Insignificance (Criterion) (Blu-Ray)

Those who say that "The Man Who Fell To Earth" (1976) was Nicolas Roeg's last great movie either have not seen "Insignificance"(1985) or have vastly underestimated it. All the trademarks of a Roeg film are here; surrealism, spectacular visuals and a uniquely intelligent story.The idea that Marilyn Monroe and Albert Einstien had an intimate relationship is explored here with great gusto. Misconceptions about Monroe's intelligence and Einstien's intellectual elitism are shattered here although her baseball player husband(DiMaggio)is what the viewer would expect.The climax is both unpredictable and mind blowing. All in all, Russell and veteran cast are great and Roeg's craftsmanship is uniformly excellent.

In this quirky highly original film director Nicolas Roeg posits the theoretical question, what would happen if Albert Einstein, Marilyn Monroe, Joe DiMaggio and Senator Joe McCarthy were all gathered together in the same hotel room for one evening in 1953?

An eclectic gathering indeed. If it helps you to conceptualize where this film is headed, think of this as an evening of psychotherapy for the rich and famous. Marilyn wants to be loved for her brain, yet continually relies on her sex appeal for attention. Her husband and sports legend Joe DiMaggio wants to express his deep feelings of love for his wife but can't seem to express himself without a pack of baseball cards in his hand. Meanwhile Senator Joe McCarthy is busy scowling and perfusely sweating as he continues a campaign of threats and intimidation against everyone in the room.

Einstein's quiet evening alone has definitely taken an unexpected turn. Between the emotional angst displayed by the vulnerable sex kitten, the inept attempt at reconcillation by her superstar husband and the politics of fear levied by the Senator, the usually aloof, unattached scientist finds himself in an environment beyond his control, even for one of his mental capabilities. It turns out to be an evening of personal discovery for all involved.

'Insignificance' is really a mixed bag, one of those films you either get it or you don't. Not by any means a great movie, but it has its moments, the best moment being Marilyn's attempt to impress Dr. Einstein by explaining his theory of relativity using toy trains and flashlights as props. Very cute, thank you Theresa Russell!

This may not be a film that would stand up well to alot of repeat viewings but worth a viewing nonetheless. Starring; Michael Emil as Albert Einstein, Theresa Russell as Marilyn Monroe, Gary Busey as Joe DiMaggio and Tony Curtis as Joe McCarthy.

CONTAINS A FEW SPOILERS. While "Two Deaths" (1995) showed a few flashes of the directorial brilliance that seemed to come so easily to Nicholas Roeg between the early seventies and the mid-eighties, I would argue that "Insignificance" was his last great film. Roeg was not a writer, but he managed to put his unique stamp on nearly every film he directed between his mesmerizing solo directing debut, "Walkabout" (he was co-director on "Performance" prior to that), and this allegorical gem, "Insignificance." This film followed by two years Roeg's underrated "Eureka," a film which baffled the suits at MGM/UA, and was not released until a couple years after it was completed. "Insignificance," with a script adapted by Terry Johnson from his stage play, was a more low budget film than "Eureka," and, to paraphrase another interesting director, Whit Stillman, when a lot of dollars are involved your movie is more likely to get sabotaged by "jerks." I can't decide myself if Theresa Russell's portrayal of "the actress" in this film is the high water mark of her career, or if that came in 1981 in "Bad Timing: a Sensual Obsession," her first collaboration with Roeg, whose wife she had become by the time "Insignificance" was shot. I had the pleasure of interviewing Ms. Russell in 1981, during her promotional tour for "Bad Timing," and she told me at the time she considered her work opposite Dustin Hoffman in "Straight Time" the acting she was most proud of to that point in her career. But to "Insignificance" itself, this is a movie I find fascinating, but which I'm sure some would find utterly pretentious. What saves it from that charge is the humor that runs through this film, despite the seriousness of the subject matter: the unleashing of atomic weapons, communist witch-hunts, and, while it may see of lesser importance, the nature and burdens of celebrity and having to live up to some manufactured image of oneself. The rest of the cast is uniformly excellent. It is appropriate that Tony Curtis, at least lately a decidedly right wing, anti-gay activist who campaigned against "Brokeback Mountain getting Best Picture, is cast as "the senator," who is obviously meant to be Joe McCarthy. Curtis, a fine actor, brings some of the smarmy charm of his character from "Sweet Smell of Success" to this film as well, albeit a charm filtered through an alcoholic haze. Gary Busey is perfect as the famous former baseball player, who realizes his glory days are gone, and that he will forever live in the shadow of his wife's greater fame. And Michael Emil, so good in a number of his brother, Henry Jaglom's quirky low budget films ("Sitting Ducks," "Always") is fine as "the professor," who has come urge the US government to not use his great discovery for additional destructive purposes, but to use it to promote peace--a position for which the senator has no sympathy. The scene in which Russel, as the actress, demonstrates her understanding of the professor's theory of relativity using a toy train set is not to be missed. Roeg never made a film this interesting again. After a few attempts at films of substance, such as the failed "Track 29," derailed by a weak script, Roeg signed on to direct more mainstream fare. Some like "The Witches" were at least competent and entertaining films. Others, like the TV mini series "Samson and Delilah," seem beneath him. In the end, Roeg was the victim of the passing of the time of the powerful director in commercial film making. Some of the strong (and/or commercially successful) still survive, but many, like Roeg, have had to abandon the adventurous path of their earlier films in order to maintain a viable, or semi-viable career.