It’s an interesting idea for a character, to be so focused on making a computer personable while himself incapable of such similar qualities, but that can only carry the movie so far. In the first act he demands that the computer be able to say “hello” to the audience when he introduces it onstage. So he’s aloof and withdrawn and certainly demanding, and yet he is so focused on making a computer that is personable in a way technology wasn’t at the time.
The person who knows him best, outside of Joanna, might be a local reporter who keeps pressing him for information. He’s not very likable, and he pushes away those closest to him. The story focuses on Jobs’ relationship with several of the characters mentioned above. It just felt a bit absurd even if the themes being covered were quite compelling. It’s a character who might as well be talking to the ghosts of his past and present before the single most important moment of his career, again and again.Īnd that’s all well and good, but I had a hard time accepting that surrealism when faced with a character based on a real person whose image is iconographic. In each of the three phases of the story (told between 19) Jobs (Michael Fassbender) interacts with and old girlfriend, Chrisann (Katherine Waterston), a designer (Michael Stuhlberg), Woz (Seth Rogen), his head of marketing, Joanna (Kate Winslet), a father figure John Sculley (Jeff Daniels) and most importantly his daughter. It’s quite fascinating but so boldly soap opera-y. There is an instant dichotomy between public and private, with all of this drama unfolding as he prepares to put on his persona and channel it into the sale of a computer which he wants to be more personable than he seems capable of being himself.
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In each case his conversations (Aaron Sorkin going full Sorkin with all the snappy “walk and talks”) take place in the wings off of a large stage, with the growing audience always looming around the corner. It tells the story of Steve Jobs’ career at Apple through three long sequences leading up to a product launch.
Danny Boyle’s Steve Jobs is operatic and a bit silly.
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