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This first problem is solved fairly straightforwardly: Jericho realises they will be able to work out the code from the U-boats' positions when they actually attack: a "eureka" scene similar to Michael Redgrave as Barnes Wallis solving the problem of how high to release his bouncing bombs from seeing the convergence of spotlights at the theatre.
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There's the problem of how to crack the Nazis' devilish code, and there's the second plot, which is the "emotional" storyline and the centre of a conspiracy far more sinister and more important than breaching the armour of the Germans' reinforced cipher-system. So Scott has to get his thinking cap back on for king and country, and come to terms as best he can with the memories of Claire, a colleague with whom he had a passionate affair but who has now mysteriously disappeared. (And it is incidentally here, I suspect, in this combination of talent and torment, that Stoppard's screenplay allows for a tiny, residual acknowledgement of the Turing legend.) The Bletchley Park brainboxes, led by Logie - a warmly droll, engaging performance from Tom Hollander - know they desperately need Jericho's help because the Germans have changed the U-boats' communication code, leaving their north Atlantic convoys terrifyingly unprotected. Scott first appears on screen as a shambling, unshaven creature who has been allowed back to Bletchley Park after a "breakdown", brought on by overwork and - we are indirectly given to understand - emotional problems. His detective work will involve an exciting chase in a classic car, a liaison at a smart West End hotel and an exploding submarine up in Scotland - preposterous Boy's Own stuff which is light years away from the closeted realities of Bletchley Park, but it gives director Michael Apted a chance to show the form he developed on the recent Bond extravaganza The World Is Not Enough. This is not the depressing story of suicidal cottaging boffins, but of a smoulderingly handsome maths whiz turned action hero, Tom Jericho, played by Dougray Scott, who is to enjoy the romantic favours of two beautiful women employed at Bletchley Park: first Saffron Burrows and then Kate Winslet. Robert Harris's bestselling novel, and this screen adaptation by Tom Stoppard, briskly abolish Turing's role in history, moreover ruling out any fictional variation, and effectively reclaim the Enigma story for showbusiness family values. There's the Germans' original cipher machine plucked from the sinking U-boat there are the pipe-smoking, chess-playing, eccentricity-displaying chaps recruited from Oxbridge to work on cracking the code there are the adorable WAAF-type girls uncomplainingly working on second-division secretarial tasks in their dimly lit hut.Īs it happens, theatregoers on both sides of the Atlantic have for years been aware of the legendary emotional back-story to all this in the form of Hugh Whitemore's play Breaking the Code: the story of Alan Turing, the brilliant but unhappy Station X codebreaker whose homosexuality was tolerated because of his incalculable contribution to the war effort. It's packed with drama and gorgeous period incidentals.
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N o red-blooded student of history could fail to be fascinated at the story of Bletchley Park and the Enigma code-breaking machine in the second world war.