Let’s pretend we’re writing a high school social studies essay and flex our “compare and contrast” muscles. The comparison: between World War II era biopics Unbroken, the review of which was recently posted on this very site, and The Imitation Game, which is incidentally a much better movie. The similarity ends there, however, as the plot of The Imitation Game centers around the struggles of an interesting, multi-faceted protagonist and incorporates some actual depth and complexity as opposed to merely wallowing in a lot of token and pandering “strength of the human spirit” nonsense.
Norwegian director Morten Tyldum became attached to the project after Warner brothers bought the screenplay, penned by novelist Graham Moore, for an unprecedented seven million dollars. Tyldum, also responsible for a smattering of foreign language films including Headhunters (2011) and Buddy (2003), has unquestionably launched himself headfirst into the spotlight with this film, having been nominated (at time of writing) for numerous academy awards. Interestingly, the screenplay for the film topped Hollywood’s blacklist in 2011, denoting the year’s best unproduced work. Even more interestingly, The Imitation Game marks Moore’s very first attempt at a screenplay, though he’s subsequently been slated to write an adaptation of Erik Larson’s novel Devil in the White City; Leonardo DiCaprio is starring.
The film stars Benedict Cumberbatch, know for his performance in the Sherlock BBC series, as the eccentric mathematics prodigy Alan Turing. In what might well be the performance of his career, Cumberbatch portrays Turing as a tormented soul caught in the crossfire of a secret war in a time when homosexuality was a punishable crime under British law. Turing, a man alienated from others by his own phenomenal intellect, becomes even more estranged from conventional society as his work regarding the Nazi Enigma machine embroils him in a world of secrets within secrets. Cumberbatch’s performance is impeccable, and really gives the impression of a man who, especially as the responsibility bestowed upon him continues to mount, may very well crack at any moment. Keira Knightley also makes an appearance as the gifted code breaker cum confidant Joan Clarke, and, though I’m not a particularly huge fan, gives an inoffensive and mostly serviceable performance.
To Moore’s credit, the film is an excellent study in long-form storytelling and is particularly well executed as far as structure goes. The majority of the film takes place across three temporal planes, incorporating a fourth at the very end, and the story moves across the multiple time frames with ease, minimizing audience confusion and providing the appropriate context at the appropriate times (a major shortcoming of Unbroken, incidentally) the use of flashbacks and flash-forwards.
Moreover, the story incorporates both the race-against-time style thriller with the much more intimate and engaging character study, as it’s gradually revealed to the audience how much stress Turing is under as both a member of a top-secret military operation and a closeted homosexual, without making either feel tacked-on or auxiliary. The finished product, I’m pleased to say, is a gripping mix of action, espionage, and drama, and deserves all of the praise it’s been receiving.
Rating: 4 out of 5