The Imitation Game

Posted on December 4, 2014 at 5:03 pm

B+
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for some sexual references, mature thematic material and historical smoking
Profanity: Some strong language
Alcohol/ Drugs: Drinking, smoking
Violence/ Scariness: Wartime violence
Diversity Issues: A theme of the movie, homophobia, suicide
Date Released to Theaters: November 21, 2014
Date Released to DVD: March 30, 2015
Amazon.com ASIN: B00RY85CQI
Copyright 2014 The Weinstein Company
Copyright 2014 The Weinstein Company

Alan Turing was a brilliant mathematician with an enormous intellect, an almost equally enormous ego, and an almost equally enormous secret. He was one of the founding thinkers behind modern computing and it is his name that we use for the test that determines whether a computer has achieved true artificial intelligence status. The Turing test standard is human conversation. If a human cannot tell whether he or she is communicating with a person or a computer, than the program has passed the Turing test and is true artificial intelligence.

I’m not sure that Alan Turing could have passed the Turing test. Cumberbatch, who also plays a super-smart, arrogant, and obnoxious guy in “Sherlock,” creates a very different character here. Turing himself is an Enigma. In the opening scene, a sort of job interview nightmare in which Commander Denniston (Charles Dance) is trying to interview Turing (Benedict Cumberbatch) for a spot on the team working at the famous Bletchley Park estate to break the code the Germans were using to send orders to their troops. If passing as human means meeting even the most minimal standards of civility and responsiveness, Turing failed that interview. He seemed to think that it was he who was interviewing Denniston to determine whether the task was of sufficient interest and import to merit his attention.

Denniston begins to dismiss him. But when Denniston says that everyone thinks the code, known as Enigma, is unbreakable, Turing says briskly, “Let me try, and then we’ll know for sure.” Denniston does not have a better idea or a better option.

The German code is unbreakable because it is constantly changing, so by the time any one message has been decrypted, whatever was learned could not be applied to whatever comes next. The Allies are perpetually behind. [The process, complicated as it is, has been simplified for the purposes of the movie, glossing over the important work done by Polish mathematicians, the contributions of the French, and the challenges faced as the Germans continued to make the Enigma more complicated and impenetrable as the war continued.) While a bunch of brilliant mathematicians, scientists, and puzzle-solvers (including Joan Clarke, played by Keira Knightley) worked away, Turning realized not only that what made the code unbreakable was the inability of any then-existing computational mechanism to perform enough calculations fast enough to decrypt the messages before the code was reconfigured the next morning, but that he could create a machine to do it.

We know how it turned out. But director Morten Tyldum keeps the story gripping on several levels. First, there is the conflict between Turing and just about everyone, and the pressure for immediate results as he is spending a lot of time (years) and money on something no one has ever seen before. Second, there are the interpersonal struggles, and Turning’s internal difficulties. He did want intimacy, and we see in his memories of his first love, a boy at his school. He likes Joan, and is briefly engaged to her. But he was gay at a time when being gay was punishable by prison. Then there are other kinds of secrets. One of the people working on breaking the code may be a spy. And once the code is broken, the Allies have the wrenchingly painful decision about what to do with the information. It’s not just a puzzle. It is statecraft, and terrible compromises and terrible losses are part of the job.

The film adds some unnecessary drama and oversimplifies parts of the story. But it is a powerful, complex drama and a long-overdue tribute to a true hero and visionary.

Parents should know that this film includes wartime themes and images, some disturbing, wrenching moral choices, betrayal, the pressures of being a closeted homosexual when it was a crime, drinking, smoking, and some sexual references.

Family discussion: Do you agree with the decision to withhold the news that the code had been broken? To allow the mole to keep spying?

If you like this, try: Read up on the history of the codebreakers at Bletchley (The Secret Lives of Codebreakers: The Men and Women Who Cracked the Enigma Code at Bletchley Park, Seizing the Enigma: The Race to Break the German U-boat Codes, 1939-1943) as well as those in Poland and the spies who helped them get the information they needed and try some online version of the Turing Test.

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Based on a true story Biography Drama DVD/Blu-Ray Pick of the Week War

Walking With the Enemy

Posted on April 24, 2014 at 6:00 pm

Why do we keep making movies about the Holocaust?

Because we are still trying to understand one of the most shocking, inhumane tragedies in history. Because it is the essence of heightened, dramatic storylines, with the most depraved real-life villains, the bravest heroes, and the direst moral dilemmas, the most devastating sacrifices. Because we have to ask ourselves, “What would I do?”

