momentos da produção, brilha a segura direção de Boyle e o talento de seu primoroso elenco, em especial é claro, seu protagonista Michael Fassbender, absolutamente irrepreensível.

Even so, Steve Jobs não é um filme fácil. O excesso de diálogos e os pouquíssimos cortes cobram bastante esforço do espectador, que demora um pouco para absorver o excesso de informações que chegam bombardeando o tempo todo. Mas é exatamente esta a essência do próprio Steve Jobs. Um ser diferenciado, por vezes genial, mas cujo talento para os negócios não agregava sua vida pessoal, repleta de ressentimentos, relacionamentos mal resolvidos e muitas falhas na comunicação. Ao criar tantas ferramentas para aproximar cada vez mais as pessoas, Jobs, de alguma maneira, se distanciava delas e, ao mesmo tempo em que facilitava a comunicação humana, não conseguia cruzar as fronteiras nem de sua própria vida familiar. Talvez fosse o preço a se pagar pela genialidade. Genialidade que chega extremamente bem traduzida ao cinema, pelas talentosas mãos de Boyle, Sorkin e Fassbender, num filme absolutamente necessário.

See Steve Jobs' full sheet and cast.

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