Insomnia is a 2002 psychological thriller mystery film directed by Christopher Nolan and written by Hillary Seitz. It is a remake of the 1997 Norwegian film of the same name. The film stars Al Pacino, Hilary Swank, Robin Williams, and Martin Donovan. Insomnia is the only work in Nolan’s filmography so far in which he does have at least a co-writing credit, although he did write the final draft of the script.
Pacino stars as Detective Will Dormer, a reputable Los Angeles homicide detective who, while under an intense investigation by Internal Affairs, is requested to travel to the small Alaskan town of Nightmute to solve the murder of a 17-year-old girl. Nightmute’s chief of police is an old friend of Dormer’s, and it is implied that he requested Dormer and his partner Hap Eckhart to get the heat off of them for a while. While conducting the initial investigation, Eckhart informs his partner that he feels he must testify on behalf of Internal Affairs, who offered him a more lenient sentence for cooperation. This angers Dormer immensely.
While setting an ambush for the killer, Dormer, lost in fog and disoriented, shoots Eckhart and kills him. While dying, his partner accuses him of killing him to thwart his impending I.A. testimony. Dormer, knowing it will look highly suspicious, covers up the friendly fire incident. Plagued with guilt over his partner’s death, Dormer begins experiencing insomnia, further exacerbated by the perpetual daylight. He is also taunted with phone calls from the suspect, who witnessed the shooting of Eckhart.
The focus of Insomnia is not the mystery of who killed Kay Connell. That aspect of the film is actually very straightforward. Insomnia is rather the effects of guilt on a person’s psyche. Anchored with talented performances by Pacino and a surprisingly menacing Robin Williams, Insomnia also features a very tight and focused script by Seitz that is very effective in getting at the deeper themes of the story. Featuring brilliant cinematography from longtime Nolan mainstay Wally Pfister and a fittingly dark score by David Julyan, everything about Insomnia is effectively focused on portraying a man plagued by guilt over his actions and paranoid that the web of lies he spun to hide them will be broken at any given moment.
As Nolan’s first big-budget feature following Following (ha!) and Momento, Insomnia is another demonstration of the British auter’s talent and prowess concerning stories of a deeply personal and emotional nature, which is most likely the reason he was given the duty of reinventing (and rehabilitating, thanks to the laughingstock that was Joel Schumacher’s Batman & Robin in 1997) Batman with 2005’s Batman Begins, the launch of the trilogy that not only re-introduced Batman to a new generation and gave us the best imagining of The Joker to date, but also cemented Nolan’s status as one of the most popular filmmakers of the last ten years.