And because there are still stories left to tell. “Walking With the Enemy” is inspired by the true story of Pinchas Tibor Rosenbaum, a Hungarian student who escaped from a labor camp to help the “Glass House” workers forging Swiss citizenship papers to get Jews out of the country. He impersonated an SS officer to rescue Jews they were about to execute.

This first movie from the brand new Liberty Studios and first-time director Mark Schmidt is a tense and exciting story of a part of the Holocaust not widely known.  Because Hungary’s Regent (played by Sir Ben Kingsley) made an alliance with Germany, the Nazis did not interfere with the country or its Jewish citizens for the first years of World War II.  “I aligned Hungary with what I thought was the lesser of two evils.”  walking with the enemy

But then, as Germany started to be hemmed in by the Allied forces, it took over Hungary and began to send Jews to labor camps and concentration camps.  A heroic Swiss diplomat named Carl Lutz (played by William Hope) was given permission to issue 8000 passes to Hungarian Jews with family in Switzerland.  He managed to get those passes to tens of thousands, who were able to escape the Nazis.

Handsome and likeable Jonas Armstrong (television’s “Robin Hood”) plays Elek Cohen, a character based on Rosenbaum.  While his uncle worked with Lutz in the “Glass House” (called that because it had been a glass factory), helping to hide Jews, Elek wore a Nazi uniform to infiltrate Nazi offices and operations to free Jews about to be sent away or killed.  Over and over, he takes terrible risks, knowing that even if he survives, he will fail more than he succeeds.  “Why does it have to be you?” someone asks.  “Because I have one thing left.”

The first-time director wisely worked with experienced filmmakers, especially cinematographer Dean Cundey (“Apollo 13,” “Jurassic Park”) and a capable cast of top British actors.  The film is ably scripted, shot, and edited.  The sound effects are exceptional; I don’t remember ever hearing gunshot sounds so sharp and directed.  The story is very affecting.  One oddly sterile note is that for a story about Jews, there is very little Jewish activity other than a blessing over a family dinner.  Reminiscences of the Holocaust include many stories of Jews praying together and doing their best to observe rituals and worship, reciting the Shema as they were led to the gas chambers.  Here, even those about to be shot by a firing squad do not say a prayer, an odd oversight in a story that is about those who were trying to preserve their right to maintain their religion and their community.

Parents should know that this is a WWII movie depicting events of the Holocaust.  There are many scenes of wartime and anti-Semitic violence and many characters are injured and killed.

Family discussion: What was Elek’s toughest decision?  Is it hard to help, knowing how much more cannot be fixed?  What can we learn from Elek and Lutz?  Who is most like them today?

If you like this, try: “Schindler’s List” and “Conspiracy”

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Drama Epic/Historical Inspired by a true story War

The Monuments Men

Posted on February 6, 2014 at 6:00 pm

B+
Lowest Recommended Age: High School
MPAA Rating: Rated PG-13 for some images of war violence and historical smoking
Profanity: Some mild language ("SOB," etc.)
Alcohol/ Drugs: Drinking, references to drinking problem
Violence/ Scariness: Wartime violence, peril, guns, explosions, characters injured and killed, some disturbing images
Diversity Issues: A theme of the movie
Date Released to Theaters: February 7, 2014
Date Released to DVD: May 19, 2014
Amazon.com ASIN: B00DL48CN4

monuments menMany years ago, my husband and I attended an art auction at which one item was a pencil drawing of a peaceful river setting, made by an Austrian art student in the early 20th century: Adolf Hitler.  The bidding opened at $10. There were no takers.  Hitler retained his appreciation for art as he became a dictator and the man responsible for the most devastating war in world history and the Holocaust that killed six million Jews and hundreds of thousands of Slavs, Romany, gays, and disabled people.  A part of his plan to take over the world and remake according to his dream of a Thousand Year Reich was to own the greatest art masterworks of all time, many to be displayed in a “Furher Museum” in his own honor.  He ordered his army to take art from Jewish collectors, from churches, and from museums, and he hid them until they could be retrieved at the end of the war.  When it appeared that he was going to lose the war, he ordered many of them to be destroyed.

