This is also where the film is at its most interesting as it tries to thread the needle between justice and truth. Like Leonard Shelby and other Nolan protagonists, Will is lying to himself and using that comforting lie that the ends justify the means. The remake's big contribution, and where Nolan emerges most clearly, is that Will is actually guilty of what he's being accused of by internal affairs. But ultimately, that feels like the film getting bogged down in a semantic distinction rather than really exploring intention in any meaningful way. For Nolan's Insomnia, intent is everything, and it makes for a crucial distinction between a killing and a murder. These are the similar beats of the original movie, although Nolan's version adds the extra layer of the IA investigation, which feels like a way to hold the audience's hand through the question of "Why wouldn't Will just admit it was an accident?" But where Nolan's version falters is because it's obsessed with motivation. During this time, in a place where it's always daylight, Will suffers from insomnia. The twist is that the killer, Walter Finch ( Robin Williams), saw the whole thing, so while Will is busy covering up the accidental shooting (which may have looked intentional because Hap was going to talk to internal affairs) and fending off eager detective Ellie Burr ( Hilary Swank), he also has an awkward relationship with the soft-spoken Finch. When he arrives in Nightmute, it seems like they've got a fairly direct line to catching their killer, but a bungled sting operation leads to the killer escaping and Will accidentally shooting and killing Hap during the pursuit. For Will, this assignment isn't because he's a famous detective who has solved some notable cases, but rather because he and Hap are being investigated by internal affairs, and the powers-that-be want to get Will away from the spotlight. These are the points I want to debate regarding this fourfold serial killer.The plot has Al Pacino playing LAPD detective Will Dormer, who, along with his partner Hap Eckhart ( Martin Donovan), is basically exiled to a small remote Alaskan fishing village of Nightmute to investigate the murder of a teenage girl. However, this autodiegetic narrator, together with his inconsistent narrative, cannot be entirely trusted. As a matter of fact, Bateman may be regarded as having a predatory identity, as defined by Arjun Appadurai (2006). Most of Bateman’s victims are socially-marginalized characters, members of minority groups, such as homeless people, homosexuals, immigrants, and prostitutes. Christopher Lasch (1991) asseverates that the old legendary Narcissus gave birth to a new one, paradoxical, dependent and less confident. Zygmunt Bauman (2009) posits that an extremely capitalist society forces people to be commodified. Finally, we readers cannot rely on his narrative once we notice ambiguities and divergences. Nevertheless, Bateman is a serial killer, and his detailed descriptions of tortures and murders are horrifying. As a self-absorbed, narcissistic protagonist, he becomes a competitor struggling to get approval from his peers. As he lives off the excesses of a consumer society, he is incapable of distinguishing people from products. professionals), Bateman is materialistic and hedonistic. As a yuppie (a popular term from the 1980s used to define young urban U.S. The four sides he presents throughout the novel are singular, though: (1) he consumes humans and commodities equally (2) he competes for recognition and admiration (3) his acts are horrific and (4) his narration is unreliable. This antagonistic behavior, nonetheless, does not make him a singular character. The autodiegetic protagonist Patrick Bateman, in Bret Easton Ellis’s American Psycho (1991), is a troubling character, for he is highly-educated, wealthy and handsome as well as a torturer, a killer and a cannibal.
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