Like many directors who made their mark in the 1960’s and 70’s, Nicolas Roeg hit a bad streak in the 80’s. While I was a fan of BAD TIMING, it wasn’t well received by critics or the box office, and Roeg’s follow-up film, EUREKA, starring Gene Hackman as a prospector, ended up being barely released, to critical and public indifference (after rewatching it recently, it didn’t hold up for me for the most part). However, Roeg managed to recover to adapt, of all things, a play, when he took on a film version of Terry Johnson’s play INSIGNIFICANCE, and delivered yet another one of his best films.
As with the play, the film takes off from the famous image of Marilyn Monroe’s white dress blowing up while she’s standing over the subway grate in Billy Wilder’s THE SEVEN YEAR ITCH. Taking place over the course of one night, it imagines that Monroe (Russell), known only here as The Actress, goes to a Manhattan hotel where, as it happens, Albert Einstein (Michael Emil, brother of filmmaker Henry Jaglom), known here only as The Scientist, is staying. Einstein is in town to speak at a peace conference, though Joe McCarthy (Tony Curtis), known here only as The Senator, has other ideas; he wants Einstein to testify in front of HUAC and denounce communism. Meanwhile, Monroe’s ex-husband, Joe DiMaggio (Gary Busey), known here only as The Ballplayer, just wants Monroe to come back to him, but acts crazy jealous around anyone who shows interest in her (we first see him watching and seething during the recreation of that famous shot from Wilder’s film). Monroe, on the other hand, just wants to discuss with Einstein the theory of relativity, the creation and meaning of the universe, and other matters of, well, insignificance.
The main subject of Johnson’s story seems to be celebrity, in particular how a public persona can often hide what’s really underneath. Roeg’s contribution to this was, as usual, to show people’s pasts through flashbacks, from Monroe in auditions being ogled by talent agents to Einstein in war-torn Europe, to DiMaggio as a young player and McCarthy as an altar boy. And what the characters talk about, particularly when Monroe is demonstrating the theory of relativity to Einstein, is the clearest way of illustrating the huge gap between what we think we know and what we actually know, whether about the theory of relativity (Monroe admits while she can explain it, she doesn’t really understand it) or about a person in general (McCarthy thinks he can get Einstein to testify simply by either appealing to his intellect or by bullying him, while DiMaggio thinks if he cajoles Monroe enough, he’ll get her to come back to him. Both of them are wrong). And despite the fact most of this (except for the scene recreation and the flashbacks) is set in the hotel room and hallways, Roeg, Lawson, and cinematographer Peter Hannan (who shot, among other films, MONTY PYTHON’S THE MEANING OF LIFE and WITHNAIL & I) never make it seem stagy.
Because the characters are not really DiMaggio, Einstein, McCarthy and Monroe, the actors are a little more free to play around with the material. Busey, for example, may seem at first to be too energetic and mercurial to play the notoriously aloof DiMaggio, but he carries himself like an ex-athlete, and makes that manic nature work for him as someone who doesn’t like the fact the world no longer acts the way it should now he’s retired. I’m not familiar with Emil’s other work as an actor (I’m not a fan of Jaglom’s films, in which Emil was a regular), but he captures both Einstein’s intellect and his sadness that the world was becoming something more horrible than he imagined. Curtis gives one of his best performances as McCarthy, re-imagining him as if Sidney Falco hadn’t been killed, but had gone on to outdo J.J. Hunsecker in fake charm, intimidation and manipulation, though showing the sweat much more. Finally, while Russell may be nobody’s idea of Monroe, and comes off as a little too affected at first, gradually I warmed up to that once I realized her conception of Monroe was of someone aware of the affectation but resigned to it nonetheless even as she struggled to break free of it. For the movie, Roeg and Johnson added an elevator operator played by Will Sampson who claims Einstein is part Cherokee – meaning he has a deeper understanding of the world than anyone else – and that comes off as borderline patronizing (though Sampson at least plays the part well). And some of the scenes drag at times. Still, overall, INSIGNIFICANCE serves as an entertaining meditation on our knowledge of the world, or lack thereof.
