Insomnia [American Version] (4½ Stars)

The original Norwegian "Insomnia" and the American remake tell essentially the same story: a police detective investigating a murder in a town where the sun never sets accidentally kills his partner and then becomes psychologically entangled with the murderer. However, the films differ significantly in tone, themes, characters and even in what they ultimately say about guilt and morality.

The setting

Original (1997)

The Norwegian film, directed by Erik Skjoldbjærg, takes place in northern Norway. The setting feels cold, isolated and alien. Even though the midnight sun provides constant daylight, the world seems emotionally frozen.

Remake (2002)

The remake, directed by Christopher Nolan, moves the action to a small town in Alaska. The landscape is grander and more picturesque. Nolan uses mist, forests and mountains to create atmosphere, whereas the Norwegian film often feels stark and oppressive.

The detective

This is the biggest difference between the two films.

Original: Jonas Engström

In the Norwegian film, detective Jonas Engström is already morally compromised before the story begins.

He arrives in the north under investigation by Internal Affairs. There are strong suggestions that he has previously falsified evidence and may have convicted innocent people. When he accidentally shoots his partner during a foggy pursuit, he deliberately covers up the truth.

The film gradually reveals that Engström's sleeplessness isn't simply caused by the endless daylight. It is caused by his guilt and by the collapse of the dishonest life he has built.

He is not a sympathetic hero. He is arrogant, dishonest and increasingly desperate.

Remake: Will Dormer

In Nolan's version, detective Will Dormer, played by Al Pacino, is much more sympathetic.

Dormer is also under investigation, but the circumstances are softened. His previous misconduct appears motivated by a desire to convict criminals rather than personal corruption. When he accidentally shoots his partner, he covers it up, but the film presents this as a tragic mistake rather than the action of a fundamentally corrupt man.

The audience is encouraged to feel sorry for him.

This changes the entire moral balance of the story.

The murderer

Original

The killer, Jon Holt, is intelligent, manipulative and disturbingly calm. He gradually becomes almost a mirror image of Engström.

The relationship between the two men is the heart of the film. Both have committed crimes. Both justify their actions. The detective and murderer become morally indistinguishable.

Remake

The killer is Walter Finch, played by Robin Williams.

Williams gives one of the most restrained performances of his career. Rather than playing the role as a monster, he portrays Finch as an ordinary, lonely man who committed a terrible act.

The remake spends more time humanising the killer. The cat-and-mouse relationship remains important, but it is less existential and philosophical than in the original.

The female detective

Original

The young detective investigating Engström is relatively minor. The focus remains squarely on the duel between the detective and the murderer.

Remake

The character becomes much more important. She is played by Hilary Swank.

She represents the moral centre of the film. Dormer increasingly sees in her the idealism he has lost. This gives the remake a stronger redemption narrative.

The use of insomnia

Original

The insomnia feels almost physical.

The endless daylight becomes torture. Engström blocks his windows with blankets, tapes and cardboard, yet the light still penetrates. The film often feels like a nightmare in which reality is gradually disintegrating.

The audience experiences his exhaustion.

Remake

Nolan retains the concept, but uses it somewhat differently.

The sleeplessness becomes a manifestation of guilt and psychological pressure. It is important, but the remake is more interested in character relationships and moral choices than in making the viewer feel physically exhausted.

The Norwegian film is more oppressive.

The endings

This is perhaps the most important difference.

Original

The ending is bleak.

Engström survives but is exposed. There is no sense of redemption. The film suggests that guilt cannot be escaped and that moral corruption eventually destroys a person.

The conclusion is deeply pessimistic.

Remake

The remake moves toward redemption.

Dormer ultimately confesses the truth and encourages the young detective not to repeat his mistakes. After he is shot, he dies having finally accepted responsibility.

His final words, "Don't lose your way", transform the story into a cautionary tale about integrity.

The ending is tragic but hopeful.

Style and atmosphere

Original

• Minimalist
• Cold and clinical
• Psychological
• Ambiguous
• Art-house sensibility

The film often feels closer to a European character study than a conventional thriller.

Remake

• More polished
• More emotional
• Stronger focus on suspense
• Larger scale cinematography
• More conventional crime-thriller structure

Despite this, it remains one of Nolan's most restrained films. Viewers expecting the complexity of Memento or Inception may be surprised by how straightforward it is.

Which is better?

That largely depends on what you're looking for.

The Norwegian original is generally regarded as the more psychologically rigorous film. It presents a detective whose corruption is inseparable from the crime he is investigating. The moral ambiguity is unsettling and never fully resolved.

The remake is more accessible and arguably more emotionally engaging. The performances by Pacino, Williams and Swank are excellent, and Nolan adds a stronger sense of redemption and tragedy.

A useful way to think about them is this:

The original asks: "What happens when a corrupt man is forced to confront himself?"

The remake asks: "Can a good man who has done something terrible redeem himself?"

