from a feminist and critical perspective... this film sucks

Rating: Null/10 (19 March 2001)

I was promised a complex story line, an innovative narrative structure, and a unique metaphor for the human condition. It's too bad `Memento' came up short on all counts; it's even worse that, for me, its trite and juvenile sexism became the most memorable part of the film. While on a surface reading the story of `Memento' may seem almost incomprehensible, in reality a thin veneer of intrigue hides a simplistic plot. What many have hailed as comments on the subjective nature of memory I see merely as plot holes. Perhaps I could accept the `nature of memory' theory if I didn't see so many obvious, silly points: how does he remember the Polaroids? How does he remember he has the condition in the first place? Many other questions arise which I hesitate to write, as they may reveal plot points. Beautiful editing constructs a puzzle out of nothing; is this the reason I felt so empty leaving the theatre? All in all, the story is remarkably easy minus the jumps in time. The most intriguing aspect of `Memento' certainly is its exquisite structure. I applaud the direction and writing for an expert, slick achievement. Slick, though. hardly indie, too professional. In the form vs. content debate, `Memento' stands as an argument that neither outweighs the other: gorgeous form, no content makes for a dull experience. If you construct an amazing shell that holds nothing, well, that's what I'm left with. nothing. Looks aren't everything. You have to give me a reason for sitting through it. As a metaphor, `Memento' is half baked at best. This whole bit about the human condition I keep reading in reference to the film seems to be an audience construct. Either that, or Nolan is smart enough to create the hints of a metaphor without creating the actual metaphor (the latter, I suspect, is true), leaving that grand old subjectivity of interpretation clause to the grasps of hungry viewers. Finally, I'd like to ask a question that no one has yet raised: why is this film allowed to represent the virgin/whore dichotomy so plainly. and no one raises his/her voice? The wife is a pure angelic girl, Natalie a drug-addled manipulative whore, and Sammy's wife a domineering psychopath. You want holy men? We've got plenty, from Lenny to Teddy. There's not much I can say on this count except that I'm sick of it. I've seen this so many times, and I'm sick of another sexist film (`American Beauty', as a recent example) gaining so many accolades without anyone daring to raise a critical eye. Thanks, `indie' film, for feeding me another Hollywood movie in disguise. Your pretty pictures don't fool me. If you want a good film noir with interesting points, try watching `Le Samourai' or `Purple Noon'. Don't expect much from `Memento' but the same old same old. Frankly, I'm bored just thinking about it.