Arts & Entertainment
Tragic hero
Film tells story of Alan Turing — from cracking Nazi code, to chemical castration and suicide
Patrick Sammon, right, on the set of his new docu-drama ‘Codebreaker’ in London. (Photo by Marc Sethi)
Scientist cracks codes to help defeat Germany during World War II, essentially laying the groundwork for modern computer science, but is busted for being gay and in 1950s England is chemically castrated and eventually commits suicide.
It’s a tragedy of epic proportions but such is the little-heard biography of Alan Turing. A new 81-minute docudrama about his life called “Codebreaker” debuts next week in Washington.
Novice filmmaker Patrick Sammon — a former executive director of the Log Cabin Republicans — says Turing’s story needs to be told.
“As I sorted through my hundred ideas,” Sammon says, “Turing’s idea quickly came to the top of the pile, because it was an amazing story, and I thought everyone should know about Turing’s contribution to our world. And then I realized there really hadn’t been a film like this done about him.”
The film (turingfilm.com) was released in the U.K. last year. Its U.S. premiere is Wednesday at the Georgetown AMC. It’s sponsored by the D.C. Center and tickets are available to the public (todpix.com/codebreaker). An advance screening and discussion were held last week at the National Press Club on the centenary of Turing’s birth and the film will also screen in New York on Oct. 25. Beyond that, TODpix, a distribution company, is working with grassroots organizations across the country to find audiences for additional showings.
Sammon, who’s gay, hopes to reach pockets of both the LGBT and tech communities to build a demand for additional screenings, culminating in “A Night with Alan Turing,” featuring screenings in 50 cities on Nov. 8.
Turing grew up in England in the early 20th century. He quickly stood out as a bright student and his teachers praised his “considerable powers of reasoning.” He developed a strong bond with fellow student Christopher Morcom. According to David Leavitt, novelist and Turing historian, “Morcom was, I think, more important to Turing than any other human being in his life. Turing was probably, in an adolescent way, quite in love with him.”
Patrick Sammon (Photo courtesy Sammon)
When Morcom died at a young age, Turing delved into his work as a sort of tribute to his late friend. As years passed, Turing developed the idea of the computer, broke encrypted German army messages during World War II and laid the groundwork for the future of artificial intelligence and mathematical biology.
Later in life, Turing had an affair with a 19-year-old named Arnold Murray, a friend of whose burgled Turing’s house early in 1952. Turing reported the crime, and the circumstances surrounding it, to the police. At the time, homosexuality was illegal in England and they charged Turing with indecency. Turing opted for hormonal treatment over prison, resulting in serious physical and mental side effects. Shortly after ending treatment, Turing committed suicide at the age of 41.
Sammon moved to Washington in 2003 to become a documentary filmmaker, but his career took a detour when he began working for, and ultimately running, the Log Cabin Republicans, a conservative organization that advocates for equal rights for the LGBT community. During this time, Sammon amassed many ideas for films. When he launched Story Center Productions in 2009, he partnered with a U.K.-based production company to help with his first film, “Codebreaker.”
He spent about six months in London during the production, which he’s been focused on full time since 2010. He factored in some living expenses into the production cost, which was funded largely from Channel 4 in the U.K. and also on his savings. Other donors, foundations and corporations including Intel and Google helped finance the project.
Sammon calls the film a “drama-documentary,” saying, “A third of it is drama, recreation, and then two-thirds is documentary. It’s a good mix of those two elements, and I think they play well together.”
It features a myriad of interviews with Turing’s relatives and associates, historians and industry professionals. His work is widely recognized as the foundation of all modern-day technology. In the film, Google’s Alma Whitten describes his contributions as timeless, saying, “They’re the things that are fundamentally true, so they’re always going to be with us, in the same way that the things that Galileo and Newton contributed to physics are always going to be with us.”
Apple co-founder Steve Wozniak credits Turing with making possible all subsequent technology. “Alan Turing was sort of at the top of everything that ever developed,” Wozniak says in the film. “All the future research that was done by people, building real equipment that can compute.”
The interviews are juxtaposed with dramatizations of therapy sessions from Turing’s last year, while Turing was undergoing chemical castration. Ed Stoppard (“Upstairs, Downstairs”) plays Turing opposite Henry Goodman (“Taking Woodstock”) as Franz Greenbaum, Turing’s psychiatrist and friend.
Production for the dramatizations lasted only five days, but Stoppard’s performance is a stand-out piece of the film. He dramatizes the internal struggle that drove Turing to take his own life. Stoppard’s sometime-sardonic, sometimes-reflective comments mask a pain his character carried with him.
Sammon’s passion for the story stemmed from the injustice Turing faced despite his contributions to society.
