The film Insomnia, based on an earlier Norwegian film, is an almost winner.
By acclaimed directed Christopher Nolan, (Memento,) this is a bet that almost, but not quite, pays off, in the sense of waiting for the "other shoe to drop." It is not so much a murder mystery as it is a character study, but, as with the rest of the film, it's almost but not quite that, also.
Al Pacino is Detective Will Dormer, who has been summoned to Nightmute, Alaska by an old friend to help solve the murder of a 17-year-old girl. Pacino is a man on the verge of many things: retirement, age, and moral collapse, as we learn early on. He and his partner, Hap Eckhart (Martin Donovan) are being investigated by Internal Affairs back in Los Angeles. On the way to Alaska, Hap informs Dormer that he intends to "cut a deal" and take whatever comes of it. This doesn't please Dormer in the slightest, and he gives the impression he'll fight the investigation, and his partner's selling-out, but fate has a different idea. Early in the investigation, Dormer accidentally shoots Hap. With his partner now dead, Dormer has nothing more to fear from IA. Or so he imagines.
Enter Walter Finch, played by Robin Williams; he is the main suspect in the murder, and has also seen the shooting of Hap, or so he informs Dormer. Now the plot will weave around these two, almost exclusively, as they play their game of manipulation and one-upmanship. And here's where the film begins to lose its own compass.
First, I had a bit of a problem with the fact that the two detectives from L.A. were in Alaska to begin with. Supposedly, this is an official trip, but I have trouble believing that the Los Angeles Police Dept would send two of its people to Alaska for such a mundane reason. Yes, it's murder, but the ease with which these two solve the case and pinpoint the murderer is just so fast that it's hard to believe the Alaskans couldn't have done the same, and done it sooner. Second, the character of Ellie Burr, (Hilary Swank) who has made a study of Detective Dormer's work for her academy thesis, is just a little too worshipful. And what a coincidence that she should be there in Nightmute, involved in this case. It's a little too contrived, in my opinion. Hilary Swank, a wonderful actress, is overqualified for the wide-eyed wonderment she portrays here. There's not enough depth in her character to hold your interest.
Third, we never really get a chance to pick apart Finch, Robin Williams' character. We only know a little about him, but nothing essential, and nothing that adds to our understanding of why he committed this foul deed in the first place, or what is driving him to do what he does. We come into this situation, "in the middle" and leave it pretty much the same way when the movie ends. There's a solution, but no enlightenment.
There are two other interesting characters that also tease us into wanting to know more, but never give up any information beyond that: the hotel desk clerk, played by Maura Tierney, and Police Chief Nyback, played by Paul Dooley, are both characters I would have liked to see developed into "whole" people. Especially Tierney's character, who says one of the most fascinating lines in the film, something about how people in Alaska are either born there or are there because they've escaped something a lot worse. With a lead-in like that, it was a shame not to follow up on it.
Mostly, we are treated (?) to extreme closeups of Pacino as he spirals down into his insomniac, ethical black-hole, and teasers of the menace Robin Williams might actually be hiding underneath that parka. In neither case is it enough, or satisfying, and as the film winds down into its inevitable conclusion, we are left with a hollow feeling that we just didn't get enough. We can draw conclusions, but they are not the point; the point is what makes these things happen in the first place, and that's a question that goes unanswered.
Additionally, there are some recurring cut-scenes of the murder itself, which are never explained or illuminated. They appear as memory flashes, but we never see them in their entirety, which is extremely annoying. Overall, the film looked as if it were originally a lot longer, and was edited down to fit its current time. If that's not the case, then it's just too minimalist to make a satisfying story.
The plot is, or could be, a very good one, with a bit more explanation. There is a lot of atmospheric buildup, but in the end, not much suspense or tension for the viewer. The characters tease us with development, never quite making us understand them, or their motives; they feel thinly painted, and shadowy. Not a tour-de-force for director Nolan, though Pacino and Williams give their parts all the nuances they can.
