La signora in bianco

It was late at night, and fighting with a dream that refused to take over me I finally saw the movie...

It blew my mind away... Marilyn, Di Maggio, McCarthy & Einstein all in a small hotel room!

I really enjoyed the characterization of Marilyn by Theresa Russell, and the other actors played their parts with grace too.

A nostalgic trip to the yesterday. This movie is now in the list of my favorites.

If you have the chance to see it, don't miss it!

"Insignificance" is a far from great film, from a stage play, directed by Nic Roeg. In the scheme of Roeg's films, this is above the level of most of his post-"Don't Look Now" work, which is characterised by judicious use of Theresa Russell as lead actress. She's actually very good here, and far from the problem in other Roeg films like "Bad Timing" and "Cold Heaven". As the "Actress", who is Marilyn Monroe, Russell is very effective, portraying her as a thoroughly depressive, but likeable siren. She plays well alongside Michael Emil as Einstein, who is excellent to say the least. He looks the part admirably, and while Theresa Russell doesn't look exactly like Monroe, she certainly is attractive enough to make the part ring true. Other players are adequate if not quite as arresting as Emil and Russell are. A pretty workable, intelligent script is directed well by Roeg, but certainly not brilliantly, like "Walkabout" or "Performance". As in other later Roeg films, he tends to rely too much on vague, insubstantial flashbacks, that add very little to the film. In many ways the film would have worked better as a shorter (say, 60 minutes), more modest piece. Still, a quite acceptable, passable film. At times quite excellent, but somewhat lacking overall. Rating:- *** 1/2/*****

One evening in the 1950's, Albert Einstein is holed up in a Manhattan hotel room, struggling with a calculation. He is interrupted by Senator Joe McCarthy, who wants to ensure Einstein will testify before his committee as a devout anti-communist. As the two converse, Marilyn Monroe is busy shooting 'The Seven Year Itch' across town, with her husband Joe DiMaggio watching from a distance. After she escapes the set with DiMaggio on her tail, Monroe travels to Einstein's room; for she too wishes to speak with the Professor. As these famous faces converge, unexpected, personal truths and fears are revealed; as the long night turns into day.

Based on the play of the same name by Terry Johnson, Nicolas Roeg's 'Insignificance' is a surreal historical fantasy interrogating a multitude of themes, such as fame, identity and the nature of knowledge and reality. With his narrative and his strong, often comedic dialogue, Johnson examines the human condition- as well as the paradoxes of the modern world- through the lens of four iconic figures. He and Roeg deconstruct the familiar representations we have of these celebrities, exposing their insecurities- whether they be about fame, type-casting, the threat of nuclear destruction or impotence. In this way, they offer more nuanced versions of these real-life characters than are typically found in cinema.

However, it is questionable how effective the film is as a complete package. It can be disjointed and confusing, while some of the characters lack depth- McCarthy, in particular. Similarly, the comment being made about how a celebrity's public image is often one-dimensional and far from the truth is not exactly innovative or profound. Likewise, Einstein's fears about an impending nuclear holocaust are not original, nor are they particularly insightful. Although there are some brilliant sequences- one in which Monroe explains the theory of relativity is a stand out- the film seems at times to be trying too hard to say too much.

Conversely, Peter Hannan's cinematography is striking and inventive. Under Roeg's direction, he creates an intimate, almost dreamlike atmosphere for the characters to navigate. His utilisation of shadows and lighting adds tension to sequences, notably during a scene where McCarthy manhandles Monroe. Furthermore, he creates contrast through his adoption of various camera angles, while he cleverly implements creative techniques- such as slow motion, freeze frames and split screens- to emphasize the emotional content of scenes and the conflicts of the characters.

Moreover, the score- from Stanley Myers and an uncredited Hans Zimmer- is immersive and evocative. Although Will Jennings' theme 'When Your Heart Runs Out Of Time' might be a bit kitschy, the score generally comes as a boon to proceedings, enhancing the film's drama. Additionally, Shuna Harwood's costume design adds to the personality of the characters, while David Brockhurst's production design is muted and gritty; looking both period accurate and realistic.

Michael Emil stars as Einstein, opposite Theresa Russell as Monroe, Tony Curtis as McCarthy and Gary Busey as DiMaggio. Emil brings a lightness of touch to the role, which is most appreciated, though doesn't overdo it. Russell is mesmerising as Monroe, capturing her spirit, voice and personality acutely; nearly stealing the film completely. Curtis is seedily slick as McCarthy, overcoming the scant characterisation of the role, while Busey masterfully underplays the part of DiMaggio, making him- perhaps surprisingly, depending on what you know Busey from- the most grounded of the bunch.

