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Many movies like to toy with timelines, stirring up chronology and switching the order of events. Like few films before it, however, Memento begins not just at the end, but also plays out, scene by scene, in reverse. To complicate matters further, two storylines exist: one, in color, moving backwords (initially completely in reverse to show the only disconnected final shot) by scene; the second, in black-and-white, playing in order. By the conclusion, the two stories will meet, with the black-and-white turning to color. These baffling interchanges are also marked by a few key flashbacks and visions. Directed by Christopher Nolan, the man who would eventually immortalize himself with The Dark Knight, Memento garnered Academy Award nominations for Editing and Screenplay. Relatively obscure upon its original release, Nolan’s success with subsequent films would cause audiences to revisit this sensational masterpiece. Leonard (Guy Pearce) has a rare brain damage condition caused by a blow to the head. He narrates, describing the symptoms and the cause; it’s not amnesia, but it’s similar - he remembers who he is, and everything leading up to the attack on his wife where he received the injury, but nothing beyond that; he has discipline, habit, routine and takes plenty of notes and photographs; he also has tattoos across his body detailing the facts of the man who raped and killed his wife. His sole purpose in life now is revenge, but even if he gets it, he won’t remember. He has a system to cope, unlike Sammy Jankis (Stephen Tobolowsky), a man with a similar condition. Leonard previously worked as an insurance investigator, responsible for ousting the frauds, and Sammy was his toughest challenge. After a car accident, he too couldn’t form new memories, but Leonard was suspicious. Through his research, he discovers that Sammy should be prone to conditioning, to learn by instinct, but he’s unable to prove it. |
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His narration sets up the story of his condition, and it takes place over the phone, with someone unknown (this is the black-and-white portion of the story). Meanwhile (in color), he searches for his wife’s killer, collecting clues with the help of Natalie (Carrie-Anne Moss), a woman who should be sympathetic, and Teddy (Joe Pantoliano), a so-called friend that keeps showing up at convenient times. Leonard knows from time to time that various acquaintances are using him for their own means, but he has difficulty straightening out the facts. Many of the events are complete surprises, mysteries that both the audience and the characters must work together to solve. But everyone has motives and the name of the game for Nolan is deception. Just as memories can be distorted, manipulated, and planted, he maneuvers the audience, ensuring that predicting the next moment is completely impossible. Memento is a solid, first-rate thriller that uses a unique storytelling device and a wickedly clever murder-mystery to show a movie in a way never before seen by mainstream audiences. Although the plot isn’t terribly complex, the editing is so labyrinthine that multiple viewings is almost certainly necessary – the good news is that it never gets boring, it’s well paced and enthralling little details are uncovered every time. Many scenes include overlapping bits that also help to mentally organize the rearranged segments. Memento may confuse some viewers, but its singular narrative and expert character actors make it one of the most interesting, inventive and intelligent thrillers of all time. - Mike Massie
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