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And he tried, not successfully, to introduce Zuckerberg into the fast lane: big offices, wild parties, women, the availability of booze and cocaine. Why more money would come from venture capitalists than Eduardo would ever raise with his hat-in-hand visits to wealthy New Yorkers.

He explained why Facebook needed to move to Silicon Valley. It is the mercurial Parker, just out of work but basked in fame and past success, who grabbed Zuckerberg by the ears and pulled him into the big time. And most memorably we meet Sean Parker ( Justin Timberlake), the founder of two legendary web startups, Napster and Plaxo. We meet Eduardo Saverin ( Andrew Garfield), Zuckerberg's roommate and best (only) friend, who was made CFO of the company, lent it the money that it needed to get started and was frozen out. We meet the twins Cameron and Tyler Winklevoss (both played by Armie Hammer), rich kids who believe Zuckerberg stole their "Harvard Connection" in making Facebook. Along the way, we get insights into the pecking order at Harvard, a campus where ability joins wealth and family as success factors. Zuckerberg may have had the insight that created Facebook, but he didn't do it alone in a room, and the movie gets a narration by cutting between depositions for lawsuits. I suspect computer programming may be a fourth area. These non-verbal areas require little maturity or knowledge of human nature, but a quick ability to perceive patterns, logical rules and linkages. It's said there are child prodigies in only three areas: math, music and chess. To do that, he involved them in a matrix that is still growing. Zuckerberg wanted to get revenge on all the women at Harvard. The genius of Facebook requires not psychological insight but its method of combining ego with interaction. Likewise, programming languages and techniques are widely known, but it was Zuckerberg who intuited how he could link them with a networking site. Nobody was ever better at chess than Bobby Fischer.

Chessmasters cannot possibly calculate all of them, but using intuition, they can "see" a way through this near-infinity to a winning move. In theory, there are more possible moves on a chess board than molecules in the universe. After it's fertilized by a mundane website called "The Harvard Connection," Zuckerberg grows it into Facebook. This is sexist and illegal, and proves so popular, it crashes the campus servers. He programs a page where they can be rated for their beauty. He goes home, has more beers and starts hacking into the "facebooks" of Harvard dorms to collect the head shots of campus women. Erica gets fed up, calls him an asshole and walks out.Įrica (a fictional character) is right, but at that moment she puts Zuckerberg in business. It's an exercise in sadistic conversational gamesmanship. He nervously sips a beer and speed-talks through an aggressive interrogation. "The Social Network" begins with Erica's date with Zuckerberg. I can't remember the last time I received a Friend Request from anyone I didn't share at least one "Mutual Friend" with.įor the presence of Facebook, we possibly have to thank a woman named Erica ( Rooney Mara). I probably know 40 of my Facebook friends well, 100 glancingly, 200 by reputation. Remember that Kevin Bacon himself need not know more than a fraction of the people linking through him. What he needed was the ability to intuit a way to involve the human race in the Kevin Bacon Game. To conceive of Facebook, Zuckerberg ( Jesse Eisenberg) needed to know almost nothing about relationships or human nature (and apparently he didn't). It is said to be impossible to make a movie about a writer, because how can you show him only writing? It must also be impossible to make a movie about a computer programmer, because what is programming but writing in a language few people in the audience know? Yet Fincher and his writer, Aaron Sorkin, are able to explain the Facebook phenomenon in terms we can immediately understand, which is the reason 500 million of us have signed up. It makes an untellable story clear and fascinating. It hurtles through two hours of spellbinding dialogue.

It is cocksure, impatient, cold, exciting and instinctively perceptive. David Fincher's film has the rare quality of being not only as smart as its brilliant hero, but in the same way.