一个非常有趣的印象……杰瑞米·斯特朗饰演《社交清算》中的马克·扎克伯格。
A very interesting impression … Jeremy Strong as Mark Zuckerberg in The Social Reckoning.
照片：Everett Collection Inc/Alamy 评论 《社交清算》影评——阿伦·索尔金节奏紧凑的续集，带来了一个全新的邪恶提线木偶般扎克伯格 杰瑞米·斯特朗饰演的慢语速Facebook创始人变成了一个客串角色，退居为一部关于吹哨人的惊悚片的背景，而这部电影却不知为何从未提及特朗普 这部电影正是拍给所有那些在谈话中庄重地谴责社交媒体，却又迟迟没有注销账号的人看的。
Photograph: Everett Collection Inc/Alamy Review The Social Reckoning review – Aaron Sorkin’s jittery sequel with all-new evil puppet Zuckerberg Jeremy Strong’s slow-talking Facebook founder turns into a cameo, background to a thriller about a whistleblower that somehow never mentions Trump ere is a film for all those people who solemnly deplore social media in conversation but haven’t quite got round to deleting their accounts.
自从由阿伦·索尔金编剧、大卫·芬奇执导的《社交网络》上映以来，已经过去十六年了；那是一部让人上瘾、有强迫症式的电影，讲述了Facebook在哈佛大学充满男子气概竞争的学生性别歧视和书呆子自怜的熔炉中诞生，杰西·艾森伯格在片中饰演那位语速极快、傲慢自大、不见得一定是恶魔的天才马克·扎克伯格。现在，索尔金携一部某种意义上的续集回归，并亲自执导自己的剧本——而现在的扎克伯格基本上成了个恶棍，却又有着诡异的慢语速，仿佛第一部电影中所有那些妙语连珠、精明狡黠的索尔金式对白活力，在步入初老时已经被抽干，并分散到了新演员阵容中的反叛者身上。
Sixteen years have gone by since The Social Network written by Aaron Sorkin and directed by David Fincher; this was the addictive, obsessive-compulsive movie about the birth of Facebook in Harvard’s macho-competitive cauldron of student sexism and nerdy self-pity, starring Jesse Eisenberg as the fast-talking, arrogant, not-necessarily-evil genius Mark Zuckerberg. Now Sorkin is back with a sequel of sorts, directing his own script – and now Zuckerberg is basically evil, but also weirdly slow talking, as if all the zinging, smart-alecky Sorkinesque dialogue energy of the first film has been siphoned away in early middle age and dispersed among the insurgents in the new cast.
索金那种紧张、幽默且节奏明快的写作风格非常独特，与大卫·马梅特（David Mamet）的风格如出一辙。不过，索金在剧中提到了一个笑话：他认为“spatula”（铲子）这个单词其实源自意第绪语，这个说法是从菲利普·罗斯（Philip Roth）的小说《波特诺伊的抱怨》（Portnoy’s Complaint）中借鉴来的。影片讲述了2021年，扎克伯格的Facebook帝国如何遭到勇敢的举报人弗朗西斯·豪根（Frances Haugen）与《华尔街日报》调查记者杰夫·霍维茨（Jeff Horwitz）的挑战。
Sorkin’s jittery, funny, syncopated style is unmistakable, as distinctive in its way as David Mamet, although he has one joke about “spatula” being a Yiddish word that he has borrowed from Philip Roth’s Portnoy’s Complaint It is the story of how in 2021, Zuckerberg’s Facebook empire was challenged by courageous whistleblower-employee Frances Haugen and Wall Street Journal investigative reporter Jeff Horwitz, who were on a mission to tell the world how Zuckerberg, scared by falling revenue, changed the algorithm so that engagement was supercharged by rage bait and hate speech, malice and envy.
他们的目的是向全世界揭露：由于收入下滑，扎克伯格改变了Facebook的算法，使得用户之间的互动行为更多地被愤怒、仇恨言论、恶意和嫉妒所驱动。此外，Facebook对政治广告根本不进行事实核查，这导致了极端主义组织的激增以及青少年霸凌现象的蔓延，最终还成为了国会骚乱的重要幕后推手。值得注意的是，这部电影从未直接提及“特朗普”这个名字，也刻意回避了对“Maga”（特朗普的支持者群体）的任何描述。
米基·麦迪逊（Mikey Madison）将角色弗朗西斯·豪根演绎得非常出色——她是一个充满原则、聪明绝顶但命运多舛的女性；然而她却被公司视为“破坏者”……而索金则留给观众自己去思考：在类似的情况下，寡头们往往也会自诩为“破坏者”罢了。
Facebook, moreover, didn’t factcheck political ads, thus driving a huge, nationwide surge in extremist groups and teen bullying and becoming a major player in the Capitol riots. (Having said that, this film does not say aloud the word “Trump” and rather cravenly declines to specify Maga activity.) Mikey Madison sympathetically plays the unhappy, principled, supersmart Haugen, who is dismissed as a “disrupter” – and Sorkin leaves it to us to notice that this in other circumstances is what oligarchs smugly call themselves.
杰里米·艾伦·怀特在饰演霍维茨这个角色时，表现得非常出色：他的表演低调、稳重，没有任何夸张的表演风格；这种表演方式或许与整部电影的主题相契合，体现了传统纸媒新闻业的那种勤奋与专业精神。至于扎克伯格这个角色呢？我们原本都期待杰西·艾森伯格会再次出演这个角色（你们应该看过理查德·林克莱特的《少年时代》吧；这部新电影可以看作是亚伦·索金创作的关于科技行业的新版本）。
Jeremy Allen White does a capable, unflashy, unrisky job as Horwitz, a stolid performance that perhaps, in sync with the film, tells us about the diligent professionalism of old-school print journalism. And Zuckerberg? Well, we were all hoping and expecting it would be Jesse Eisenberg again. (You’ve heard of Richard Linklater’s Boyhood; this would be Aaron Sorkin’s Techbrohood.)