“Here you have someone who is one of the key people who helped the Allies win World War II by breaking Germany’s naval enigma code,” Sammon says. “Then you have the technology world really giving Turing credit for creating the intellectual foundation for modern computer science. The paper he wrote in 1936 really laid down the key ideas for the modern computer.”
Sammon goes on to describe the “Shakespearean tragedy” that followed. “In spite of his genius, in spite of his amazing contribution to the war, the fact that he was gay, the government persecuted him because of it.”
During the course of a year of chemical castration, Turing took daily doses of estrogen. Effects of the treatment included shrunken testicles, a loss of his libido, a loss of body hair and the development of breasts. Months after the treatment ended, Turing’s body had not returned to its normal state. Sammon believes Turing elected the hormone therapy, in place of a year in prison, to avoid being taken away from his work.
Sammon, who says he has “a lot of other ideas” for future film projects though he’s focused on the “Codebreaker” distribution for now, says it’s important to recognize the historical accomplishments of the LGBT community and foster a more inclusive society. At the same time, he believes all people, regardless of sexual orientation, should admire Turing as a hero and a genius.
“I admire him very much because he was unconventional,” Sammon says. “I respect Turing for the fact of how unconventional he was, and he wasn’t afraid to be different. The sad part is society, at the time, didn’t have tolerance for differences.”
Leavitt describes Turing as a tragic hero we must learn from.
“His refusal to compromise or lie, under such circumstances, was nothing less than heroic — yet we must remember that, as a consequence of his heroism, he was erased from history for many years. Nor is the institutionalized hatred of gay men and lesbians any less of a reality today than it was in 1953. Even as we honor Alan Turing, we must be vigilant. We must not let ourselves lapse into complacency. This could happen again.”
Movies
The queer appeal of ‘The Devil Wears Prada’
Tying the feminist and LGBTQ rights movements together on screen
“Would we have fashion without gay people? Forgive me, would we have anything?”
Those words, spoken by Miranda Priestley herself (actually by Meryl Streep, the 76-year-old acting icon who played her), may well sum up why “The Devil Wears Prada” has been a touchstone for queer audiences for two decades now.
Streep, who returns to big screens this weekend in the sequel to director David Frankel’s beloved 2006 classic (succinctly titled “The Devil Wears Prada 2”), expressed this nugget of allyship in a recent interview with Out magazine, promoting the new film’s upcoming release. It would be hard, as a member of the queer community, to disagree with her assessment. The world of fashion has always been inextricably linked with queer culture, and the whims of taste that drive it are so frequently shaped by queer men – and women, too – who have adopted it as a means of expressing their sense of identity from the very first time they thumbed through a copy of Vogue.
At the same time, the notion that “Prada” has been claimed by the community as “canon” simply because of the stereotypical idea that “gay people love fashion” feels like a lazy generalization. After all, fashion is about discernment – about knowing, if you will, whether a sweater is simply blue or if it is cerulean, and, importantly, understanding why it matters – and just because something ticks off a few basic boxes, that doesn’t mean it qualifies as “haute couture.”
So yes, the setting of the “Devil Wears Prada” universe in what might be called “ground zero” of the fashion industry plays a part in piquing queer interest, but to assume our obsession with it is explained as simply as that is, frankly, insulting. The fashion angle catches our interest, but it’s the story – and, more to the point, the central characters (all of which return in the sequel) – that reels us in.
First, there’s the ostensible heroine, Anne Hathaway’s Andrea (or rather, Andy) Sachs, who falls into the world of fashion almost by accident. She’s a recent college grad who wants to be a journalist, to write for a publication that operates on a less-superficial level than Runway magazine, but fate (for lack of a better word) places her in the job that “a million girls” would kill to have – assistant to Streep’s Miranda Priestly (based on Vogue editor Anna Wintour), who can determine an entire season’s fashion trends merely by pursing her lips. She’s idealistic, and dismissive of fashion in the overall scheme of human existence; she’s also stuck with a truly terrible boyfriend (Nate, played by Adrian Grenier) and trying to live up to the self-imposed expectations and ideals that have been foisted upon her since birth.
It’s clear from the start that none of this “fits” her particularly well. More significantly, the natural grace with which she blossoms, from “sad girl” fashion-victim to the epitome of effortless style, tells us that she was meant to be exactly where she is, all along.
Then, of course, there is Nigel (Stanley Tucci), the ever-loyal art director and “Gay Best Friend” that’s always there to provide just the right saving touch for both Miranda and Andy, helping to boost the former while gifting the latter with his own insight, “tough love,” and impeccable taste. Never mind that he’s a queer character played by a straight actor – Tucci avoids stereotype and performative flamboyance by simply playing it with pure, universally relatable authenticity – or that he ends up, at the end of the original film, betrayed by his goddess yet deferring his own dream to double down on his commitment to hers. Anyone who has ever been a gay man in the orbit of a remarkable woman knows exactly how he feels. Of course, they also probably know the precarious life of being a queer person in the workplace – something that carries its own set of compromises, disappointments, and determinations to go above-and-beyond just to make oneself invaluable to the powers that be.
