Was Ashton Kutcher cast as Steve Jobs because he resembled SJ? Possibly, because director Joshua Michael Stern ends the movie by showing us how much the actors looked like the real life folk they were portraying. (Honestly, who cares?) Nonetheless, Kutcher delivers a respectable performance as the megalomaniac visionary.
Jobs may disappoint the Apple fan who cherishes his/her iPhone, iPad, iPod, Macbook Air etc. because the story ends in 2001. Millennials familiar with the delight he communicated at Macworld presentations in the new century may not appreciate the portrayal of Jobs as, well, an asshole (as he is so identified in the film by his boss at Atari).
The upside of focusing on the 20th century portion of SJ’s life is that we are spared his illness, a sappy deathbed scene and final goodbyes. We are not spared a too long sequence depicting a 70’s acid trip which may have colored Jobs’ vision of life and computers.
Jobs’ relationship with Apple co-founder Steve Wozniak (played by Josh Gad) is examined. They needed each other. Woz was the geeky tech genius. Jobs was the articulate guy who could deal and lead. An early scene shows Wozniak working to develop an Atari game, for which Jobs paid Woz just $350 (after SJ was promised $5K from Atari when the job was done).
When Apple is getting up and running with help from investor Mike Markkula (Durmot Mulroney), more of Jobs’ selfishness is revealed. He is stingy when doling out shares in the new endeavor, parks in handicap spaces with impunity, fires people spontaneously and has little tact in his dealings.
Arthur Rock (J.K. Simmons—with hair!) also invests and uses his power on the board to have some of Jobs’ power stripped away. Jobs suggests Pepsi’s John Scully (Matthew Modine) take over leadership of Apple. Jobs is put in charge of a new project called the MacIntosh. The Mac is a critical hit but a sales dud (oh, yes, it was), leading to Jobs’ departure from the company.
When he returns to a crippled Apple in the 90’s, he’s still a maverick (although he no longer drives a Maverick as he did in earlier scenes). The new Jobs, however, treats employees better, promoting creativity. A young man who visualizes the iMac with the colorful translucent shell is encouraged and motivated by Jobs’ guidance.
I had anticipated Jobs’ relationship with Bill Gates might’ve received a bit more play in the film. After Jobs looks at the new Microsoft Windows OS that’s a rip-off of the MacIntosh OS, Jobs is shown on the phone angrily berating Gates.
Kutcher brings the distinctive Jobs lope to the role. And his acting chops are okay. But his baby face belies his being the uncaring (about people, not product) jerk he depicts. He simply lacks the proper gravitas.
Jobs is the sort of movie you expect to see on a cable channel, not in a movie house. But hardcore fans of Jobs and Apple will appreciate Jobs and, while they aren’t likely to line up as if a new Apple product were about to be released, they should be curious enough to check out this decent biopic.
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