Memento (2000)

The story unfolds backwards, an unusual narrative technique that is tricky to use. We see a scene and think we understand. And then there is another scene that has happened prior to it, and it totally changes our perception of what is going on. Purposely, it is confusing. And purposely, there are moments of clarity where it all fits together only to become even more confusing in the next scene. Carrie Ann Moss plays a femme fatal and, as we get to know her, we are not quite sure what her motives are. Joe Pantolino is cast as in the role of Leonard's buddy, and we are constantly confused as to whether he is friend or foe.

I sat there fascinated as this complicated plot unfolded, enjoying the mastery in which the director led me down different avenues of thought and also introduced questions about the moral issues involved. By the end, I was absolutely sure of nothing at all, except that I had been traveling on a roller coaster of an experience that didn't have any easy answers. While I tend to want films to have a beginning, middle and end, and a story line that is easy to follow, this an exception to the rule. I definitely recommend to those who are willing to explore this unique film, which is certainly one of a kind.

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Guy Pierce plays Leonard, who has lost his ability to keep any short term memory. We follow him as he traces the Polariod clues and hastily written notes to tell him what to do next. Reminding people often that "I have this condition..." and even wondering in the middle of a chase scene whether he is being chased or if he is chasing someone else, the movie is as funny as it is painful as we watch this man struggle to solve the crime of the rape and murder of his wife. Sadly, it is that incident which also led to his own condition.

Go to this movie with both eyes open and a clear head, because it starts at the end and ends at the beginning. Whereas Seinfeld once made it a joke to do a half-hour episode backward, Memento makes it jarring and fascinating at the same time.

The ending (or shall I say beginning?) makes you walk out of the theatre with your head between your hands crying "good grief, that was SO wild!" I love that. If you are looking for a disturbing, sad, funny, complex, and suspenseful movie, it's all here.

Watch and enjoy!

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Ensconced in a cheap motel while he attempts to sort out his new life, Leonard must rely on Polaroid photographs and quickly scribbled notes to keep himself in the game. The particularly pertinent information he uncovers he tattoos on himself (a man's initials, a license plate number, whole sentences that remind him what he's after), thereby insuring that no vital piece of the puzzle that is now his life will be lost. But it's a tricky business, especially when it comes to remembering who he can trust. All he has to go on are his instincts and his notes; and constantly having to deal with people he's just met-- even if it is the same ones, over and over again-- puts him in a perpetually vulnerable position. He knows there are those who would exploit him because of his condition, so along with everything else, he has to keep his guard up every minute. How can he know who to trust when everyone he deals with is a stranger? It's a sticky wicket, to be sure; but he's determined to play out the hand he's been dealt, one way or another.

Pearce gives a solid performance as Leonard, a guy to whom the phrase "living in the moment" takes on a whole new meaning. He makes Leonard convincing by never overplaying him, and by maintaining a kind of subtly reserved resignation laced with tentative anxiety; traits you would expect of someone in his condition. And that Pearce can make that critical connection with the audience, making Leonard someone to whom they can relate, is especially important, as this is a real "What would I do in that situation?" kind of film.

Also very effective is Carrie-Anne Moss as Natalie, the woman whom Leonard may or may not be able to trust. Natalie becomes something of a mystery within the mystery, as she comes across as rather enigmatic initially; one of those characters you can't quite figure out, which allows you to identify with Leonard even more, because you know he's trying to decipher her motives, as well. The same can be said for Teddy, played by Joe Pantoliano, who becomes another constant enigma in Leonard's life. It's another case of "Who is this guy, really?" and, again, along with Leonard, it keeps you guessing until the end-- which is really the beginning. But it's that kind of movie; a first rate mystery, from end to beginning (and when you see it, you'll understand). At any rate, by the time it's over you have a pretty good idea of what fits where. Natalie, at least, tips her hand at one point; Teddy, though, is a bit tougher to figure out. And if you don't believe me, just ask Leonard.

The supporting cast includes Mark Boone Junior (Burt), Stephen Tobolowsky (Sammy Jankis), Harriet Sansom Harris (Mrs. Jankis), Callum Keith Rennie (Dodd) and Larry Holden (Jimmy). This is one of those movies that leaves you asking yourself, "Who could think up something like that?" while at the same time you're saying "Yeah! give me more!" To say the least, "Memento" is emotionally involving and thoroughly engrossing, and Nolan wisely throws in some humor to give some respite to the constant, underlying tension (at one point Leonard says to Teddy, "Did I ever tell you about Jankis?" To which Teddy replies, "Only every time I see you."). Reminiscent of "Jacob's Ladder," but taken to the "Nth" degree, this is one film that will keep you talking about it-- and debating-- for a long time. And in another unusual twist, the real irony begins once the film is over, because at that point you're able to identify with Leonard even more-- there's just so much you have to remember to arrive at your final conclusion. Your best bet? Watch it again. That's the magic of the movies.

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