![]() Pacino is far more frazzled, more virile, more rangy - but with a kind of fathomless age suggested in those hooded, lizard-like eyelids that look as if they could be pulled out about six inches from his head. The 62-year-old Pacino looks very different from the hawkishly greying Don imagined at the end of The Godfather Part II. With his puffy, lionised face, the black expressionless eyes and the laryngeal death-rattle of his voice, he effortlessly conveys the horror of sleeplessness. So Al Pacino is inspired casting as the haggard detective Will Dormer, the policeman with the world's most ironic name. Only those people who don't suffer from insomnia have the luxury of thinking it's a disturbing metaphor - when the simple physical condition itself is what is truly disturbing. ![]() His investigation goes horrifically wrong and his bad conscience, his festering awareness of career mortality and his screwed-up circadian rhythms mean that he is driven slowly mad with sleep deprivation: a kind of fatal familial insomnia of the soul. A grizzled LA detective is brought in to show the local cops how to take down a villain this scary - a detective who has accepted this godforsaken assignment because he is in trouble with the Internal Affairs department back in the big city. Instead of darkness and shadow, the movie takes place in unforgiving, continuous brightness, the 24-hour daylight of a small town in Alaska in the summer months, where a teenage girl has been discovered beaten to death, her body showing signs of ritual killing. Nolan has made of it something pleasingly old-fashioned, yet viscerally and sensually modern, delivering an icy, sub-zero burn to the mind. Christopher Nolan, the British-born director of those compulsive, time-bending dramas Following and Memento, has straightened out the narrative kinks to give us a magnificent blanc-noir thriller, a remake derived from a Norwegian original starring Stellan Skarsgard, directed by Erik Skjoldbjaerg in 1997. ![]() Despite his liberation, Nolan opted to write (or co-write) every one of his future productions, from his next feature "Batman Begins" all the way to "Oppenheimer.This could this be The Big Sleep for a new generation. "I found it very liberating as a director to have the benefit of someone else's characterization and words on the page to build on," he recounted. In a 2002 interview with ShowBizMonkey, Nolan expressed that, although he did have some say on the script, he was happy to let Seitz do her work. Regardless, Nolan praised Seitz's script, as noted in the making-of documentary "Day for Night." " just tremendous," he remarked, "and it really tapped into all the things I hoped an American remake would." Once on the project, the director reportedly collaborated with Seitz on several drafts, but evidently not enough to receive a writing credit himself. ![]() Instead, the screenplay for "Insomnia" was written by Hillary Seitz based on the screenplay for the original Norwegian film written by Nikolaj Frobenius and Erik Skjoldbjærg. ![]()
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