By Dave Montalbano
The 83rd Annual Academy Awards went business as usual. The King’s Speech got the major awards, Inception, Alice in Wonderland and The Wolfman got their technical kudos and Toy Story 3 got best animated feature and best song recognition. No film dominated the ceremonies and the Oscar award wealth was spread.
The memoriam forgot Len Lesser; hopefully next year’s will include Jane Russell, who we lost Feb. 28. Bringing out Kirk Douglas was a nice gesture, but not allowing Eli Wallach to speak for his lifetime achievement award was foolish. Given how articulate he was at the Ft. Lauderdale International Film Festival a few years ago, Mr. Wallach would do a better job hosting the Oscars than James Franco and Anne Hathaway.
Having Hathaway and Franco host was a clarion call to get more “young people” to watch the Oscars, which was as successful as Rob Lowe dirty dancing with Snow White 22 years ago. Despite the hype, fad and trend of the new “hip” culture, this year’s artistic and box office winners contained conservative storytelling narratives.
Yet, every new decade seems to produce a motion picture that is a time capsule for its year. For example, Midnight Cowboy reeks of 1969. The same could be said of The Social Network, which heralds a new generation of young talent for the next decade, most notably Jessie Eisenberg and Rooney Mara. Given his character role as the blustery inventor of Napster, Justin Timberlake is now considered the “old man” of this actor’s ensemble.
Based on a true story, The Social Network opens with Mark Zuckerberg (Eisen-berg) and Erica Albright (Mara) speaking Aaron Sorkin dialogue for nearly five minutes. The couple breaks up. Incensed with the breakup and inspired by his own genius, Zuckerberg disses his former girlfriend on the Internet and the seed of “Facebook” is born.
Partnering with Sean Parker (Timberlake), Zucker-berg and his college cronies grow Facebook into an internet staple within a relatively short period of time. Fast success breeds jealousy and Zuckerberg confronts rivals who used to be allies.
The Social Network is PG-13 and is a film for young people. While the pseudo-intellectual dialogue is as cardboard as a Shakespearean monologue, Sorkin deserves credit for reaching the mythological abstract of King Midas in a modern context. Following the Aristotelian principles of storytelling, the final scene has a payoff that reflects upon opening scene. The Social Network has nowhere near the best picture qualities of The King’s Speech or Toy Story 3, but it will have an impact on the next decade of motion pictures.