In a little-known part of the Allied war effort, an international group of 345 art historians, scholars, curators, and architects served in the Monuments, Fine Arts, and Archives section, to seek out the missing art treasures and, where possible, to prevent the battles going on in Europe from collateral damage of historic buildings and artworks.  Writer-director-star George Clooney has turned this story into an exciting and entertaining film, but by no means a great one.  At times it feels like “Oceans 11 Goes to War.”  In fact, Clooney not only gave himself the same line he has in “Oceans 11,” he gives it the same line reading. It is one thing to make a heist film set in Las Vegas cuddly, with a bunch of pretend adorable crooks.  It is another to try to make that work in the midst of a devastating real war, especially when every one of the clearly fictionalized and composite characters is always the essence of dignity, courage, honor, dedication, and dashing gallantry, quips included.

In this Hollywood-ized version, there are six primary operatives: Clooney plays the leader, Frank Stokes, who rounds up his non-dirty half-dozen, including recovering alcoholic Brit Donald Jeffries (“Downton Abbey’s” Hugh Bonneville), dashing Frenchman Jean Claude Clement (“The Artist’s” Jean Dujardin), MMoA curator James Granger (Damon), sculptor Walter Garfield (John Goodman), architect Richard Campbell (Bill Murray), and Preston Savitz (Christopher Guest regular Bob Balaban).  Cate Blanchett is sincere but misused as a French woman working for the Germans who are taking paintings from Paris so she can give information to the Resistance.

Clooney can do better (“Goodnight and Good Luck”) than this script, which feels like a Robert McKee formula special, all the beats and plot points laid out according to the formula.  As a result, it works.  The sad casualties are balanced with the sentimental pauses (a nice moment when a character gets a recorded message from home is clumsily juxtaposed with a soldier dying on a table in the medical tent) and the bro-banter.  But the breadth and brutality of the crimes and the humility and devotion of the heroes cannot help but move us and, I hope, inspire us to treasure the masterworks they saved and the heroes who saved them.

Parents should know that this film includes wartime peril and violence, with characters injured and killed, some graphic and disturbing images, sad deaths, explosions, shooting, land mine, constant smoking, some drinking and references to a drinking problem, and mild references to adultery.

Family discussion:  Should people risk their lives to save art?  Who should decide?

If you like this, try: “Is Paris Burning?” and The Train and the documentary about Nazi art theft, The Rape of Europa — and look into the history of some of your favorite artworks

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Based on a book Based on a true story Drama DVD/Blu-Ray Pick of the Week Epic/Historical War

For Memorial Day: Documentaries

Posted on May 25, 2013 at 8:00 am

For Memorial Day, take a look at these documentaries about our military:

War of 1812

The History Channel Presents The War of 1812 The young country proved its commitment to independence with this war against Britain that gave us a President (Andrew Jackson), and our national anthem.

Civil War

The Civil War Ken Burns’ series for PBS is meticulously researched and compellingly presented.

WWI

The Last Voices of WWI – A Generation Lost The veterans of “the war to end all wars” tell their stories.

WWII

The World at War This classic is considered the definitive history and a landmark of television reporting.  It was created long enough after the war ended to have perspective but close enough in time to have access to the participants, with eyewitness accounts by civilians, enlisted men, officers, and politicians as well as historians.  The 30th anniversary DVD set issued in 2004 has three hours of new material and additional documentaries.  

Korean War

Korea, The Forgotten War It was the Cold War era, but a real war was being fought in Korea that embodied the geopolitical conflicts.  This documentary covers that story, from Inchon to Pork Chop Hill.

Vietnam War

Vietnam War: America’s Conflict Many documentaries cover the politics and the protests, and that is covered here, too, but this series focuses on the stories of the battles and the men who fought them.

Desert Storm

Hidden Wars of Desert Storm Interviews with General Norman Schwarzkopf, former US Attorney General Ramsey Clark, former UN Iraq Program Director Denis Halliday, former UNSCOM team-leader Scott Ritter and many others help tell the story of the American response to the invasion of Kuwait.

Afganistan/Iraq

Restrepo This is the award-winning story of one of the most dangerous postings in the U.S. military, covering the deployment of a platoon of U.S. soldiers in Afghanistan’s Korengal Valley. The remote 15-man outpost was named after a platoon medic who was killed in action.

The War Tapes Three National Guardsmen (“citizen soldiers”) document their time in Iraq.

