Une nuit de réflexion

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.

Joe DiMaggio, Albert Einstein, Marilyn Monroe and Senator McCarthy (or rather, unnamed facsimiles of them) converge in a hotel room. The result is a thematically sprawling work, covering topics like celebrity, guilt, the plight of the Native American, the shape of the universe, Communism, and nuclear destruction. I haven't been a fan of Roeg at all, but there is something that draws you in to this film, asking you to sort it out and piece it together. The problem is, I don't think it can be pieced together. It's messy... perhaps uniquely messy or intriguingly messy, but messy nonetheless. The story (based on a stage play) flits from one idea to another, too busy trying to cram them all in to make them resonate. And I had big problems with the performances. I can't stand Theresa Russell. Partly it's her vacant, husky voice but I also just don't think she's a good actress. Tony Curtis does what he can, but the characterization of McCarthy is too cartoonish and savage to take seriously. Michael Emil is annoyingly nebbishy as Einstein, as if he'd been plucked out of a Woody Allen film. Amazingly, that leaves Gary Busey as the best member of the cast, but all he really has to do is be a dumb lout. Honestly, if the performances were just a little bit better I'd probably rank this film higher. There are at least two fantastic scenes: one where Monroe explains the theory of relativity to Einstein, and the horrifying but gorgeously surreal finale where Einstein envisions the room being ravaged by nuclear carnage. But taking the film as a whole, it's just too all over the place.

Director Nicolas Roeg and writer Terry Johnson have fashioned a fantastic story-conceit: to assemble four disparate icons of history in one hotel room and have them exchange their ideas and perceptions of life. Theresa Russell (finally using her innate blankness to her advantage) plays a Marilyn Monroe-like starlet, Michael Emil is Albert Einstein, Gary Busey is a famous ball-player a la Joe DiMaggio, and Tony Curtis is a Senator not unlike Joseph McCarthy. Russell is grating at first, but her performance improves tremendously, while Emil is the acting stand-out, leaving an amazing impression. Of course this is a Nicolas Roeg film, which means it is by turns difficult, distracting, overly arty (sometimes for no other purpose except to be irritating), and obtuse. Yet, the film's inscrutable nature is almost endearing: you may feel something fresh being born out of this crazy-quilt material. For discerning film-buffs, there's nothing else quite like it. *** from ****

Nicolas Roeg's projects are variable to say the least, but are never less than interesting. "Insignificance" is obviously, first and foremost, an adapted stageplay: it's wordy and pretty-much 'room-bound'. BUT, it pays to view this film more than once: the underlying themes are not overtly presented and, what's more, it takes a while to adjust to the juxtaposition and role-reversals of the four protagonists: Einstein, McCarthy, Munroe, and DiMaggio.

Einstein is wracked by guilt over Hiroshima yet fancies the simplicity of a sexual liaison with Munro; Munro is sick of being seen as a bimbo and craves intellectual credence; Senator McCarthy is at the height of his witch-hunting powers but is an impotent sleazebag; DiMaggio is insecure about his celebrity, self-obsessed, and prone to violence. Each of them contains the seeds of their own destruction. Each character has a troubled, abused/abusive past and a questionable future. Gradually, we see that obsession itself is the central theme. America's obsession with its postwar cultural icons and mores; the obsessions of the protagonists for something none can have: peace-of-mind and/or happiness.

Compared with the theory of relativity, a proposed unified-field theory and, indeed, the cosmos itself, all the aspirations and interactions of Roeg's protagonists seem insignificant. Yet these aspects of the physical universe (it's all quantum, trust me!) affect us when they are applied to the development of the means to destroy us. Monroe's mention of the principle behind the neutron-bomb (without naming it as such) is not an anachronism per se, but can only be understood by a contemporary audience. Indeed, ALL the references within the script are only accessible to a knowledgeable viewer: one au fait with '50s occurrences/personality cults and how they affect us in the 21st century.

This film and its screenplay are either very, very clever, or extremely opaque and pretentious. Ultimately, however, probably insignificant.

live long and prosper :)

I agree with the synopsis: it's not the best of Roeg's works but it has what just might be the best scene in movie history, which describes in elegant detail Einstein's theory of relativity. The fact that Marilyn Monroe explains it to Einstein is the capper! It makes it even more interesting knowing that MM and Einstein not only knew each other but admired one another.