They start from the same premise, but they arrive at very different conclusions about human nature. The Norwegian film is darker, colder and more cynical. Nolan's remake is warmer, more compassionate and ultimately more hopeful.

Success Rate:  + 0.5

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Insomnia [Norwegian Version] (5 Stars)

Few crime thrillers have achieved the reputation enjoyed by "Insomnia", the 1997 Norwegian film directed by Erik Skjoldbjaerg. Long before the Hollywood remake starring Al Pacino and Robin Williams, the original established itself as one of the defining Scandinavian thrillers of the modern era. Nearly three decades later, it remains a benchmark for Nordic crime cinema and a deserved cult classic.

The film follows Swedish homicide detective Jonas Engström, played by Stellan Skarsgard, who travels to Tromso in northern Norway to investigate the murder of a young woman. The endless daylight of the Arctic summer soon becomes an enemy in itself. Unable to sleep, increasingly paranoid and burdened by guilt after a tragic shooting incident, Engström finds himself trapped in a psychological battle with the killer he is pursuing.

What makes "Insomnia" so extraordinary is its atmosphere. Unlike many thrillers that rely on darkness and shadows, the film creates tension through relentless sunlight. The bright Norwegian landscapes become oppressive, almost surreal. The perpetual daylight reflects Engström's deteriorating mental state, turning the investigation into a study of guilt, exhaustion and moral compromise. Skarsgard delivers one of the finest performances of his career, portraying a man whose confidence slowly collapses under pressure.

The film's cult status comes from its unusual approach to the crime genre. Rather than focusing on the mystery of "who did it", the audience learns the killer's identity relatively early. The suspense instead comes from watching the psychological relationship that develops between hunter and hunted. This emphasis on character, morality and atmosphere helped pave the way for later Scandinavian crime dramas and the wider Nordic noir movement. Many of the themes that would later become associated with Nordic crime fiction are already present here: flawed investigators, bleak moral ambiguity and a landscape that becomes an active participant in the story.

The influence of "Insomnia" can still be felt today. Its combination of psychological depth, visual originality and moral complexity remains remarkably fresh. While many Scandinavian thrillers have followed in its footsteps, few have matched its hypnotic power. As both a gripping crime story and a haunting character study, "Insomnia" stands among the greatest Scandinavian crime thrillers ever made and remains essential viewing for anyone interested in the evolution of Nordic noir.

TV-Series: Spider-Noir

I don't often watch television series. Even when I do, I don't write about them in my blog. I've made a few notable exceptions, such as "Smallville" and "The Sopranos", but even with those two series I didn't have the energy or the patience to continue until the end. The reason is that I have so many films I want to watch, and let's face it, may passion is films, not TV series.

However, when "Spider-Noir" was announced, I knew straight away that I had to watch it. The main reason was that Nicolas Cage was playing the title character. That guarantees quality, in my eyes.

I'll just tell you what the series' premise is. Ben Reilly was an American soldier who gained super-powers in Germany at the end of World War One. He acted as a super-hero called the Spider in New York for ten years. Then he retired after his girlfriend died, and he became a private detective. The series takes place in 1933. While investigating a case he's reluctantly tempted to use his super-powers again. He's out of practise. He's neither as strong nor as skilful as he used to be.

The series was filmed in black and white, but an alternate version has been made in full colour. As I understand it, the producers want the series to be watched in black and white; the colour version is only intended for younger viewers who need colour. I started watching in black and white, then switched to colour for comparison. Black and white is better. Believe me. Here are some comparison shots.

I deliberately picked this scene as something where the colour version might look better. But check the night-time scene below.

The BW version is far superior. But it's not just about the picture quality, it's about the atmosphere. The series is based on the film noir films of the 1940's and 1950's, even though it takes place earlier. Nicolas Cage may be a reluctant super-hero, but he plays a detective in the style of Humphrey Bogart. To get the full impression of the series, it has to be watched in black and white.

I watched all eight episodes in three days. It's worth a binge.

The Supercop (4 Stars)

"Supercop" (1980) is a delightful piece of Italian-American cinematic absurdity that works far better than it has any right to, largely thanks to the electric chemistry between its two leads. The film itself is a silly, low-budget superhero comedy about a Miami police officer who gains superpowers after being exposed to radioactivity, but it's the dynamic between Terence Hill and Ernest Borgnine that elevates it from forgettable fluff to a genuinely entertaining odd-couple romp.

Hill, as the title character David Speed, brings his trademark charm and physical comedy to the role. His character is goofy, good-hearted, and utterly bewildered by his newfound abilities, which include super speed, telekinesis, and the power to deflect bullets. Hill's performance is all about wide-eyed innocence and comedic timing, whether he's accidentally stopping a bank robbery or trying to hide his powers from his superiors.

