The Social Network: The Music of Dialogue and Art of Non-Linear Storytelling

Written by Sofi Abouassali

This analysis of The Social Network will dive into Aaron Sorkin’s screenwriting, and how his decisions and style drive the film and allow for a full understanding of the characters and situation at large. The use of dialogue and the film’s organization will be observed to show how these elements foster character development and work within the plot’s framing.

The Musicality of Dialogue

Sorkin is known for his style of writing witty and fast-paced dialogue. This dialogue often resembles a rhythm that feels musical. The reason for this may be that Sorkin claims his dialogue is music to him. The effect resembles a very natural ebb and flow of realistic communication riddled with misunderstandings, stumblings, and frustration—this resemblance to real-life grounds his audience in the story while requiring their attention to keep up with the fast pace. There is also an immense amount of repetition present. Words or phrases are often reused by a character towards the end of their line that echoes the previous line of the conversation partner or an earlier line.

An example is seen in the opening scene where Mark reiterates words from Erica’s line, “row crew,” and “final club” directly afterward (Fincher et al. The Social Network 00:45). There are also numerous calls to previous lines where one character may be mentally ahead or behind in the conversation. Due to the dialogue’s fast pace, it leads many of the characters to feel tense or frustrated. Oftentimes when this occurs the rhythm is broken, resulting in the audience feeling uneasy. Repetition in this film is also used not just for rhythm and frustration but for humor. At the film’s most significant peak in conflict, Eduardo confronts Mark in all seriousness and betrayal, using repetition to emphasize his emotions as he feels unheard.

Meanwhile, Sean is present; though not central to the scene, he is echoing Eduardo’s accusations in confusion, giving levity to an emotionally tense scene as his character is used almost to emphasize the ridiculousness of the situation. While Eduardo accuses Mark of leaking a story that claimed him to be guilty of animal cruelty, Sean can be heard behind him questioning, “Chicken. What chicken? (Fincher et al. The Social Network 1:44:23)” In addition, this juxtaposition of two opposite emotions in one scene occurring simultaneously sheds light on the characters and furthers the audience’s understanding of what each character values. Sean’s disregard for Eduardo and lack of care shows the audience that he does not value Eduardo or Mark’s relationships—further consolidating him as an apathetic manipulator. Similarly, this scene brings to the surface Mark’s naivety by which Sean uses to control him. While we see this slowly happen throughout the film, the final decision happens off-screen, allowing the audience to feel the same betrayal as Eduardo and be shocked when the dialogue is what reveals the falling out of their relationship.

Sorkin impressively manages to intertwine three different storylines in a way that can be quickly followed; there does not need to be an indicator of when time is being manipulated, such as color or aging, as the script reveals so. Throughout the entire film, Facebook’s growth and status coincide with the court case’s events and the current climate of Mark and Eduardo’s friendship. The creation of Facebook after a breakup is how the movie begins. Sorkin then introduces the audience to Mark and Eduardo’s relationship, as they are established as co-founders, followed by the beginning of legal cases against Mark as he is put on 6-month academic probation for breaching Harvard security. As the film continues, there is a pattern of Facebook, relationship, and the court cases being shown in a way that reflects and coincides with the other two. As Facebook grows and succeeds, Mark’s friendship with Eduardo falls with each mark of achievement. The court case gives perspective to the situations that had just played out on the screen from the characters; this recounts previous actions and allows for empathy towards multiple characters, as their side of the story and emotions surrounding the situation, that were not previously revealed, are. The court cases are also used to give perspective going into a scene or cut between scenes that take place in the past; this affects who the audience will empathize with. This decision leads to a sense of irony within the film. There is a constant pairing of the good and bad, as each grows, the other does as well. Mark’s attitude and personality are the only constants throughout this film. With the constant change and development for others around him, Mark remains completely stagnant. Ending in the same place he began as the film comes full circle, he is seen refreshing a friend request to Erica, with whom he began the movie. This choice of non-linear storytelling best allows for a growing empathy and makes for a more entertaining film as the irony adds to the film’s dynamism.

Conclusion

The techniques Sorkin uses in his writing ensure The Social Network achieves its emotional impact. While both dialogue and storytelling techniques can be used individually to emphasize emotional impact, the combination of these two on Sorkin’s part is what leads to an emotionally charged performance. Between the often heated and fast-paced dialogue of the characters, and the editing choices, placing a scene from the court and Facebook that coincide with Mark’s relationship’s current climate, each emotion can be felt at maximum capacity. The audience is continuously reminded of the consequences of Mark’s actions as they directly follow the events concerning that area of the story rather than waiting for it to unravel linearly and possibly losing the feeling of momentum. This gives a sense of a growing shadow, personal darkness grows as professional success is achieved and even in the good moments the audience is left questioning – how long will it last?

Works Cited

Rudin, Scott, et al. The Social Network. Sony Pictures Entertainment, 2010.