I left wanting more.
By acclaimed directed Christopher Nolan, (Memento,) this is a bet that almost, but not quite, pays off, in the sense of waiting for the "other shoe to drop." It is not so much a murder mystery as it is a character study, but, as with the rest of the film, it's almost but not quite that, also.
Al Pacino is Detective Will Dormer, who has been summoned to Nightmute, Alaska by an old friend to help solve the murder of a 17-year-old girl. Pacino is a man on the verge of many things: retirement, age, and moral collapse, as we learn early on. He and his partner, Hap Eckhart (Martin Donovan) are being investigated by Internal Affairs back in Los Angeles. On the way to Alaska, Hap informs Dormer that he intends to "cut a deal" and take whatever comes of it. This doesn't please Dormer in the slightest, and he gives the impression he'll fight the investigation, and his partner's selling-out, but fate has a different idea. Early in the investigation, Dormer accidentally shoots Hap. With his partner now dead, Dormer has nothing more to fear from IA. Or so he imagines.
Enter Walter Finch, played by Robin Williams; he is the main suspect in the murder, and has also seen the shooting of Hap, or so he informs Dormer. Now the plot will weave around these two, almost exclusively, as they play their game of manipulation and one-upmanship. And here's where the film begins to lose its own compass.
First, I had a bit of a problem with the fact that the two detectives from L.A. were in Alaska to begin with. Supposedly, this is an official trip, but I have trouble believing that the Los Angeles Police Dept would send two of its people to Alaska for such a mundane reason. Yes, it's murder, but the ease with which these two solve the case and pinpoint the murderer is just so fast that it's hard to believe the Alaskans couldn't have done the same, and done it sooner. Second, the character of Ellie Burr, (Hilary Swank) who has made a study of Detective Dormer's work for her academy thesis, is just a little too worshipful. And what a coincidence that she should be there in Nightmute, involved in this case. It's a little too contrived, in my opinion. Hilary Swank, a wonderful actress, is overqualified for the wide-eyed wonderment she portrays here. There's not enough depth in her character to hold your interest.
Third, we never really get a chance to pick apart Finch, Robin Williams' character. We only know a little about him, but nothing essential, and nothing that adds to our understanding of why he committed this foul deed in the first place, or what is driving him to do what he does. We come into this situation, "in the middle" and leave it pretty much the same way when the movie ends. There's a solution, but no enlightenment.
There are two other interesting characters that also tease us into wanting to know more, but never give up any information beyond that: the hotel desk clerk, played by Maura Tierney, and Police Chief Nyback, played by Paul Dooley, are both characters I would have liked to see developed into "whole" people. Especially Tierney's character, who says one of the most fascinating lines in the film, something about how people in Alaska are either born there or are there because they've escaped something a lot worse. With a lead-in like that, it was a shame not to follow up on it.
Mostly, we are treated (?) to extreme closeups of Pacino as he spirals down into his insomniac, ethical black-hole, and teasers of the menace Robin Williams might actually be hiding underneath that parka. In neither case is it enough, or satisfying, and as the film winds down into its inevitable conclusion, we are left with a hollow feeling that we just didn't get enough. We can draw conclusions, but they are not the point; the point is what makes these things happen in the first place, and that's a question that goes unanswered.
Additionally, there are some recurring cut-scenes of the murder itself, which are never explained or illuminated. They appear as memory flashes, but we never see them in their entirety, which is extremely annoying. Overall, the film looked as if it were originally a lot longer, and was edited down to fit its current time. If that's not the case, then it's just too minimalist to make a satisfying story.
The plot is, or could be, a very good one, with a bit more explanation. There is a lot of atmospheric buildup, but in the end, not much suspense or tension for the viewer. The characters tease us with development, never quite making us understand them, or their motives; they feel thinly painted, and shadowy. Not a tour-de-force for director Nolan, though Pacino and Williams give their parts all the nuances they can.
I left wanting more.