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Documentary
Red Tails Interviews: Terrence Howard, David Oyelowo, and a Real-Life Tuskegee Airman

Red Tails Interviews: Terrence Howard, David Oyelowo, and a Real-Life Tuskegee Airman

Posted on January 18, 2012 at 8:00 am

Dr. Roscoe Brown, who flew planes as one of the heroic WWII Tuskegee Airmen, a black man defending a country still cruelly segregated, fighting in one of the most honored military divisions in American history, saw a film made about their heroic missions and last week attended the White House to meet with the first black President and First Lady of the United States.  It is called “Red Tails” after the distinctive color painted on their planes.  Dr. Brown, who turns 90 this year, earned a PhD, taught at NYU for 27 years, then became president of Bronx Community College, a part of the City University of New York (CUNY).  Dr. Brown and three other Tuskegee Airmen were on the set throughout the filming of “Red Tails” to provide guidance and ensure authenticity.  With three other critics, I spoke to Dr. Brown, director Anthony Hemingway, and actors Cuba Gooding, Jr., Terrence Howard, and David Oyelowo about the film.  We loved meeting the actors, but speaking to Dr. Brown was one of the thrills of a lifetime.

“We were young people, 19, 20, 21, 22-years old,” Dr. Brown told us. “Everybody was in the military at that time.  There were 15 million people in the military, 5 million blacks.  So it was something you did.  You knew you had to do it.  You wanted to defend the country.  And we felt as African-Americans, that if we did well, the larger society would recognize the stupidity of segregation and de-segregate.  Which in fact happened when President Truman signed the executive order in 1948 de-segregating the military, six years ahead of the desegregation of the schools with the Brown decision.  It was something that we had to do but something we wanted to do — particularly in the case of aviation because they said blacks could not do it.  Whenever someone says you can’t do something, you want to do it!  So we said, ‘Let’s be the best we can be.’ And that’s what this film portrays.”  He worked for more than 30 years to try to get a movie made about the experiences of the Tuskegee Airmen, originally with the late director Gordon Parks.  When George Lucas got involved, he brought them out to the Skywalker Ranch, where he had assembled extensive research.  “We sat down in the room and talked to them about how we actually flew, how we used the stick, where we looked, how small the cockpits were — no Tuskegee Airmen were 6’5″ because you had to be small to fit in the cockpit.”  It was important to him to honor those who flew, those who supported them on the ground, and those who did not come home.  He spoke about the difficulty of losing someone one day and having to get up the next day, put that out of his head, and go up again and focus on the target.  And he spoke about what he thought was the real message of the film: “It’s cool to be smart.”

He told us a harrowing story about the time he flew so close to a train he knocked part of the wing off and he was too low to bail out.  He thought he had been hit by anti-aircraft but when they got back the ground crew pulled a piece of the train out of his wing.

The actors told us how much it meant to them to spend time with the real Tuskegee Airmen and bring their story to life.  British actor David Oyelowo plays a brilliant but impulsive pilot with the call sign “Lightning.”  “One of the greatest inspirations for me was getting to hang out with Dr. Roscoe Brown and the other Tuskegee Airmen.  You look in their eyes and you see that glint, that can-do, that audacity that it had to have taken for them to do what they did.  And George Lucas gave us a mandate when he effectively godfathered the movie.  He told us, ‘We want to make a film about heroes, not victims.’  The fighter pilots are the glamor boys of any war.”  He described his character as “someone who can unashamedly say, ‘I’m the best damn pilot in the whole army!’ That was my mandate for playing the character, really.  “So many of the incredible things in the film, blowing up the battleship and the train, these are based on things that actually happened.  When we talked to the real guys, it was like ‘Push it!  We did more!'”  I asked about the challenge of playing a character with so much of the face covered by the oxygen mask.  “That was a frustration. One of the gratifying things was finding out that it was a frustration for you guys,” he said, turning to Dr. Brown.  “They didn’t particularly like these masks, either.  At one point I hint at that, ripping it away from my face.  I remember talking to you and you’d say they’d get sweaty and slip.  They were an encumbrance.  But that’s the job of the actor.  That was one challenge.  Another was that we didn’t have these hundreds of planes all around us.  We had to imagine that in this very controlled environment.  It was a great acting exercise because it did that thing you really want as an actor, to have your imagination very active.”

