6.7/10
2,448
22 user 21 critic

Insignificance (1985)

R | | Drama, Comedy | 2 August 1985 (USA)
Four 1950s icons meet in the same hotel room and two of them discover more in common between them than they ever anticipated.

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1 win & 1 nomination. See more awards »
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Cast

Cast overview, first billed only:
Michael Emil ...
Professor
...
Actress
...
Senator
...
The Ballplayer
...
Elevator Attendant
...
Driver
Ian O'Connell ...
Assistant Director
George Holmes ...
Actor
Richard M. Davidson ...
Director of Photography (as Richard Davidson)
Mitchell Greenberg ...
Technician
...
Autograph Hunter
...
Gaffer
Lou Hirsch ...
Charlie
Ray Charleson ...
Bud
Joel Cutrara ...
Bar Drunk
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Storyline

Four 1950's cultural icons (Albert Einstein, Marilyn Monroe, Joe DiMaggio and Senator Joseph MacCarthy) who conceivably could have met and probably didn't, fictionally do in this modern fable of post-WWII America. Visually intriguing, the film has a fluid progression of flash-backs and flash-forwards centering on the fictional Einstein's current observations, childhood memories and apprehensions for the future. Written by Jeanne Baker <jbaker@erim.org>

Plot Summary | Add Synopsis

Taglines:

The object of every man's fantasy and the greatest mind of the century are about to meet. See more »

Genres:

Drama | Comedy

Certificate:

R | See all certifications »
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Details

Country:

Language:

Release Date:

2 August 1985 (USA)  »

Also Known As:

Insignificancia  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Since the film was a British production, all of the interiors for Insignificance (1985) were shot at Lee Studios in Wembley, London, with only limited on-location filming of exteriors in New York, See more »

Goofs

When the Ballplayer is at the bar next to a wall calendar, in the medium shots the calendar page is for June 1954, but in a close-up the page says March 1954. The mistake would seem to be the close-up because there is a night-time baseball game on the bar's television and the baseball season didn't begin until April. See more »

Quotes

The Professor: They will not take responsibility for their world. They want to put it all on the shoulders of a few and I tell you the weight of all those worlds...
See more »

Connections

Features Hiroshima Mon Amour (1959) See more »

Soundtracks

When Your Heart Runs Out of Time
Words & Music & Sung by Will Jennings
See more »

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User Reviews

 
Enjoyment, like space-time, is relative
24 May 2004 | by (Adelaide, South Australia) – See all my reviews

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 :)


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