After last year’s Oscar season, I was so sick of biopics I wanted to puke. But for every Unbroken
, and American Sniper
, there’s a film like Frida
waiting just around the corner, or in this case, just around the Netflix instant streaming side-scrolling thing. Frida
—as in Frida Kahlo—manages to hit that biographical sweet spot by being both surprisingly informative and hugely entertaining in its own right.
This will be the first in a weekly series of articles aimed at unearthing the often great films of well known directors that are rarely discussed when considering their filmographies. While the goal of this series is to raise awareness and draw attention to these films, it will also serve as an opportunity to recommend some really terrific movies that have sadly been overlooked in recent years.
Fifteen minutes into Nolan’s third feature length film, it seems apparent why this is the least discussed movie in his filmography. Will Dormer (Al Pacino) and Hap Eckhart (Martin Donovan) and the other guy are two LA detectives called up to the small town of Nightmute, Alaska to investigate the brutal murder of a 17 year old girl. The film has all the markings of a typical slow paced detective thriller, substituting the dim streets of Los Angeles for the well lit backdrop of the rural Northwest in summer, where there is daylight twenty four hours a day. However, while tamer than his later works, Insomnia still reflects Nolan’s penchant for twists within his films, as the film shifts focus as Dormer descends into madness and paranoia. Dormer is under review back in LA for potentially unsavory actions he took while conducting investigations back home, and matters are made worse when he is forced to cover up a murder he commits while pursuing his Alaskan suspect, all while losing night after night of sleep to the harsh, blinding Alaskan sunlight.
Nolan is often lauded for his keen visual style, and though traces of this can be seen in his previous films Memento and The Following, Insomnia is his first aesthetically stunning work. Due in no small part to Nolan’s career long cinematographer Wally Pfister, Insomnia is a spectacular in its visual coherence, as the camera work perfectly captures the mounting psychosis of Dormer as his sleeplessness drives him to the point of delusion. Pfister’s mark on the film is not limited to solidifying thematic ideas, the action scenes within Insomnia are tense, and kinetic, though one chase scene across a port used by Alaskan logging companies seems stand out as a definitive high point.
In addition to Insomnia being Nolan’s most cohesive film, as it avoids the unresolved, lofty ideas that have proved themselves to be an underlying issue in his more recent films, there are myriad reasons to give this film the viewing it deserves. The script is strong and tight, drawing heavily from the Norwegian Insomnia that inspired this fantastic remake. Though Pacino shines in the majority of the film, Insomnia has a stellar auxiliary cast, including Hilary Swank as a naive Alaskan cop, and Robin Williams delivers a terrific performance as a local crime writer who becomes intertwined with Dormer as his sanity and morality slip through his fingers. I am the first to say that I am not a huge Nolan fan, but Insomnia is by far my favorite entry in this generally beloved filmmakers admittedly impressive filmography, and definitely well worth your time.
Rating: 5 out of 5