Terrence Howard spoke about having to respond to the racist comments made by a superior officer (“Breaking Bad’s” Bryan Cranston) within the context of a military chain of command and as a man of the 1940’s whose entire life had been spent under segregation.  “I learned something very early on.  My brother said to me, ‘How do you think God views you?  Does he view you as who you are today or as who you will be once His son’s blood has been poured in your behalf and you’ve had time to gain that?’  I think Colonel Bullard, who was the cinematic example of a man named Colonel Ben Davis, who went to West Point.  No one spoke to him for four years.  He saw them as making mistakes and immature and un-evolved in their understanding of human relationships and abilities.  And so he was always able to look at the better side of people. What was beautiful, is that Cuba and I, after battling against each other in films or trying to get the same role, we actually split Benjamin Davis into two and Cuba was Benjamin on the base and I was Benjamin in Washington.”  He studied the military people of today to learn how they conduct themselves.  “It’s protocol.  It’s respect.  You see the standard and how people hold themselves, the comportment and that is passed on to you.”

They talked to us about what it was like to bring their movie to the White House.  “President Obama was so cool,” said Oyelowo. “And there we were, with some of the Tuskegee Airmen, and the actors, in these rooms so laden with history, good and bad. And then having this untold story of these unsung heroes presented by the first African-American President.  There was just something so right about it, and everyone was acknowledging it.  It felt like a moment, the moment that the blood and DNA of Martin Luther King, of the Tuskegee Airmen, of Obama’s legacy is in that as well.  On these press tours, we all have our photographs taken and we all pose with our best sexy smile.  But yesterday, we were all just like this,” he said with a look of dazed bliss.  He said he felt like a superhero when he saw himself in the uniform, and told us how much he loved looking through the photographs of the Tuskegee Airmen because their spirit and confidence were so evident in their poses and expressions.

They all emphasized that the story is universal.  “It so far surpasses any limitation associated with the hue of any one’s skin color,” said Howard.  “Every member of the family can appreciate the contribution that these men made, and the heroics of youth. They didn’t go to school to become pilots.  They went to school to become lawyers and doctors.  But when the call to duty came, they lent themselves.  They showed excellence.  They became the greatest pilots of all time.  And now every human being on the planet can appreciate it because what one human being does shows us what all of us are capable of.  When we see that excellence, we all share in it.” He spoke of how touched George Lucas was to come out of an early screening and see two white children pretending to be the pilots they had seen in the film.

They spoke about the parallels between the challenges faced by the Tuskegee Airmen in the 1940’s and the challenges still faced by black actors today when the subject came up of George Lucas’ difficulties in getting financing for the film.  The actors were honored by the opportunity to tell the story and grateful that the heroism of the Tuskegee Airmen created an opportunity for them to do what they love to do.

“I was told by my great-great-grandfather that limitation brings about genius,” Howard said. “When you have limited resources, limited opportunity, and a limited period of time to accomplish something, that’s when the human spirit shines.  It has been a difficult struggle but it has made me a much better actor.  The Tuskegee Airmen were not initially wanted.  They were not allowed to fly so for the first year and a half or two years they had a ton of time to practice and become perfect.  By the time they were able to participate they were all seasoned pilots.  That’s what happens to the black community of actors. Because we don’t have as many opportunities to play, we play amongst ourselves and get so much stronger, with so much more spirit. None of the other films I’ve done got a screening at the White House,” Howard said.  “It was a long time coming and I am glad we were able to participate in it.  For me, there’s a scripture in Isaiah, where he says, ‘Ten Gentiles will grab the skirt of a Jew and get into the Promised Land.’ I feel like forever David’s any my legacy will be attached to the legacy of the Tuskegee Airmen.  We will always be the face and the voice for their accomplishments.”  Oyelowo said, “For me, it means a lot to be part of a large black cast where we’re the center of our own story and its being done on such an epic scale.  I hope we can blow out of the water the idea that there can only be one — who’s the next Denzel?  Who’s the next Poitier?  There’s a lot of talent out there who are worthy of being given an opportunity. Like the Red Tails, we’re not looking to just do this movie and be a footnote.  They went on to do extraordinary things.  My hope and prayer is that we get to take advantage of this opportunity we’ve been afforded.”

“It’s a great story.  All the actors were fantastic, replicating what we did,” Dr. Brown said with pride.  I teased him, “And you were all that handsome, right?”  “We were better looking!”  That’s the Tuskegee Airmen spirit!

“As an African-American who has always been on the forefront of trying to break barriers,” Dr. Brown said, “this was another barrier to break.  Hopefully everyone on America will identify with the movie, will identify with the fact that excellence overcomes prejudice, overcomes obstacles.  And if we did it 65 years ago, the young people today of all backgrounds can do it now.”

 

 

 

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