In closing, Nicolas Roeg's adaptation of Terry Johnson's Insignificance' is an entertaining historical fantasy, despite its flaws. Though the film's handling of themes feels somewhat familiar, the representation of the four famous faces involved are fresh enough to warrant giving it a watch. Furthermore, Peter Hannan's cinematography is impressive and the score is stirring. Boasting strong performances from all in the cast- especially Theresa Russell and Gary Busey- this film is not an insignificant achievement.

I have always been a great admirer of Nicolas Roeg and "Walkabout" is one of my favorite films. This is a film version of Roegs stage play and while most of the film takes place in a hotel room it still has some of Roegs cinematic flare. Very unique story is about a famous actress (Theresa Russell) who after a hard nights work on a film in 1954 goes to a hotel to visit a famous professor (Michael Emil) and together in his hotel room they talk. After awhile she wants to go to bed with him but as they start to get undressed her husband is banging on the door. Her husband is a famous ex-baseball player (Gary Busey) and he wants to know what is going on. The three of them in the hotel room talk about what is going on and what the future holds for them. Meanwhile, a famous senator (Tony Curtis) is threatening to take away the professors papers if he doesn't testify at a hearing. Theresa Russell is just excellent and while she's not trying exactly to impersonate Marilyn Monroe she does a wonderful job of exuding the phobia's and nuances that Monroe is very well known for. One thing the film does is show her as not only a woman on the verge of a mental breakdown but show her as a physical wreck as well. She talks of being unable to have children and at one point in the film she suffers a miscarriage. You can make an excellent case that this is Russell's best performance and I probably wouldn't argue. The film does an interesting thing in showing many flashbacks as the characters continue to talk about one thing and in the flashback we see one of many reasons for their actions. Busey also gives a good solid performance and it reminds me of what a strong persona he gives off on screen. Emil as the professor is a character that has many more things on his mind then we originally thought. The last scene in this film is a demonstration of his darker side! One of the highlights of the film for me is the little conversation he has with the elevator man (Will Sampson of "Cuckoo's Nest") and they discuss what Cherokee Indians think about at all times. But of course the famous scene in this film is where Russell demonstrates to Emil how she does understand the theory of relativity and uses toys to show this. The professor is delighted by her demonstration and so are we! Russell and Roeg are married in real life and they do admirable work when they are in collaboration and this is probably their best film together. Good performances and a very interesting job of directing make this a challenging and visually thought provoking film.

What if Marylin Monroe, Albert Einstein, Joe Dimaggio and Senator McCarthy were to come together in a mind-bending evening of relativity?

This delightful roman à clef never uses the actual names of the characters it so thinly veils and scathingly exposes not only for the individuals they must have been, but also for what they came to represent over time. If you are confused by allegory, or if you like your movies served up predigested and mushy, you won't like this film. It is a demanding opus that rewards on many levels the viewer with the intelligence to appreciate it.

Dropping, for the time being, the rigorous avoidance of using the real names of the characters, we see Einstein, about to deliver a pacifist speech to a United Nations hell-bent for nukes, being visited by Marylin Monroe, after filming the notorious Seven Year Itch scene that some say led to the end of her marriage with Joe Dimaggio. They have a lovely interplay in which Einstein stumbles with suitable professorial clumsiness around the innocence of perhaps the greatest sex symbol of modern times.

Enter Senator McCarthy who thinks Einstein is a Red. He is determined to extract Einstein's assurance that he will support the activities of the House Unamerican Activities Committee while delivering the ultimate weapon in the name of peace. Add Joe, a surprisingly fragile and vulnerable person perhaps not perfectly cast as Gary Busey, who hates Marylin's exhibitionism and believes Einstein has become her lover, even though Marylin only wants to show Einstein that she understands the Special Theory of Relativity.

But there's more.

Just like each of us, these characters have their deepest fears, which they reveal one by one in haunting flashbacks. It is these weaknesses, ultimately, that lend humanity to figures we cannot help but see almost exclusively in the abstract today. Finally, we see the shocking terror of Einstein's vision, and the statement of the movie becomes clear. It is a powerful and memorable moment.

Insignificance is one of my top five movies of all time. It is utterly amazing.