Gus Van Sant, start taking notes – this is how remakes should really be done.
Blazing hot director Christopher Nolan (the man behind the backwards brilliance of “Memento”) took an obscure, but intriguing Norwegian film and Americanized it for mainstream audiences.
The result is “Insomnia,” which, along with “An Affair to Remember” and “Ocean’s Eleven,” is a prime example of a quality remake.
Al Pacino, headlining an amazing cast of past Oscar winners, plays Will Dormer, a seasoned cop called up to Alaska to track down the killer of a teenage girl.
Following the discovery of the girl’s backpack, Dormer and a group of Alaskan officers camp out near a beachside cabin – in the vain, yet ultimately unsuccessful hope the killer would reappear – but with an incoming fog obscuring everyone’s vision, Dormer “accidentally” shoots his partner Hap (Martin Donovan from “The Opposite of Sex”).
This shooting adds a whole new element into the film. As Hap lays dying, he accuses Dormer of trying to silence him, with Hap knowing details of a past transgression which still hang over the head of Dormer. Dormer shoots Hap a look, which, with the skills of Pacino, seems to confirm Hap’s theory, but the look is so short, it’s impossible to unearth the truth from beneath his chilly exterior.
Playing student to Dormer is Ellie Burr (Hilary Swank), an inquisitive Alaskan cop who’s still a rookie to homicide – this section of the state doesn’t get a lot of dangerous crime such as this.
Also plaguing Dormer is the identity of his killer, who unfortunately for Dormer, witnessed the shooting of Hap and knows what Dormer left out of his description to the cops.
Viewers of the “Insomnia” trailers – along with those who are reading this review – will have an advantage over the rest of the audience in vaguely knowing the identity of the killer before he makes his first appearance. Robin Williams, in an over-hyped appearance, is the villainous culprit of the crime.
Now in his second dramatic villain role of the year (his first was in “Death to Smoochy” and his third will be the upcoming “One Hour Photo”), Williams shines once again, showcasing his skill at drama. Having picked up an Oscar for his role in “Good Will Hunting,” Williams’ most memorable roles have been his dramas, not his comedies, which is a compliment to his ability. Williams would probably like fans to remember “Dead Poets Society,” rather than “Toys.”
Despite Williams’ great talent, Dormer’s true arch nemesis is his case of insomnia (thus the title). Although the culprit of his sleeplessness seems to be the never-setting sun – the Earth having tilt enough to cause constant daylight – there seems to be some deeper emotions behind this.
Still, the daylight does provide cinematographer Wally Pfister the chance to play with lights to create some magnificent shots. Dormer’s insomnia eventually reaches the point of his taping the blinds down and stacking things in front of the window, but little slivers of light still discover small cracks through which to slither, snaking their way through the darkness to land on Dormer’s face.
These scenes also provide the catalyst to praise the always magnificent Pacino. Having been nominated for eight Academy Awards – he won for “Scent of a Woman” – Pacino controls every picture he appears in. With only the likes of Jack Nicholson to compete with, Pacino can arguably be considered the greatest live actor around today.
Having Pacino and Williams to compete with, Swank occasionally fades into the background. The rookie cop who may eventually overtake the teacher is as trite a character as the tough as nails cop two days from retirement. Despite this strike against her character, Swank still shines just enough to make an impact. Although “Boys Don’t Cry” was her film – which won her an Oscar – Swank appears to realize this one belongs to her two co-stars. If nothing else for Swank, at least she gets to shine in a movie where she doesn’t have to tape down her breasts.
Perhaps the most important bit of information about this film is that although Nolan directed both “Insomnia” and “Memento,” fans of the latter will not necessarily be fans of the former. Those that were turned off by the confusing backwards approach of “Memento” will not find Nolan’s new one any easier. “Insomnia” is a deep and complex psychological picture, which may have made the picture just as intriguing as its predecessor.
Todd LaPlace is a sophomore in journalism. Don’t worry, Shelley; he took no offense to your column on May 20. He can be reached for comment at [email protected].
