In evolutionary biology, mimicry is a survival mechanism employed by some species. The Imitation Game is about the battle for humanity, in population terms and to one single being, a British pioneer of computer science, Alan Turing. More than a biopic, it is a lesson on perspective, of how simple deductive reasoning brought down a war plagued with senseless deaths, and equally how simplistic reductive reasoning would push people into hiding from themselves.
Set during the Second World War, we see less of the atrocities every other war film has already visually explored, and more of the calculating department that is either boring or mind-numbing for reality television. With such artistic freedom, some things ought to be simplified or dramatized but it does not belittle nor unjustly magnified the contribution of Alan and the team of cryptographers, mathematicians and scientists in cracking the skull of this menacing German Enigma machine. Without a current high school education that employs logic thinking through mathematics or a separate computer science subject, the key to the code would have been too far-fetched for the audience. Without the benefit of today’s tablets and Google, the moment of getting that sole perfect solution would have been more glorious but the film has proven itself a worthwhile watch through its engaging ensemble and moving screenplay.
Beyond the war and career side of life, we see how society is around Alan Turing, during his childhood years, involvement in decrypting the German Enigma machine and semblance of a life after the war was won. These scenes are well-spaced before, in-between and after the main storyline the film is promoted as. It provides a continuous and ever-present struggle of homosexuals in a heteronormative world. Its detachment from the general narrative sometimes feels unnatural for a work that is borne from reality, but its purpose served well to show Alan Turing’s mimicry of a normal human being. His mask saved the world from self-destruction while keeping himself alive from legal persecution in a society that already is neutral, without a tinge of moral apprehension, of his own humanity.
Outside the mind of Turing, the compassion of Joan Clarke, splendidly portrayed by Kiera Knightley, provides the much-needed contrast to an otherwise Sherlock tale as Benedict Cumberbatch seems to partly fall at times in his persona as Alan Turing. Amidst the movie’s big messages on war and homosexuality, it is Joan Clarke’s friendship that grounded the film and provided a possibility of co-existence and platonic relationships in the current hypersexualized and over-romanticized state of life.
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Setting aside the important message and punctual delivery of humor and emotion, the film is a bit empty (three-fourths full) visually and aurally. To elevate the human element, crafty shots of mechanical work are minimal such that the symphonic score did not completely complement the film as a whole. Hearing Alexandre Desplat’s work on its own, it has a distinct feel that announces enigma and mystery in a different way than the shots and style of the film. At times, The Imitation Game looks and feels better when chopped up as scenes. Even with an over-all tad of disappointment, the climax that clashes all the themes of perspectives, mimicry, humanity and locking oneself under a secret; and the poignant ironic aftermath makes the film worthy to ruminate on.
If you believe in the film’s message that the archaic justice system has claimed more lives than it should, or are just a decent human being, sign the petition at pardon49k.com. One does not need to be a person of stature to be pardoned for a crime on being yourself. From the site itself: “Each of these 49,000 men deserves the justice and acknowledgment from the British government that this intolerant law brought not only unwarranted shame, but horrific physical and mental damage and lost years of wrongful imprisonment to these men. Alan Turing was pardoned in 2013, but the other estimated 49,000 men deserve the same.”
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