Steve Jobs is the type of 20th century figure that has reached the realm of legend. Numerous documentaries have been released about his life, as well as a previous feature film called “Jobs,” starring Ashton Kutcher in the title role. Danny Boyle’s latest, called simply “Steve Jobs,” is perhaps one of the more theatrical portrayals of his life. Though at times trading into schmaltzy territory, it is mostly a satisfying endeavor, almost entirely due to its talented cast and some rather fancy camerawork.

Enter, Stage Right

“Steve Jobs” begins in 1984, when Jobs is about to present the very first Apple Macintosh to the world. Between preparations of giving his speech, he engages in various conversations with the people around him, among them including Steve Wozniak (Seth Rogen), his former girlfriend Chrisann (Katherine Waterston), and his boss John Sculley (Jeff Daniels). The film then moves forward to 1988, when Jobs is now head of the NeXT Computer launch, and is once again about to give a presentation. Finally, it ends with the unveiling of the iMac in 1998.

By presenting all three major ordeals of “Steve Jobs” mostly from the back stages of an auditorium, the film really does feel like a theatrical production. It may bring back memories of last year’s “Birdman,” which had a very similar, albeit more extravagant approach to its story. Yet, in Danny Boyle’s hands, the film is endearing in its own way.

Boyle, as well as writer Aaron Sorkin (who also did 2010’s “The Social Network”), present conversations between people as something altogether huge and important. This is a place where people don’t engage in small talk. Every time somebody opens their mouth it is to say something world-changing (especially if that person is Steve Jobs). There are also numerous instances of current scenes connecting to an event in the past. An example is when Sculley and Jobs are having an animated discussion about the current state of the Mac, and this conversation is spliced together with bits from a discussion between them from years prior, with both touching on similar points. Though at times distracting, it is an alluring way to present what could otherwise be a lethargically-paced film.

Another driving force of “Steve Jobs” is the music, which is here composed by Daniel Pemberton. Much of the background is an assortment of computer-based sound effects and noises, which is obviously fitting considering the subject of the film. The music also drives the character interactions in the same manner as a classical symphony; rising when things get especially heated and cooling down when they have finally reached an understanding. It is one of the more engaging soundtracks that I have heard in a film for some time.

An Actor’s Film

As a production that feels much like a play, “Steve Jobs” is really a film for the actors. In the title role is, of course, Michael Fassbender, who is easily becoming one of the biggest names in modern film. Though perhaps not an ideal fit in his physical appearance, Fassbender makes up for it with a calm, measured performance. Jobs was known for his eccentricities and for his occasional obnoxious, highbrow behavior, and Fassbender doesn’t downplay this in the slightest. He will make you hate the man as much as you love his brilliance, which is perhaps just what Boyle was going for. Fassbender has the uncanny ability to control his mannerisms and the nuances of his voice, to the point where I actually pictured him as the real Steve Jobs by the end.

The announcement of Seth Rogen as Steve Wozniak is one of the aspects of “Steve Jobs” that perhaps most concerned me. It’s not that I didn’t think he had the chops for it, but it was just hard to see him in a serious role after seeing him in so many stoner comedies in the past. Yet, Rogen is a surprising fit for the role, even though his screentime is somewhat limited. A particularly impactful scene consists of Wozniak and Jobs yelling from across a theater, with other people unabashedly looking on. Rogen holds his own, even against the force that is Steve Jobs/Michael Fassbender.

Another role that will hopefully get a lot of credit is that of Joanna Hoffman, who was Steve Jobs’s head of marketing (played in the film by Kate Winslet). Hoffman was the consciousness behind Jobs’s occasional short-sightedness, and often helped him to make the right decisions. With a subtle Polish accent and a persuasive manner, it is one of Winslet’s finer recent roles.

Some additional highlights: Jeff Daniels as John Sculley who, as mentioned, shares some of the more boisterous discussions with Steve Jobs, and pops up at least once in all three acts of the film. Michael Stuhlbarg also shares a particularly solemn scene with Jobs as Andy Hertzfeld, and Katherine Waterston gives a memorable performance as Chrisann Brennan, Jobs’s former girlfriend.

Conclusion

“Steve Jobs” is perhaps the closest that you could get to a play while still being a successful movie. It contains distinct elements of a Danny Boyle film, from the driving force of the music to his use of mise-en-scène, which shows multiple events happening simultaneously. It also has some of the best performances of the year, from Michael Fassbender as Steve Jobs to Kate Winslet as his marketing executive. “Steve Jobs” may at times, tread the line between hokey and believable, but it’s not enough to prevent it from being one of the finer productions of the year.