Memento (2000)

Christopher Nolan

USA

104 mins, color, English

What did just happen? The British helmed US indie literally unscrewed the last handrail I was holding to for dear sanity. Nolan's very intelligent and quite unsettling modern psycho noir thriller has deservedly won a host of awards for screenplay and although the directing is ingenious, it is the story that makes the film the strong visual drink that it is.

(Note: there will be no spoilers here. MEMENTO is the one film you should absolutely refuse to hear anything about before actually seeing it.)

Briefly, Leonard Shelby (Guy Pearce) is an insurance claim investigator, whose wife has been raped and murdered. He has suffered a blow to the head during the "incident" and can no longer form short-term memories. In other words, he forgets everything within 10 minutes. That, however, has not stopped him from looking for the person, who is responsible for his condition and his wife's murder. In order to hold onto any piece of information and discovery, he takes Polaroid shots, writes notes to himself, and even tattoos the most important facts on his body. In his search, he is aided by the vaguely sleazy Teddy (Joe Pantoliano) and the sexy barmaid Natalie (Carrie-Anne Moss).

The events, based on a short story by Nolan's brother Jonathan, are told from the viewpoint of Leonard, which, given his "condition" would seem an exceedingly challenging thing to do. Since the audience (mostly) can form short term memories, it would be impossible to convey the disorientation, the loss, and the suspicion that overwhelms the protagonist every time he snaps out to find himself in unknown surroundings with unknown purpose. To achieve this disconcerting effect, the narration is backwards and elliptical. So, the story is told in flashes, with each scene depicting the events preceding the ones shown in the previous scene. In addition, there are black and white episodic flashes, inserted here and there, that relate important clues about the story, but not strictly chronologically.

It is undeniable that the device works perfectly. The film keeps you guessing, struggling to make sense, and since we are even less aware than the protagonist about things happening to him, we cannot shout "Look out!" or "Don't go there!" or "The butler did it!" Even after the film is over, most would leave the theater puzzled and with slight vertigo.

In fact, some have voiced the opinion that the ending is distasteful. Not so, says this reviewer. About half way through the film I started wondering about what I then thought to be problems with the premise. For example, how would he remember that he's accomplished his mission? Tattoo the fact on his breast? What if he does not have the time? What if his memory lapses before he does it? Also, what's to stop people from manipulating him and using him as the perfect remorseless killer? The wrap-up of the story not only provided answers to these questions, but also raised others that I had not thought of. Excellent, truly excellent, and very rare nowadays.

Although some of the monologue can get tiresome at times, it forms the only visible thread that one could hold onto. On the other hand, the "Remember Sammy Jankis" story within the story is captivating. First, it is told in conventional flashbacks and, in contrast to the rest of the film, in conventional chronological order. Second, it provides some insight into the plight of the protagonist but also gives clues that might help sort out the events. Third, well, for the third, you will have to see MEMENTO.

A clever film, nicely conceived and brilliantly executed, MEMENTO warrants repeat viewings, even if only to savor the delicious ironies that abound in every scene (and which become apparent once one pieces the puzzle together). I am still unsure of the "real" story, but then, don't we all construct our own particular realities, subjective versions of the physical world?

Favorite scene: Leonard suddenly snaps out of it and realizes that he's running. Why? He sees a man. "Oh, I am chasing him," he thinks and races towards him. The other shoots. "Ah, he's chasing me," he concludes and dashes in the opposite direction.

August 14, 2001.