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The best part is that Mark Zuckerberg truly, deeply hates The Social Network. At the time of its release, he would not stop talking about its inaccuracies, namely its unfavorable depiction of him.
The Social Network (2010) Subtitles On a fall night in 2003, Harvard undergrad and computer programming genius Mark Zuckerberg sits down at his computer and heatedly begins working on a new idea. In a fury of blogging and programming, what begins in his dorm room soon becomes a global social network and a revolution in communication. A mere six years and 500 million friends later, Mark Zuckerberg is the youngest billionaire in history. But for this entrepreneur, success leads to both personal and legal complications.
The taut intelligence of ’s mix of competition, technology, and betrayal extends all the way to and ' score. Artful sound design and textural interplay are dead giveaways that had a hand in this music, as are the carefully chosen motifs: spectral pianos pass through icy and brittle electronics and brush up against corrosive electric guitars.
Has been working with sounds like these for years, and with particular precision on later albums like. However, he and use them with remarkable flexibility here, conveying apprehension and vulnerability on “Hand Covers Bruise”’s tentative melody, and almost sinister determination on “Eventually We Find Our Way”’s glowering tones.
And explore this divide between technology and all-too-human fragility throughout the score via caustic pieces like “A Familiar Taste” and “Carbon Prevails” and reflective ones such as the lovely “Painted Sun in Abstract.” The most abstract tracks feel like they were written by and for machines: “3:14 Every Night” finds and crafting an entirely different kind of industrial music than what is usually associated with; it hums like a generator as electronics scuttle and strings shriek. Most exciting, though, are 's longest pieces, which play like an extended suite. “In Motion,” “Intriguing Possibilities,” and “The Gentle Hum of Anxiety” - which could be an alternate title for the whole score - are atmospheric but percolate with electronic sounds that suggest synapses firing and technology acting of its own accord.
Throughout it all, there's a certain distance that reflects the virtual intimacy The Social Network comments on, coupled with an unease that comes to the fore on “Almost Home” and “Soft Trees Break the Fall.” Cerebral but with a very real emotional undercurrent, and 's score is perfect for a film. While may not be as iconic as score for ’s, it’s as impressive and listenable in its own way.
Fans and film score aficionados will find a lot to like here.