Which brings us to Emily (Emily Blunt), the cutthroat “first assistant” who does her level best to keep Andy in her place, who goes to extremes (“I’m just one stomach flu away from my goal weight”) to be the “favorite” no matter how much cruelty she has to unleash on those who threaten her status. Some see her as merely an obstacle in the way of Andy’s rise to success, an antagonist whose efforts to embody the “no mercy” persona of an ascendent girl boss only expose her own mediocrity. But for many, she’s just another victim doomed to fail and fall while watching others rise to the top. Queer, straight, or in-between, who among us hasn’t been there?
Finally, of course, there is Streep’s Miranda Priestley, the presumed “devil” of the title and the epitome of mercilessly autocratic authority, who has earned her status and her power by embracing the toxic modus operandiof a misogynistic hierarchy in order to conquer it. Yes, she’s more than just a little horrible, a strict gatekeeper who hones in on perceived weaknesses with all the vicious premeditation of a hawk with its eyes on a luckless rabbit, and it would be easy to despise her if she weren’t so damn fabulous. But thanks to the incomparable Oscar-nominated performance from Streep – along with the glimpses we are afforded into her “real” life along the way – she is not just aspirational, but iconic. Stoic, imperturbable, always three steps ahead and never affording an inch of slack for any perceived shortcoming, there’s an undeniable excellence about her that inspires us to see beyond the obvious dysfunction of the “work ethic” she represents; and sure, there’s enough emotionally detached enthusiasm in her torment/training of Andy to fuel countless volumes of erotic lesbian fan-fiction (Google “MirAndy,” if you dare), but when we eventually recognize that she might just be the ultimate “fashion victim” of them all, it doesn’t just cut us to the core – it strikes a chord that should be universally recognizable to anyone who has had to make their own “deal with the devil” in order to claim agency in their own lives. In this way, “The Devil Wears Prada” comes closer than probably any mainstream film to tying the feminist and queer rights movements together in common cause.
In any case, each character, in their way, can easily be tied to a facet of queer identity – and indeed, to the identity of anyone who must work twice (or more) as hard as a straight white Christian male to succeed. We can see ourselves reflected in all of them – and whether we aspire to be Miranda (I mean, who wouldn’t?), identify with Andy, recognize our worst traits in Emily, or empathize with Nigel and his deferential suffering, there’s something in “The Devil Wears Prada” that resonates with everyone.
Now let’s see if the sequel can say the same.
Lesbifriends Travel will host “Queer Night Out: DC Power FC Game” on Wednesday May 6 at 7 p.m. at Audi Field.
This will be a fun night out as DC Power FC takes the field at Audi Field, kicking off with a happy hour meetup in Navy Yard before the group walks to the stadium together. Lesbifriends and Travel group will be seated together in the stands, making it easy to connect, cheer, and enjoy the game with people who just feel like your people.
More details are available on Eventbrite.
Friday, May 1
Go Gay DC will host “First Friday LGBTQ+ Community Social” at 7 p.m. at Silver Diner Ballston. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
“Illusions The Drag Queen Show Washington, D.C.” will be at 7 p.m. at 2323 18th St., N.W. Come see this amazing D.C. drag show and laugh all night long while being amazed by the stellar performances in tribute to some of your old-time favorite classics as well as the latest pop favorites. Come see the likes of Madonna, Cher, Tina Turner, Whitney Houston, Joan Rivers, Phyllis Diller, Beyoncé, Pink, and many more. Tickets are $12.97 and are available on Eventbrite.
Saturday, May 2
Go Gay DC will host “LGBTQ+ Community Brunch” at 11:00a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
Drag Queen Sip and Paint Washington DC will be at 4 p.m. at Town Tavern DC. This event combines the joy of painting with the lively energy of a drag queen, offering an hour and a half of fun, creativity, and entertainment. Participants paint a canvas while enjoying cocktails, all under the guidance of a glamorous drag queen host. Tickets are $47.19 and are available on Eventbrite.
Monday, May 4
“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Tuesday, May 5
Universal Pride Meeting will be at 7 p.m. on Zoom. This group seeks to support, educate, empower, and create change for people with disabilities. For more details, email [email protected].
Wednesday, May 6
Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Center Aging Women’s Social and Discussion Group will be at 6 p.m. on Zoom. This group is a place where older LGBTQ+ women can meet and socialize with one another. There will be discussion, activities, and a chance for guests to share what they want future events to include. For more information, email [email protected].
Thursday, May 7
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.
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