Christopher Nolan’s 2002 remake of the Nordic crime thriller Insomnia was perhaps most known for being the feature which allowed him to make inroads into the mainstream. However, it can feel that Nolan’s snappy feature, filled with Hollywood stars and flashy direction, has overshadowed the demurer original film that inspired it. Nolan’s Insomnia is a crowd-pleaser. A mid-range that gets a director noticed. But the 1997 original film feels like one of the quieter progenitors of the Nordic Noir thrillers that became more popular in the 2010s. It’s bleaker in its execution of the same material, and possibly all the better for it.
Stellan Skarsgard plays Jonas, a Swedish cop who arrives in Norway to help solve the murder of a troubled teenager. The case becomes complicated when Jonas mistakenly shoots his partner in the fog during a planned stakeout to catch the suspect. Jonas goes against owning up to his culpability as he realises that most of the force believe the suspect is behind both murders. However, it becomes apparent that someone knows what really happened in the fog, and Jonas’ guilt, represented by his insomnia and the glare of the midnight sun, becomes blinding.
Erik Skjoldbjaerg’s thriller is a streamlined, matter-of-fact affair that is not bothered with the American heroism and sacrifice that Nolan’s remake brings to the table. Jonas is more stoic and less trustworthy from the off. Even before the death of his partner, the interactions with the force already feel frosty. Meanwhile, his sexual appetite is not only swiftly highlighted but deeply problematic. Skardsgard enters the fray as aloof and proud before the guilt of the shooting and insomnia start to wear him down. Once this happens, he only ever feels more questionable. The sun begins to bleed through the hotel room, creating a daytime that never ceases. The fractured perspective of Jonas is highlighted further with the use of simple visual motifs. Distorted viewpoints are brought on by cracked or rain-drenched windshields. The visuals become more burnt out and bleached during certain daytime sequences. Meanwhile, the film is often cleverly cut to skew the geography surrounding Jonas, making scenes feel disjointed and unpredictable.
Despite this, Insomnia 97 is a subtler text. The flashy spectacle that Nolan brings to the larger budgeted American film isn't found here. And while enjoyable, it is not missed. This is a muted and more disquieting affair, which never lets its main character off the hook in the same way its remake does. The difference between Skarsgard in 1997 and Al Pacino in 2002 is night and day. Nolan’s Insomnia may have the better antagonist, with a superlative Robin Williams. But Skjoldbjaerg strips down the idea that Jonas is any sort of maverick hero. Making his version of the film the more uncomfortable affair, as it suggests Jonas is damned for his actions, even if justice may occur.
Insomnia is available on BFI Player via Amazon Video.
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