Chris Nolan's Insomnia: Bleak Remake That Outshines Original
The only one of his films that he didn’t write, Insomnia was also Chris Nolan’s first foray into bigger budget major motion pictures.
The third part in our Chris Nolan retrospective. Previously Following HERE and Memento HERE The only one of his films that he didnt write, Insomnia was also Chris Nolans first foray into bigger budget major motion pictures. Based on the Norwegian film of the same name, although this wasnt a shot for shot remake, it still maintained a lot of the originals themes and plot. Paradoxically, Nolans version of Insomnia is actually much better than its source material. Nolan had a lot of influence in making this his follow on project from Memento, and it is easy to see why, as it is prime material for the young director. The main character loses grip on reality due to lack of sleep (ala the title), women become the catalyst for the plot (Robin Williams murdered out of love, Hilary Swank is a thorn in Al Pacinos side; his grip on morality), its a quintessential detective cat and mouse thriller, and the location provides an interesting spin on conventions of film noir (extreme light replaces intense shadows). A key element of Insomnia is the character study, and the exploration of that thin line which separates Good from Evil (something he would revisit as a matter of course in the Batman films). Al Pacinos Will Dormer is haunted by previous crimes (of which we do not get details) and carries tremendous guilt after accidentally killing his partner Hap in a twist of fate that aligns him more with the bookish and unassuming Walter Finch (Robin Williams) than any of his law enforcement counterparts. Nolan squeezes every ounce of tension out of Dormers situation and harnesses the vice of his situation as a means to further the plot, a trait that has now become the directors signature storytelling method. Visually, Insomnia sees Nolan begin to develop his love affair with the capabilities of anamorphic lens, and begins to cement his partnership with cinematographer Wally Pfister (who he had worked with on Memento). In hindsight it feels that once Nolan got to experience the wonders and awe of big landscapes in Insomnia, he became a much more ambitious aesthetic filmmaker. Stand Out Moment:
"I first approached Warner Bros. about the project before any script was written. I hadn't made Memento at that point so I really wasn't in a good position to get involved. Hillary Seitz was just about to start writing and had decided to do much the same things in adapting the film as I would have. It was important to where the film was set because we needed 24-hour daylight to make sure the protagonist is very disoriented and follow his progression through the story. When I finally finished Memento, I came back to Warner Bros. and showed them the film and was able to get on to the Insomnia project as the director. I then collaborated with Hillary Seitz on several drafts."Random Fact: Nolan never went to film school and is a self taught director. Grab your blue flower and meet me at Arkham Asylum tomorrow. We will be looking at BATMAN BEGINS.