Why Aaron Sorkin is cin­ema’s finest tal­ent

The Jewish Chronicle - - LIFE -

is al­ways a pow­er­ful man, whether that’s the ti­tle char­ac­ter in Char­lie Wil­son’s War, Matt and Danny from Stu­dio 60, or Jesse Eisen­berg’s Mark Zucker­berg.

Sorkin is re­peat­edly crit­i­cised for his fail­ure to write well-rounded fe­male parts, and for his ten­dency to show male char­ac­ters ‘‘mansplain­ing’’ to wide-eyed, shrill fe­male coun­ter­parts. His fe­male char­ac­ters are of­ten flaky, emo­tional and dis­as­ter-prone; think Macken­zie’s email slip-up at the start of The News­room, or Donna in The West Wing, end­lessly pa­tro­n­ised by Josh. In films such as The So­cial Net­work and Money­ball, there’s barely a woman to speak of. It didn’t help mat­ters when an email leaked dur­ing the Sony hack re­vealed Sorkin’s view that scripts cel­e­brat­ing pow­er­ful, funny women ‘‘aren’t there’’ in Hol­ly­wood. As wags pointed out, isn’t it time he write one?

He’s half­way there with Joanna Hoff­man, Jobs’s put-upon mar­ket­ing chief. Played by Kate Winslet, she is a force of na­ture; a woman who speaks her mind with verve and im­pact. She brings to mind C J Craig, The West Wing’s press sec­re­tary, as well as Sorkin’s Hil­lary Clin­ton-esque First Lady Abby Bart­let who surely de­serves a spin-off se­ries fea­tur­ing her own White House run.

Nat­u­rally, Hoff­man must en­dure sev­eral of the pro­tag­o­nist’s mono­logues. It wouldn’t be a Sorkin script with­out a pas­sion­ate and long-winded piece of or­a­tory from the lead­ing man. If Woody Allen’s char­ac­ters are fa­mously neu­rotic, Sorkin’s are mod­ern-day prophets, cer­tain they know bet­ter than any­one how the world should be. Even his most no­table Jew-

In­tense: Sorkin, be­low, wrote the new Jobs film star­ring Michael Fass­ben­der

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