With a filmography as incredible as Christopher Nolan‘s, there is bound to be one film that gets lost in the shuffle. In the case of the prolific director that has arguably never made a bad movie, the film in question is 2002’s Insomnia. This was Nolan’s third feature film after 1998’s Following and his 2000 breakthrough effort, Memento, and it began his longstanding relationship with Warner Bros. that lasted until he parted ways with the studio to make Oppenheimer with Universal Pictures.
Despite the fact that Insomnia did decent business and received stellar reviews, it’s often overlooked when cinephiles mention some of their favorites from the director. In all honesty, it’s a forgotten gem and still his most underrated effort to date.
Insomnia is actually a remake of a 1997 Norwegian film of the same name that starred Stellan Skarsgård. Nolan’s version, written by Hillary Seitz, essentially follows the same beats as the original, although the locations have changed. In the 2002 remake, Al Pacino stars as Will Dormer, a Los Angeles homicide detective investigating the murder of a teenage girl in Nightmute, Alaska. Dormer is joined by his partner Hap Eckhart (Martin Donovan), and it’s clear early on that there is tension between the two men.
Back in Los Angeles, internal affairs is investigating one of Dormer’s past cases, and Eckhart reveals that he’s going to testify against Dormer in exchange for immunity. Dormer has convicted various criminals based on questionable evidence, and they could possibly go free if these cases are reopened.
Insomnia Is a Thriller We Really Don’t See Anymore
In the midst of trying to lure out the murderer of the teenage girl at the center of their investigation, the killer witnesses the accidental shooting of Eckhart committed by Dormer, and soon it’s a game of cat and mouse as they both create a plan for both parties to avoid prosecution. Complicating things for Dormer, he’s plagued by insomnia over his guilt over killing Eckhart, which is exacerbated by the perpetual daylight of Alaska.
Insomnia is the kind of movie that Hollywood doesn’t really make anymore. It’s a mid-budget R-rated thriller that features slow-boil tension over action. It’s a very important film for Nolan because it acts as a bridge between the attention-grabbing independent work that made him a director to watch and the blockbuster work that would ultimately begin to define his career.
The director had the benefit of a great cast led by three Academy Award winners. Pacino is doing his signature best as Dormer, while Robin Williams represented a bit of upside-down casting as Walter Finch, a darker role for an actor known mostly for making us laugh.
Williams was into some dark things in 2002 because he was also featured in One Hour Photo later that year, another role that showcased Williams had a range that knew no bounds. Rounding out the Oscar-winning trio is Hilary Swank as the idealistic Ellie Burr, a young local detective who is a fan of Dormer’s investigative work. Swank had won her first Oscar for 1999’s Boys Don’t Cry, and it was fun to watch her get to play with the big leagues alongside Pacino and Williams.
When you watch the film, you really are witnessing Nolan come into himself as a director. A lot of his stylistic tricks are on display here, and you can tell that he would be able to expand on his scope if given a little more money to play with, as was the case for the films that he did post-Insomnia.
There are some very gorgeous set pieces in the film, including the visually astonishing glacier-to-forest opening plane flight that starts the movie. The director makes full use of his locations in Alaska and British Columbia, that is equal parts beautiful but also serve as the backdrop for Dormer’s mental downfall as his insomnia progresses.
Christopher Nolan Brings Out the Best in Al Pacino and Robin Williams
Considering how big Nolan’s films would get after this, it’s refreshing to enjoy Insomnia’s restraint. Some would probably call this a slow burn now, but it works for the story. There is no need for big car chases or massive set pieces. The real tension comes from how the characters maneuver complicated situations, and this is especially true of Dormer and Finch.
Pacino and Williams clearly have two very different acting styles, but Nolan wisely let these two masters just work and figure out what would benefit them both in a scene. Pacino’s almost combustible personality is wonderfully juxtaposed to Williams’ quiet, but chilling, portrayal of Finch.
Williams isn’t playing a traditionally sadistic serial killer. Perhaps the most disturbing thing about Finch is that you almost believe him when he explains to Dormer that the murder in question may have been an accident. In fact, he thinks Dormer and himself have this in common because of the accidental shooting that he witnessed involving Dormer. He feels they are the same.
The relationship creates an intriguing union in which the hero and villain work together, trying to hide their crimes. As a detective, Dormer is our hero but his complexities and willingness to hide facts make the audience question if he’s just as bad as the criminal he’s pursuing.
It’s crazy to think that Insomnia seems to be the forgotten Nolan film today. Part of the problem is that it does lack a bit of Nolan’s personal touch because he’s working within the constraints of the film being a remake. Even his work on The Dark Knight Trilogy, despite coming from a familiar comic book character, feels more distinctly Nolan than Insomnia, yet that’s the appeal of this thriller. It’s so unlike anything within his filmography that it makes the film stand out. It’s a reminder that Nolan can make smaller, more character-driven films.
Insomnia was a hit upon release, although it wasn’t massive by any means. Released in the summer of 2002, the film grossed $113.7 million globally on a $46 million budget. Not bad for an adult-skewing thriller that was competing with summer blockbusters. Reviews were also stellar, registering a 92 percent fresh rating on Rotten Tomatoes, which only enhanced the notion that Nolan was a director on the rise.
After this, the director took on Batman Begins, and his scope just got bigger, and he never really looked back. Insomnia served its purpose of introducing Nolan to studio filmmaking which only paved the way for his bigger endeavors. That being said, even though Insomnia is the last of his small showcases as a filmmaker, it’s big enough in its ambitions to be remembered among his best.
This story originally appeared on Movieweb
