This is a non-Nolan movie, with a normal structure and no ups and downs. Although it pretends to be a criminal detective, the story is flat and straightforward. There is no last-minute murderer in the usual detective genre. Just wait a moment, You know who the murderer is. Before revealing the murderer, the film has always given people a fixed thinking mode, which is to follow the experience and thinking of Al Pacino as the old detective Will, and keep looking forward. Everything is under his control. Bring out the murderer who left no direct evidence. Here, Will has always been the manipulator of the puppets, and his words are beyond doubt, and if you follow his train of thought, you can restore the true story of the incident. However, as the plot progresses, the audience will gradually discover that there is another stronger hand. His manipulation skills are far more sophisticated than Will, making it seem that the calm and unusual detective is more like a toyed hand. puppet.
There are two reasons that put Will into this embarrassing situation: one is the eternal day in the city that never sleeps, and the other is that Will mistakenly killed his partner Happ under the thick fog. The story subtly puts the original murderer and the punisher into the same situation, changing the stereotyped "cat-and-mouse game". Until the end, I couldn't tell whether Robin Williams' writer Walter was murder or manslaughter. In his narration, he has always claimed that he killed the girl by mistake, and the film does not dwell on this node that was originally a causal relationship. The extreme daytime climate kept Will unable to sleep, and with the guilt of killing his comrade by mistake, his spirit and will gradually became confused. In this state, he began to cover up the murder evidence and create false evidence, which gradually fell into the woe. With this stronger hand, he developed a sense of "identity" with the original murderer.
Although Nolan's imprint is missing from the narrative structure, the mental depiction of the character is still a twisted and tangled habit. In the case of severe insomnia, Will's visual and auditory hallucinations accompanied his psychological swing between morality and selfishness. He gradually and unconsciously was dominated by Walter. This may be the natural enemy after being in the same trench. A great irony played by the image of the weak in the past. Like Will and Walter, Hilary Swank's Elle Pohl is in a dilemma, a subtle mentality that runs through most of the film. It's also at the end, the kind of predetermined plot to break free from the shackles, although Walter is passive, but from the results, the three still go back to the original route, just like when Ellie wanted to discard the evidence of Will's murder. , what he said to her: "Don't lose yourself."
In such a complex and disorderly world, everyone will be lost at some point, and some people can turn back the chaotic steering wheel with strong psychological will and realistic environment, And some people go retrograde to the end, heading for the "hell" that cannot be explained, or "heaven". In the eyes of a rambunctious person like me, nothing is always right, the standard is just a stupid gangster who just exists, what does it have to do with me. Wandering is as uncertain as Shu Guozhi, his travels are changing his previous thoughts all the time, and every time he goes, it is a complete overhaul, and it is precisely because of this that he can write such a simple sketch.
Off topic, hmm!
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