Quality effort from the director of MEMENTO

Rating: Null/10 (5 September 2002)

***SLIGHT SPOILERS*** MEMENTO was one of those great, rare treats, where if you saw it with someone who really liked it, who got it, so to speak, it led to inevitable hours of discourse as you agreed and disagreed on both the key elements in the movie and the unresolved ending. At the same time, it was one of those frustrating experiences where, when trying to recommend it to a friend who you kind of knew wasn't into this type of film, led you to enduring the painful glazing of eyes from your buddy when you attempted to pitch the film without giving the whole premise away.
From director Christopher Nolan we now have INSOMNIA, and while a very different movie to MEMENTO indeed, it does share some traits, and like Nolan's other film, is outstanding and very highly recommended. Also like MEMENTO, it's difficult to heavily review the plot without giving too much away, so I'll keep it light.
Jaded detective Will Dormer (Al Pacino), a generally respected and knowledgeable LAPD officer, and partner Hap Eckhart (Martin Donovan), arrive in Nightmute, Alaska, to assist in the murder of a local high school girl. The pair arrive during Nightmute's summer, which means endless daylight for months. We learn that Dormer is under major investigation from the LAPD Internal Affairs for what later transpires to be his involvement in the incarceration of a child molester who, without his actions, would have likely escaped without punishment.
However, Dormer is shocked when Eckhart announces that he is going to `cut a deal' with Internal Affairs that likely will result in Dormer being prosecuted. Dormer is furious with his `partner', and lets him know it. Meanwhile, the lack of darkness at night begins to plague Dormer, and he cannot sleep. (Hence, the title of the film.)
Dormer does, however, impress the Nightmute detectives with his abilities as a police officer; in particular, he draws the attention of Detective Ellie Burr (Hilary Swank), who studied Dormer at the academy. Initially, she is in awe of him, and picks up on each little tip and nuance Dormer offers.
Dormer sets a trap for the killer, and soon he, Eckhart and the Nightmute team are on his trail, and they trace him down to a small outhouse. In seriously foggy conditions, Dormer mistakes Eckhart for the killer, and accidentally shoots and kills him. Before he dies, Eckhart reacts badly, accusing Dormer of killing him intentionally. As the other police officers rally around the fallen officer, Dormer, realising how this will look within the restraints of his IAD investigation, panics; rather than owning up to the accident, he announces that Eckhart was shot by the killer.
From this point forward, Dormer continuously questions his involvement in Eckhart's death - was it an accident, or not?
Dormer quickly tries to conceal and plant evidence to support his story, and for a moment feels that he just may get away with it. Unfortunately, the appearance of Walter Finch (Robin Williams), who reveals himself as both the killer, and a witness to Dormer's deception, throws more than one spanner into Dormer's case. Finch claims that he had no intentions of murder, that the death of the girl was a total accident. Dormer never believes him, but has little choice but to go along with Finch's scheme.
In a series of increasingly psychological and confusing meetings, the unlikely partners discuss how they can both come out of this situation unscarred. As Dormer's level of involvement deepens still further, he begins to question both his sanity and his principles. Meanwhile, he continues to be unable to sleep.
INSOMNIA is a project that works on many different levels, but is bound together by one exceptional performance - Pacino's. Arguably now the greatest living actor (especially when one considers the questionable film choices made by Robert De Niro over the past five years or so) Pacino is totally convincing as the sleep-deprived, jaded detective, and this is essential as he is in every scene in the movie (bar a few flashbacks). You're drawn to his character who, while flawed, is by no means a bad guy, and as the layers of his life begin to unravel around him you genuinely feel for him. And ever the method actor, you look on to watch a person increasingly drawn and withered against his battle against Williams, the IAPD and Nightmute's lack of darkness. The daylight remains a constant reminder of the menace.
Williams, meanwhile, in the first of a trilogy of dark roles (ONE HOUR PHOTO and DEATH TO SMOOCHY are coming soon), while not in big Al's league, is still solid as the creepy and always-in-control Walter Finch. Never physically threatening (which is a performance in itself - have you seen William's forearms? He played POPEYE for a reason.) Finch possesses a subtle menace that steadily rises as the film progresses. From the offset he knows that he has Dormer exactly where he wants him, and as Dormer tries to wriggle out from his intellectual grip, he simply finds himself held increasingly tighter.
The rest of the cast are adequate in their roles, although Swank is somewhat of a letdown through really no fault of her own - the character is just lifeless and a bit predictable.
Nicky Katt (who played Fred Duggar, one of Nightmute's finest) was driving me nuts throughout the film, not because of his performance but because of who he was, or rather what I had seen him in previously. I knew the face so well but just couldn't work out form where. Then it connected: BOILER ROOM! The absence of that knowledge kept me numb during various key parts of the film when he was onscreen but thankfully I was able to focus somewhat.
Overall, this is a quality film that contains a superlative performance (Pacino) and while not as original or memorable as MEMENTO is evidence that Nolan is very much a director to keep in your phonebook. Highly recommend.
Rating: 82 %