Borgnine, as Sergeant Willy Dunlop, is the perfect foil to Hill's manic energy. He plays the gruff, no-nonsense police sergeant who's both exasperated by and secretly fond of his partner. Borgnine brings a gravitas and warmth to the role that grounds the film's more ridiculous elements. His deadpan reactions to Hill's antics are comedy gold, and you can tell he's having a blast playing the straight man to Hill's zaniness.

What makes their chemistry so special is the contrast between their styles. Hill is all about physical comedy and boyish charm, while Borgnine is a master of subtle facial expressions and world-weary grumbling. Together, they create a dynamic that feels both familiar and fresh. There's a genuine affection between their characters that comes through in every scene, whether they're bickering about donuts or teaming up to take down the bad guys.

"Supercop" isn't a masterpiece by any stretch – it's dated, cheesy, and often nonsensical – but the chemistry between Hill and Borgnine makes it worth watching. They're the heart and soul of the film, and their partnership elevates the material beyond its B-movie origins. It's a testament to the power of good casting and the magic that can happen when two actors click, even in the silliest of circumstances.

The Phantom Gunslinger (3 Stars)

This is a film I would never usually have watched. I only have it on my shelf because it was released on the same Blu-ray as "Fanny Hill". If I have it I might as well watch it. It might be a hidden treasure, waiting for me to discover it and say Wow!

Not quite. It's a notoriously silly slapstick comedy that's at least funnier than "Fanny Hill". The story takes place in the small town Tucca Flats, which has a population of 52, including dogs, cats and Indians. A gang called the Terrible Seven rides in and takes over the town. The sheriff flees after nominating the young theological student Phil Phillips as his successor. The trouble is that Phil has never touched a gun in his life. Even when someone in town gives him a gun, he's not very good with it.

Phil is called a phantom gunslinger, because he's killed in gunfights more than once, but every time he goes to Heaven he begs God to let him return to Earth to save Tucca Flats from the Terrible Seven.

The film made me chuckle a few times, but I won't watch it again.

Fanny Hill (2 Stars)

For years I've known that Russ Meyer made a film called "Fanny Hill" that was supposedly nothing like his other films. I assumed that it was lost, but now it's been released on Blu-ray. My curiosity took over; I had to have it.

The film is based on an 18th Century novel that was initially banned because it was too sexual. It's strange that the film is so unsexual, especially since it was directed by a man like Russ Meyer. Sexually, it's even tamer than the British Carry On films.

The story follows the title character, Fanny Hill, as a young woman who moves from the country to London to find work. She's hired by Mrs. Brown, a woman who runs an elite brothel for the richest men in London. She tells Fanny that the other girls are all her nieces. Throughout the film, Fanny never realises that it's a brothel. This is the whole foundation of the film's humour. It's funny for the first 15 minutes, but after 90 minutes it's tiresome. There's nothing to laugh about.

Summing up the film, it's an erotic comedy that's neither erotic nor funny.

Daughters of Darkness (4 Stars)

Harry Kümel's "Daughters of Darkness" (1971) remains one of the most distinctive vampire films ever made. Loosely inspired by the legend of Countess Bathory, the film follows newlyweds Stefan and Valerie as they arrive at a nearly deserted Belgian seaside hotel and fall under the spell of the enigmatic Countess Elizabeth Bathory and her companion Ilona. What begins as a gothic horror story gradually transforms into something stranger; a dreamlike exploration of sexuality, power, manipulation and identity.

What makes "Daughters of Darkness" a cult film is the way it refuses to behave like a conventional horror movie. Rather than relying on shocks or explicit violence, Kümel creates an atmosphere of elegance and unease. The film combines art-house sensibilities with erotic horror, wrapping its vampire mythology in stylish cinematography, surreal imagery and an unforgettable score. Over the decades, its reputation has steadily grown from obscure Euro-horror curiosity to acknowledged genre classic.

The film's greatest asset is the mesmerising performance of Delphine Seyrig as the immortal Countess. Seyrig dominates every scene, projecting glamour, intelligence and menace in equal measure. Her Countess is less a monster than a force of seduction, making the film feel closer to a decadent European fairy tale than a traditional vampire story.

Andrea Rau from Münchingen

The importance of Andrea Rau cannot be overstated. At the time, Rau was a young German actress and model who'd appeared in a number of light European productions but hadn't yet found the role that would define her screen image. As Ilona, the Countess's beautiful and increasingly jealous companion, she became one of the film's most memorable visual presences. Director Harry Kümel deliberately styled Rau after silent-screen icon Louise Brooks, giving her a distinctive look that contributed enormously to the film's dreamlike atmosphere. Although Rau continued acting afterwards, "Daughters of Darkness" remains the performance for which she's best remembered and is generally regarded as the high point of her international career.

More than fifty years later, "Daughters of Darkness" still feels unique. It's sensual without being exploitative, intelligent without becoming inaccessible and beautiful without sacrificing its dark heart. Few vampire films have matched its combination of sophistication and erotic menace, which is why it continues to attract new admirers and remains a cornerstone of cult cinema.

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