Cryptic Storytelling That Somehow Works

Rating: 8/10 (9 October 2008)

Little known director Christopher Nolan almost instantaneously claimed his place as one of modern cinema's most innovative directors when he released Memento to almost unanimous recognition. It caught the attention of many critics and filmmakers alike, establishing itself as something in the realms of "cinematic literature." It was a work that marked the appeal of new-wave noir, more commonly known as neo-noir. Not only this, but its alternate take on nonlinear narrative storytelling was a breath of fresh-air to the overuse of non-linear concepts that had aroused during the 1990s.
Starring Guy Pearce, Carrie-Anne Moss and Joe Pantoliano, Memento tells the story of Leonard Shelby (played by Guy Pearce), a man suffering from short-term memory loss following the murder of his wife. Following his wife's tragic death, Leonard begins seeking revenge on whoever murdered his wife, slowly piecing together clues with the help of a mysterious "detective" figure, named Teddy (Joe Pantoliano). Due to the memory condition he suffers from, Leonard has great difficulty collecting information and relies on tattoos and constant note taking to record his findings. Soon after, another questionable character is introduced, this being Natalie (Carrie Anne Moss), and like with Teddy her origins are practically unknown. A web of ambiguity and distrust soon entangles Leonard, never knowing if either Teddy or Natalie are genuine.
The narrative carefully revolves around these three central characters, playing out incidents in seemingly alternate realities and reverse chronology. It is the editing that enables the viewer to experience a similar sensation as Leonard, by essentially jumbling scenes, splicing colour footage of his investigation alongside black and white moments where Leonard is discussing an insurance case of a man who also claimed to suffer from short-term memory loss. It is these moments specifically, which reveal the characteristics and idiosyncrasies of Leonard, essentially painting the man's past. Memento cannot be classed as a mystery, such a term sounds far too throwaway; rather, it is more a vengeance/chase flick, but even placing it in such a category seems somewhat derogatory.
As noir goes, Memento does incorporate many of the distinctive elements; including voice-over, noticeable use of shadow, nihilistic themes and low-key lighting. The characters are very noir, as each one has a certain shady quality to their personality and hints at having ulterior motives. It is these things that make the film so thrilling, even on any revisit. Still, there are a few gripes I have, such as the reverse narrative being somewhat of a gimmicky disguise for a simple plot. Additionally, the plot becomes almost too convoluted at times, with a sense of repetition resulting in moments of complete perplexity. Then again, the perplexity is arguably a great feature for it allows the viewer becomes increasingly more agitated, and almost begs for your concentration.
The multiple narrative techniques used in Memento allow the intrigue to expand as the story progresses, and in a relentless manner that does not eschew till the climatic moments. As films about memory go, this is definitely one of the best depictions of memory trauma and obsession in recent years. It pulls all the necessary gears that craft an absorbing cinematic venture, and not only that but it explores the psyche of a man whose perception of reality has been completely disfigured. Combining the thoughts and actions through a voice-over and reverse narrative is an exceptionally difficult thing to conquer through writing; therefore the screenplay deserves much credit. In fact, the story was adapted from a novella by Christopher Nolan's brother Jonathan, entitled Memento Mori that was essentially an essay on memory and the individual's perception of reality.
An important element of Memento is the idea of recollection and how we often subconsciously chose the way we recollect one moment from the next. During the film, there is a scene where Leonard expresses how humans cannot rely on memory. In addition, paradoxes such as the notion of Leonard not remembering to forget his wife are in effect an example of what would cure his grief. Performance wise, the film is pretty much incredible, with the exception of some moments of sketchy wit uttered by the actors. It is Guy Pearce who steals the show though, proving that he can hold a film together, in what is his best performance since 1997's L.A. Confidential. As a viewer, I could feel great empathy for his character, acknowledging the difficulties associated with memory loss and the way in which one conceals memories through tragedy. This is a contemporary work not to be missed and remains the most important role of Nolan's ever growing career. In my opinion, he has come close to surpassing the film with his excellent takes on the Batman saga, but that is a different story entirely.