Steve Jobs is a strange sort of movie. Danny Boyle’s valiant attempt to capture the wayward genius of Apple’s head honcho is a film that really could only have been made after the man’s death. If he’d still been alive he’d have sued the makers for every penny they had. Not because it’s inaccurate, you understand, simply because that’s the kind of man he was.
Set mostly at the launch of three Apple products – the original Macintosh, the ill-fated Next cube and finally, the iMac, the set up is more like that of a theatrical production – and for all Boyle’s claims that this is a ‘standing-up’ movie rather than a ‘sitting-down’ one, it still comes across as predominantly talky. The script, by Aaron Sorkin, is a cut above most movie dialogue you’ll encounter, which certainly helps, but this frankly isn’t in the same league as The Social Network, with which the film will inevitably be compared.
Jobs (Michael Fassbender), quickly demonstrates the kind of behaviour that had him classed as a major pain in the backside by pretty much everyone who had the misfortune to work with him. He’s obsessed with tiny details, unwilling to take anyone else’s views into consideration and equally unwilling to take responsibility for his daughter, Lisa, who he claims might not actually be his child. His long-suffering assistant, Joanna Hoffman (Kate Winslet) is lumbered with the unenviable task of keeping him on track and we see clashes with bearded workhorse Steve Wozniak (Seth Rogan) and conversations with the closest thing that Jobs had to a father-figure, John Sculley (Jeff Daniels) – unless of course you include his actual biological father, a restaurant owner who used to boast that Jobs ate in his establishment, without ever finding out he was actually waiting on his own son.
Boyle’s films are usually adrenalin-fuelled, razzle-dazzle affairs, so this slow burning, stage bound production will inevitably prove a disappointment to many. Certainly, early indications are that the movie is not exactly putting bums on seats – but it wins through in the end by virtue of Sorkin’s edgy script and a soaring conclusion, where everything finally falls into place.