LFF 2014: The Imitation Game ****

The life of the brilliant-minded Alan Turing is not known by most. That will certainly change after this film, The Imitation Game, with the genius British logician and cryptologist forever associated with cracking the Nazis’ Enigma Code and helping the Allies win World War II. But inventor of the modern-day computer – as is suggested here, is stretching the truth a little.

What will also be established is Benedict Cumberbatch as one of Britain’s leading actors with his outstanding portrayal of Turing. Some might cynically say it’s total awards-baiting in production and delivery, though it is Cumberbatch’s finest hour.

Mathematician Alan Turing arrives at Bletchley Park, code-cracking HQ to attend an interview with Commander Alastair Denniston (Charles Dance). What he seriously lacks in social skills, he makes up for in numbers brilliance, recognised by MI6 spook Stewart Menzies (Mark Strong). He is recruited into a team of code-crackers led by ladies’ man Hugh Alexander (Matthew Goode) that includes Scot John Cairncross (Downton’s Allen Leech) and Peter Hilton (Matthew Beard).

His colleagues tolerate Turing’s odd behaviour but don’t like him much. This resentment increases when he starts demanding resources to build his code-cracking BOMB machine (so-called because it ticks) and is then put in charge of the others. Turing recruits crossword whiz Joan Clarke (Keira Knightley) – about the only person who likes to spend time with him. But time is running out to crack the Nazis’ Engima Code, as well as the patience of Top Brass.

The performances are faultless, with Cumberbatch delivering some immensely funny retorts without consequence. Turing’s interview with Denniston is a prime example, that the man managed to achieve anything is incredible with his catalogue of social faux pas. There is also another scene that involves getting soup for lunch which is equally delightful. These are the comedy moments in a film that is about serious stuff. Knightley and the rest of the cast are naturals – as expected, the former effortlessly providing her Atonement-style clipped responses.

In fact, director Morten Tyldum fits the Brit period drama mold perfectly, with any reference to his brilliant black Norwegian comedy Headhunters long suppressed. Indeed, the whole process while beautifully achieved, does feel like many other Brit war period dramas. What really makes Turing tick – aside from his codes and his first love affair with another boy at school – will be left a little too ambiguous for something that is supposed to be a biopic.

The really emotive part that strikes a chord is the ending when the to-and-fro narrative finally centres on events in the fifties, after Turing was arrested and investigated for a homosexual act. Finally, Cumberbatch is given some leeway to get under Turing’s skin and truly act out the character’s suffering from chemical ‘treatment’ to suppress his improper (and illegal) impulses.