Hollywood loves making biopics, and these days it seems the subject matter is more and more recent. STEVE JOBS is the second film to focus on the Apple pioneer, but is far and away the better of the two. What’s interesting is unlike most biopics, this is not a film about his life so much as a study of three major events in it. Told in real time, it centers on three major releases that Jobs was front and center for, and what was going on behind the scenes during each moment. It also walks a fine line in showing Jobs as a somewhat determined genius and not-so-likable human being.

The film opens with the pending release presentation of the first Macintosh computer (which was unveiled in 1984), as Apple founder Steve Jobs (Michael Fassbender) stresses out backstage with his marketing chief Joanna Hoffman (Kate Winslet), angry that the “talking” feature on the computer isn’t working… it’s extremely important to Steve that the Mac says “Hello” when he introduces it on stage, and he berates developer Andy Hertzfeld (Michael Stuhlbarg) saying no matter what this error must be fixed. It is here where we get our first glimpse of Jobs’ dark side, showing that he puts presentation and image above tact and personal relationships. While he rants, his ex-girlfriend Chrisann Brennan (Katherine Waterston) waits patiently for his attention with her daughter Lisa in tow. She says the girl is Steve’s daughter though he denies it vehemently, yet he never flat out sends them away. It’s also worthy of note that Jobs named the Macintosh “Lisa”, despite also denying that this possibly illegitimate daughter was an influence. At one point Apple co-founder Steve Wozniak (Seth Rogen) shows up, begging Steve to acknowledge the development team of the Apple II computer, since that model’s success is what paved the way for this new era. Again, we see Jobs being stubborn in the face of those who helped him, insisting the Apple II and those who worked so hard to make it successful mean nothing in regards to what lies ahead. Finally, we’re introduced to Apple CEO John Sculley, a former soda company genius who has put his faith in the computer company and Jobs.

All of these characters play integral roles in each of the three stories, sometimes in positive ways and sometimes negative, though all find a significant amount of conflict in dealing with Steve. The second story involves Jobs (after being let go from Apple by vote) releasing his own computer at a time when his former company is hemorrhaging money, and shows how in many ways he orchestrated (rather brilliantly) his own inevitable return. The final chapter focuses on the 1998 release of the colorful and highly-marketed iMac, which was released just in time to take advantage of the internet craze. In each of the stories one of the most important and connecting threads is that of Jobs’ daughter and his feelings toward her, culminating to his deciding exactly how connected he wanted to be with her and her life. Another constant is that the characters Steve interacts with in each story aren’t just distractions, but rather remain very important toward who he is as a person and the perception by others of him. There is no big finale, no true beginning and end, not even some wrap-up text on the screen to tell you how things played out… what we get instead is a fascinating character study of an engaging figure and the people who were closely connected with his successes and failures.

Michael Fassbender is quickly becoming one of the best actors working today, and this is a role that should make him a household name and strong Oscar contender for next year’s race. His portrayal of Jobs is intense and layered, and balances charisma and arrogance in a way that is overwhelmingly superb. One of the problems I had with Ashton Kutcher’s take in jOBS is that his interpretation of the man made him seem like a jerk without much redemption, whereas Fassbender’s reading is more sincere and realistic, and somehow works in that he never overdoes the annoying side of the character. This Steve Jobs is determined and focused, and knows what he wants and feels he deserves. It’s easy to identify (to some degree) how a brilliant mind like that can at times be cold and seemingly selfish in the face of those around him who always seem to want something… though sometimes you really wish he’d just give in and be nice. Kate Winslet is also excellent as Joanna Hoffman, capturing the subtle Polish accent that’s almost faded after so much time in America, and brilliantly playing the “work wife” to a most difficult man. She is his conscience and voice of reason, but even she can’t always control his path or way of getting there. We feel for her and the constant challenges she faces trying to help Steve achieve his vision. One almost has to wonder if she had been the one in charge would things have played out more smoothly and fairly in the long run.

Seth Rogen is used sparingly as Steve Wozniak, but makes the most of his scenes, and it’s refreshing to see him in a serious role, which he’s terrific in by the way. Jeff Daniels gets some great moments as the morally-conflicted Apple CEO, who believes in Steve’s vision but must also do what is best for the company, even if it means hurting the man he’s supposed to be behind. The only roles that feel a little underdeveloped are Michael Stuhlbarg (as Apple development team member Andy Hertzfeld) and Katherine Waterston (as Chrisann Brennan), who both are major figures in Jobs’ life, but never quite get their moment to shine the way you might hope. Stuhlbarg does get a few nice quips in with Fassbender, and in some ways is one of the most sympathetic and put-upon characters of the piece, but Waterston doesn’t fare as well playing the troubled ex-girlfriend who clearly is her own worst enemy. I imagine there’s much more story with those two that they just couldn’t find time to include. One of the biggest surprise performances comes from Perla Haney-Jardine as Lisa at age 19, who in a series of brief scenes manages to hold her own against (and almost upstage) Fassbender, and really steals our hearts right as the production comes to a close.

The film is directed by Danny Boyle (127 HOURS, SLUMDOG MILLIONAIRE) and written by Aaron Sorkin (THE SOCIAL NETWORK), based on Walter Isaacson’s best-selling biography of the Apple founder. At one point this project was in the hands of David Fincher, who eventually decided to move away from directing duties. Boyle, who always delivers behind the camera, does a fine job in finding a compelling visual style and properly spotlighting each and every performance. The task of portraying Jobs realistically (in that he was not the nicest dude to work with) and still making him an engaging figure is handled deftly, and Boyle keeps us engaged regardless of how much techno-babble is being delivered. This production could be studied in film classes as a lesson on how to make material pop off the page, and showing ways to transform seemingly mundane activities into thrilling exchanges. STEVE JOBS isn’t exactly a fulfilling cinematic experience, and certainly not a traditional one, but it is rather unique and incredible to experience.  In some ways it reminded me of BIRDMAN, only much more serious and grounded in reality, and like that film you should expect to hear it mentioned a lot when the Academy Awards roll around.

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