![]() In a nice development in the rewrite (credited to original authors Nikolaj Frobenius and Skjoldbjaerg, working with Hillary Seitz), the killer introduces himself into the case as sort of Pacino's self-appointed silent partner. In the Norwegian film, the local female detective begins to develop a circumstantial case against the veteran cop. It is easy enough to pin the murder on the escaping killer, except that one person knows for sure who did it: the escaping killer himself. The Pacino character sets a trap for the killer, but the suspect slips away in the fog, and then Pacino, seeing an indistinct figure loom before him, shoots and kills Hap, his partner from L.A. The pivotal event in both films, filmed much alike, is a shoot-out in a thick fog during a stakeout. Spoilers will occur in the next paragraph, so be warned. The development is the same in both movies the character is much more important in this new version, adding a dimension I found fascinating. Pacino takes a more physical approach: How much longer can he carry this burden? The story involves an unexpected development a third of the way through, and then the introduction of a character we do not really expect to meet, not like this. Stellan Skarsgard, who starred in the earlier film, took an existential approach to the character he seemed weighed down by the moral morass he was trapped in. Unlike most remakes, the Nolan "Insomnia" is not a pale retread, but a re-examination of the material, like a new production of a good play. That was a strong, atmospheric, dread-heavy film, and so is this one. "Insomnia," the first film directed by Christopher Nolan since his famous " Memento" (2001), is a remake of a Norwegian film of the same name, made in 1998 by Erik Skjoldbjaerg.
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