Memento
(2001)
Sure there have been films and TV shows,
most recently an episode of "Seinfeld" that use the
device of telling a story in reverse chronological
order. It is a screenwriter's gimmick. But the story
that unfolds here is so unique and so engrossing,
the device accentuates the piece. It is more than
mere gimmick; it's the only way the film can unfold.
"Memento" concerns a guy named Leonard
who suffers from short term memory loss. He can remember
how to drive or tie his shoe, for example, but he
doesn't remember what happened 5 minutes ago. Leonard's
condition was caused by a severe head trauma from
a blow delivered by a man who was raping and killing
his wife. Leonard remembers his wife and her death
easily, but now, to remember to continue to seek his
revenge, he must write himself notes. He also tattoos
important information on his body. He is trying to
work within his limitations with only one aim in mind:
To kill his wife's murderer.
The film begins with a really handsome
segment where Leonard carries out a "hit," an execution.
This is shown in reverse, where blood seeps back into
a body, a bullet casing returns to a revolver and
the victim comes back to life. Now, it may seem as
if it would remove all tension to have this climactic
moment at the front of the film, even if we are to
see how Leonard got to this point. But writer/director
Christopher Nolan introduces an element to the proceeding
which nags at us. We wonder if Leonard killed the
wrong guy. There's plenty of dramatic tension in this
idea.
The script features some subplot as
well. Throughout the film Leonard mentions a character
named Sammy Jankis, who also suffered from loss of
short term memory. Through flashbacks, which actually
sort of run in more typical narrative chronology,
Leonard tells Jankis' story, which directly correlates
to his own. It takes concentration to keep up with
what is going on here, sure, but the film is so involving
that one easily becomes engrossed.
The acting in the film is wonderful.
Guy Pearce as Leonard is great. He handles some clumsy
exposition sequences with simplicity and seems truly
at ease with the odd pacing and unfolding of the plot.
It is also important that several characters evolve
and change as the film progresses/regresses. Carrie
Ann-Moss, Mark Boone Jr., the ubiquitous Stephen Tobolowsky
and Harriet Sansom Harris all do marvelous supporting
work here. But it is Joe Pantoliano who really keeps
the plot revolving and the viewer guessing as to what
is real and what is imagined. It is his best work
in ages.
The most obvious thing that can be
said about "Memento" is also the highest compliment
to it: After it is over, you want to see it again.
Using the storytelling device so effectively, Nolan
makes us want to reconstruct the film again and again,
until we finally understand all of it's intricacies.
Note:
Bowie's "Something in the Air" is used
over the end credits.
