THE MAN WHO KNEW INFINITY (2015)
Directed by Matthew
Brown
Warner Brothers, 108
minutes, PG-13 (racism themes)
★★★★
I’m one of the most right-brained people on the planet, so I
surprised myself by viewing two films about math in the same week: Hidden Figures and The Man Who Knew Infinity. How to say this? The first is more
important sociologically, but the second is a better film, although not many
people saw it when it was in theaters.
The Man Who Knew
Infinity is a biopic about Srinivasa Ramanunjan (1887-1920), whose brief,
brilliant career inclines one to believe that sometimes nature is way more important than nurture. He grew
up in Madras, India; was modestly educated; dutifully submitted to an arranged
marriage to a ten-year-old girl in 1909; and toiled in low-level accounting
posts before attracting minor attention at home. Hardly the sort one would
consider Cambridge material at a time in which the British raj was intact and
most Brits considered Indians racially inferior “wogs.” But Ramanujan had an
inexplicable gift for computation and he filled notebooks like da Vinci on
amphetamine. His work was so
advanced that many thought him a charlatan, but Trinity College Fellow
G. H. Hardy was intrigued enough to test that theory.
The Man Who Knew
Infinity concentrates on the professional relationship between the
intuitive and sensitive Ramanujan (Dev Patel) and his hard taskmaster mentor
Hardy (Jeremy Irons). To call the two opposites hardly does the description
justice; Hardy was such a cold fish that he had colleagues, but no lovers, no
passion other than work and cricket, and even his few “friends” such as John
Enensor Littlewood (Toby Jones) had to resilient to insult or be able to parry
like Bertrand Russell (Jeremy Northam). Cambridge was Hardy’s element and Ramanujan’s
isolation ward. Call it a
relationship between fire and ice….
The film follows Ramanujan’s need to prove himself during
his time at Cambridge (1914-19), both metaphorically and literally. Like Hidden Figures, it’s also about overt
and covert racism. There were few dark faces at Trinity College and fewer still
white ones willing to believe that an Indian could possess superior intellect.
Racial slurs were the order of the day and even the mildest of questions could
be construed as insolence. Nor did it occur to the bright white minds of
Cambridge that a Hindu man might not eat meat or find chapel edifying—or that
perhaps he might miss his wife or his native land. Ramanujan’s problem with
Hardy was that he intuited answers but seldom process. He was a “pure”
mathematician in the strictest sense—one who saw his equations as gifts from
his god, believed them to be true, and saw no need to question them, even when
they were demonstrably wrong. In Hardy’s West, though, a math equation without
corresponding proofs gains labels such as conjecture, speculation, and unsound
reasoning. So can fire and ice learn to make water? Can one man become more
earthly and the other more sensitive? Can either convince others to drink?
Brown is unsparing in plumbing the depths of British xenophobia and how it
intensified once the Great War (World War I) erupted. A world in which logic is
kicked in face by the boots of unreason ought to strike you as chillingly
familiar.
Ramanujan was a brilliant star that burned out too soon,
which makes The Man Who Knew Infinity
equal parts inspirational, triumphant, and tragic. Brown’s ability to let us
see the last of these is one of the things that makes this a better film than Hidden Figures. Excellent performances
from Patel, Irons, Jones, and Northam move the narrative crisply and make it
compelling for right-brained people like me. Ramanujan’s work was pathbreaking
in fields such as partitions, number sequences, the properties of fractions,
and a whole host of other things I can’t pretend to understand. In all, he
produced more than 3,900 equations and results—almost all of them correct. Ramanujan
possessed true genius, though it remains mysterious as to how it was acquired.
But here’s a result to consider: this is a really good film. As proof, I offer
myself—as unlikely candidate to get excited about a math film as you can
possibly imagine. Give this one a try; I think you’ll find a winning equation.
Rob Weir