The Imitation Game - Film Review

“Are you paying attention?” breathes Benedict Cumberbatch’s Alan Turing at the onset of this rivetingly engrossing and deeply melancholic thriller crafted by Norwegian director Morten Tyldum. Immersed in Tyldum’s world, who previously helmed the tonally contrasting 'Headhunters', audiences are served a stirring blend of code-cracking wartime excitement tinged with a sharp, somber hue. This narrative of British determination is accentuated by a nod to Turing’s legacy, who as Gordon Brown articulated, “deserved so much more.”

Given a posthumous royal pardon for his “gross indecency” conviction just recently, the mathematician and AI visionary shifted the war’s trajectory, only to later grapple with the harshness of arrest and “chemical castration”. He met his end in 1954, seemingly from a poisoned apple's fatal bite.

However, 'The Imitation Game' is more than a mournful tale – it shines a light on Turing’s remarkable feats, portraying its central figure as a valiant maverick. Echoing the sentiments of Graham Moore’s evocative script: “Sometimes it's those whom none think much of, who achieve the unimaginable.”

Invited, albeit hesitantly, by Commander Alastair Denniston (an ever disdainful Charles Dance) to collaborate with the nation’s intellectual elites at Bletchley Park in 1939, Cumberbatch’s intriguingly cryptic Turing wins over Churchill, garnering funds to devise a pioneering machine (the “Bombe”) to decipher the Germans' elusive Enigma code.

Parallelly, the astute Cambridge maths graduate Joan Clarke (embodied by Keira Knightley) employs her puzzle-solving prowess to secure her spot on Turing’s squad and, unexpectedly, in his personal circle. As Turing's intricate machine springs to life, he grapples with understanding the intricacies of human connections, his concealed sexuality, and memories of a past friend who becomes an echoing presence.

Delving deeper than Hugh Whitemore’s 1986 play 'Breaking the Code' (which saw a BBC adaptation in 1996 with Derek Jacobi reprising Turing), Graham Moore’s agile script weaves through three distinct epochs: Turing’s formative years with his confidant Christopher, emphasizing human enigmas; his critical role at Bletchley Park, particularly the renowned “Hut 8”; and the 1952 intrusion at Turing’s residence in Manchester that unveiled his homosexuality, leading to dire ramifications.

Although dramatic liberties ranged from expected to contentious (biographer Andrew Hodges, whose book inspired the film, pointed out exaggerations in Turing's relationship with Joan), most artistic choices served to captivate cinema-goers. The real-life “Bombe” might have been more discreet, but on screen, its vast network of cables visually maps Turing's intricate thoughts.

Importantly, Tyldum portrays the deep connection between Alan and his invention, hinting at its significant role in his life (“You are a monster!” an exasperated Joan exclaims). The film’s title itself alludes to Turing’s conceptual game to determine if one's interlocutor was human or machine – a precursor to the 'Blade Runner's Voight-Kampff test.

Just as Deckard was drawn to the android Rachael, Turing finds solace in machines over humans. Both he and his invention strive to decrypt messages lacking an intuitive guide, strangers questing for mutual understanding.

Amid such an enigmatic lead, 'The Imitation Game' could have veered towards aloofness. Kudos to Cumberbatch for endowing his character with depth, not just layers. While the film's narrative is crisp and direct, Turing's underlying intentions remain tantalizingly shrouded, leading one to speculate on his true allegiance. Commendations to the emerging talent, Alex Lawther, for a compelling portrayal of a young Turing, setting the stage for Cumberbatch’s nuanced act.

Surrounding the enigmatic Turing is a cast of vividly realized allies and adversaries, impeccably chosen and brilliantly enacted. Mark Strong dazzles as the shrewd Major General Stewart Menzies, blending threat with charm. Matthew Goode feels right at home as the charismatic Hugh Alexander. And Knightley, though occasionally leaning into her character’s cerebral archetype, infuses Joan with genuine warmth, acting as a mirror through which we perceive the ever-enigmatic Turing."

8.8/10