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You cannot underestimate the importance of the application of rhythms in The Imitation Game by Desplat, the technique for the awesome mind certainly not unique but still attractive when executed well. Until the dramatic personal element wrestles control of the score in its final cues, Desplat always seems to return to some sense of movement to reflect Turing's analytical nature at any given moment. The composer's dry, precise style is perfectly suited for this score, each instrumental line expertly employed for some purpose. While woodwinds are always an important part of the Desplat equation in this genre, a variety of programmed piano tones is the highlight, lending the instrument to both the electronic ranges for the technology of the story while also allowing the more organic shades to emerge for character interactions. Desplat's deep, synthetic base pulses are occasionally present, but this is as appropriate a place for them as any even though they cause issues absent other bass elements on large sound systems. The main theme for The Imitation Game often exists above the score's primary, lightly rendered, descending rhythmic phrases, the opening "The Imitation Game" introducing it prior to more robust, full-ensemble expressions in "Mission," "Running," and "Alan Turing's Legacy." The underlying rhythm drives any cue in which Turing's mind is the focus, such as "Crosswords," "The Machine Christopher," and "End of War," though perhaps the most intriguing use of this movement comes in "Becoming a Spy," when the rhythm experiences a quiet moment of realization and contemplation. By "Alone With Numbers," Desplat explores a sparse but effective secondary theme for Turing's demise, poignantly culminating in "The Apple" and fading away in "Because of You." A few singular highlights of the score include the outward translation of the rhythms into a full-fledged chase cue in "Decrypting," the harmonic gravity of "Alan," and arguably the score's most intriguing composition in "U-Boats," which takes the rhythmic element to the extreme by including Morse code-like accents from seemingly every section of the ensemble. On the whole, there is a clear narrative structure to Desplat's The Imitation Game, the secondary theme a challenge to appreciate out of context, perhaps, but the redeeming primary identity closing out the album on an optimistic note. The performances by the London Symphony Orchestra have to be singled out for their precision, and the mixing of the work is not quite as dry as usual for Desplat (in fact, the celeste has an other-worldly ambient position in the mix). For film music collectors, much of what is heard in this work may seem like Desplat's usual, but the usual in this case is the composer in top form on short notice.  ****   @Amazon.com: CD or Download

Bias Check:

For Alexandre Desplat reviews at Filmtracks, the average editorial rating is 3.39 (in 31 reviews) and the average viewer rating is 3.22 (in 16,383 votes). The maximum rating is 5 stars.

Total Time: 51:18