Memento

In the early thralls of film making, great directors popped up. Each man, or woman, brought something special, something new to the audience. One such man was Orson Welles, with his ground breaking film Citizen Kane. His bright ideas and new techniques brought a world of possibilities to the front line. Speaking in the contemporary, we have one such director that set the stage for a style of film never before experienced. Throughout most of his career he has remained somewhat unknown. Recently, he made his appearance as the director of the newest ‘first’ chapter of Batman, Batman Begins. This man is Christopher Noland, and the film I speak of is Memento.

Leonard (Guy Pearce) wakes one evening to find his wife out of bed. Strange noises are coming from the bathroom. Frightened, he enters with a gun. He finds his wife on the floor, gagged with a shower curtain, and an assailant over her. He shoots her, but is attacked from behind, leaving him with permanent brain damage. Leonard is no longer able to make new memories. With the help of his friend Teddy (Pantoliano) Leonard follows mysterious tattoos on his body, all clues to help him find his wife’s murderer. During his search, his path leads him into a dangerous drug ring. He befriends Natalie (Moss) and is able to find out the last bit of information he’s been searching for.

Outside this already original idea, director Christopher Noland brings an element never before seen in the United States. The story is split into two parts: one begins at the begging of the story, very standard. The other begins at the very end of the story. Working in 2 to 5 minute increments, the film progresses to the middle of the story, revealing pivotal information at the climax.

Cinematography in this film is amazing, shifting from color to black and white to indicate location of storyline. If you watch very closely, several key elements and clues and be found in the clever editing techniques. Both composition and composure of this film are solid, making a perfect picture of a shattered life. To complement this, the actors deliver a stellar performance. Guy Pearce plays a man whose life has been shattered by a mental handicap. His memory is gone, leaving him with the vague feeling that his life once existed. Just as he said, it feels as if he’s constantly waking from a dream, trying to catch up on life as it constantly bombards him with new information. His character requires a certain unawareness that Pearce executes perfectly. Paired together with the down to Earth feeling and questionable friendship of Pantoliano, we are carried through every moment of this mystery on the edge of our seats.

Carrie-Anne Moss brings one of the most diverse characters of this story alive. We are introduced to a sincere woman very interested in helping Leonard find the man who raped and killed his wife. But as the story progresses (or rather, de-progresses) we learn that she’s not as sincere as first led to believe. Again, an amazing performance by a tight, small cast. This is one of Noland’s greatest accomplishments: a solid film, a perfect script, a talented cast, and perfect execution.

This film asks one thing of you: figure out what happened. It’s not going to hand you the story. In only one scene does exposition clear any doubt that we may have had about the real story, what really happened, and who the mysterious Sammy Jenkis was. On many top ten lists of all time, one of the best things about this film is that it was able to keep itself out of the trendy scene. It’s a powerful film not simply because people say it’s powerful; rather, it’s powerful because it demonstrates every limit of professional and creative film. If you’ve not seen this film, I’d suggest it as soon as possible. If you have seen it, I’d suggest his earlier work, Following (told in similar fashion, only broken into three parts.) At no point did this film disappoint. Noland has gone far, and will continue to go far. It’s a career I’m certain to follow, and hoping to emulate. As a film maker myself, if I were to ever name a hero or role model, I’d cite Noland.

Check this one out. It’s not necessarily a popcorn date film for Friday night, but it’s certainly one you leave smiling, or wanting to restart again and again. Layer upon layer, new clues and hidden flashes complement one of the greatest films of all time. 8.75 of 10.