然而事实并非如此——饰演扎克伯格的是杰里米·斯特朗。他的表演非常有趣：他站立或坐下的姿势就像一个木偶一样呆板，但他的表情却充满了对现状的冷漠与嘲讽；这种冷漠既源于他对自己财富的优越感，也源于他对自己“比别人更聪明”的自信。在电视剧《Succession》中，杰里米·斯特朗曾饰演过一个性格迟钝、情绪压抑的角色；而在《The Social Reckoning》中，他成功地将扎克伯格这个复杂多面的角色演绎得淋漓尽致。
But no: it is Jeremy Strong, who does a very interesting Zuckerberg impersonation, standing and sitting like a Thunderbird puppet, modifying the torpid sadness of his Kendall Roy in TV’s Succession, making this the unhurried contempt of someone simultaneously burdened and energised by knowing he’s richer and therefore smarter than everyone else. (A famous line in The Social Network was “A million dollars isn’t cool. You know what’s cool? A billion dollars.” This film starts by telling us that Facebook is worth a trillion dollars.)
扎克伯格在电影中的戏份其实相当有限，几乎只是个“ cameo”角色（即短暂出现的配角）——他几乎没有机会与其他角色进行对话，唯一的对话对象都是他的员工们。电影中还虚构了一位名叫查理（由比尔·伯尔饰演）的前投资者，他在扎克伯格的听证会上对他的表现提出了尖锐批评；扎克伯格甚至需要别人来提醒他该如何微笑……查理就像是扎克伯格内心那个愤怒、却无人倾听的“良心之声”。
Zuckerberg, though, is almost a cameo, with no equals with whom he can exchange dialogue, only employees – although the film imagines one former investor-turned-critic called Charlie (Bill Burr) who heckles Zuckerberg’s practice performance before a confessional hearing, with Zuckerberg amusingly having to be told how to smile. Charlie is the angry, unheeded voice of conscience.
《The Social Reckoning》是一部节奏明快、引人入胜的电影……从左到右依次是杰里米·艾伦·怀特饰演的杰夫·霍维茨和米基·麦迪逊饰演的弗朗西斯·豪根。
Rattles along at an entertaining clip … L to r, Jeremy Allen White as Jeff Horwitz and Mikey Madison as Frances Haugen in The Social Reckoning.
这部电影的剧情发展节奏明快、引人入胜，尽管其中存在一些逻辑上的矛盾或不合理之处。当弗朗西斯与霍维茨在酒店秘密会面时，她穿着一件性感的晚礼服——据说是为了伪装自己，以免被人认出来（从而让人误以为她们是在约会）。嗯，真的吗？还是说这样安排只是为了让女主角在镜头前看起来更加迷人罢了？后来，霍维茨深情地劝她“别那么刻薄”……但她其实并不刻薄，她只是在使用索金斯（Sorkins）特有的表达方式罢了；霍维茨也是如此。这种“索金斯式”的语言风格让所有角色的区别都变得模糊不清了。
The resulting drama rattles along at an entertaining clip, although there are false notes. When Frances has secret meetings with Horwitz in a hotel, the film has her wearing a slinky evening dress, supposedly as a kind of disguise, so that if recognised it would seem like she was out on a date. Hmm, really? Or is it so that the movie’s female lead has scenes where she looks glamorous? Later, Horwitz affectionately tells her to be less “mean”. But she is not “mean”. She just speaks Sorkinspeak. So does Horwitz. The ubiquity of Sorkinspeak effaces the difference between all the characters.
最令人不安的场景出现在影片的开头：一个醉酒的女人正在直播中对交通警察进行种族歧视性的辱骂。霍根认出这个女人是自己的熟人，她已经被极端思想所影响。影片结尾时，我们再次看到她，她对自己曾经的所作所为显得既震惊又困惑……但在现实中，她真的会感到震惊吗？还是说这只是导演们的主观愿望罢了？影片的片尾字幕（通常用于宣传和总结主角们的成就）指出：Facebook至今仍未对政治广告进行审核。
The most disturbing scene comes at the very beginning, showing a drunk woman livestreaming her racist abuse of traffic cops; this is the woman whom Haugen recognises as an acquaintance of hers, radicalised by Towards the end we glimpse her again, looking ambiguously appalled by what she has become. But would she be appalled in reality? Or is this just the film-makers’ wish fulfilment? The closing-credit titles – usually the platform for a film to promote and summarise its heroes’ achievements – concedes that Facebook still isn’t checking political ads. Plus, of course, the film is set at the start of the Trump interregnum of 2020-24, when it seemed as if the Capitol riots were the ultimate wake-up call and moderation had returned.
此外，影片的背景设定在2020年至2024年的特朗普执政时期，当时人们曾以为国会山骚乱是一个警钟，意味着社会终于恢复了理性……然而如今，特朗普及其科技行业的支持者们依然傲慢自大；《华盛顿邮报》的老板杰夫·贝索斯更是彻底抛弃了调查性新闻的价值观。这部电影完全没有考虑到我们当前所处的现实。
Nowadays Trump and his tech bro courtiers are more vainglorious than ever, and the values of investigative journalism have been thrown out at the Washington Post by its owner Jeff Bezos. This is a film which doesn’t reckon with the future we’re living in.