Memento
Seriously, what is wrong with me? I watch the kinds of movies that are designed to mess with people’s heads, and I gauge my satisfaction with them by how messed-with my head feels when I’m done. The more the better, as you’ve probably learned from other movies I’ve written about here and what I’ve written about them. Needless to say, I really enjoyed Memento.
Director Christopher Nolan’s 2000 film features actors Guy Pearce, Carrie-Anne Moss, and Joe Pantoliano in a bizarre, triangular relationship—not the normal lover’s triangle we’re used to seeing, but a strange dependency which is, at first, strange because we can’t be sure of what’s going on. As we learn what’s happening, though, the characters’ interactions become stranger yet.
Leonard Shelby (Pearce) is a man on a mission: He is out to avenge the rape/murder of his wife (portrayed, in flashbacks, by Jorja Fox). The complication is that he was also attacked when she was, and suffered a very specific kind of brain damage: he cannot make new memories. As soon as events are over, Leonard forgets them, and he doesn’t remember people from one time he meets them to the next.
Helping Leonard in his quest are Teddy (Pantoliano) and Natalie (Moss). Both Teddy and Natalie have reasons of their own for helping Leonard as they do, and it’s hard to keep track of what those reasons might be and whose side these two are actually on. To know how the story ends, just put the movie in: the story ends at the film’s beginning. But that would be an anticlimax if the narrative were straightforward.
With Memento the fun is not in the destination, but in the getting there. To that end, the narrative unfolds backwards. Not that Leonard, whom we follow through the film remembers it backwards—he doesn’t remember it at all. But with the tale told in reverse, we also don’t (can’t) remember what has happened before in the story. We’re meant to experience each new thing as Lenoard must: without the context of knowing what happened previously.
Of course, we recognize Teddy and Natalie from earlier in the movie (later in the story), but beyond that, the conceit holds pretty well. Leonard, after all, recognizes them, too, from the cache of polaroid photos he keeps about his person at all times. We see each new scene as Leonard must, not knowing how he got into that place or situation, and given that, most of Leonard’s reactions seem within the realm of reason, if tending toward the violent and paranoid side of things.
Who wouldn’t be paranoid, though?
Pearce’s performance as Leonard is solid; I don’t know how it would be possible to play such a role with any greater skill, given Leonard’s condition. But his performance is helped a bit by Moss’s and Pantoliano’s. Their characters are, though perceived differently by Leonard at different times, consistent within themselves throughout the film, and the roles are well-played; well-enough-played, in fact, that their consistency through inconsistent perception sneaks up. Pantoliano is likably slimy, and Moss is seductively calculating.
If you’re like me then, and enjoy having your head messed with (at least in the comfort and safety of the movies’ make-believe worlds), once again, you will probably enjoy Memento. If you think my head is already messed-with enough—that I’m wrong to enjoy this sort of thing—you definitely will not.
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