Memento

Memento ★★★★½

Memento. 2000. Directed by Christopher Nolan.

There are average neo-noir films and then there are exceptional neo-noirs. Memento (2000) is exceptional. Memory trouble that is in the realm of anterograde amnesia is difficult to live with. In other words, Leonard cannot create new memories. Guy Pearce (Leonard) portrays this disability with verve. Leonard’s story is non-linear and very tight. His wife has been murdered and with Leonard’s disability he relies on Polaroid pictures, notes, tattoos, and mirrors. From the beginning of the film until the end, we are limited to Leonard’s point of view. In turn, the narration cannot be trusted. So, we have to watch every detail as Leonard tells his story over and over while he is being used. I would be remiss if I didn’t list Carrie-Anne Moss as exceptional in Memento. She portrays one of the most vicious femme fatales in film history. 

The Nolans have a great deal of films that fall into my favorites list for example Interstellar, The Prestige, and Inception (The Dark Knight series is phenomenal as well). Their ability to manipulate time in screen plays is unparalleled. Christopher and Jonathan Nolan weave time in their screenplays as if they are the best of spiders. Indeed, they are. I will admit I have not rewatched Memento as many times as I have Interstellar or The Prestige. The reason is, I tend to cry for Leonard’s character. Then, there is the Bowie song at the end: “Something in the Air” which I admire greatly and yet, my eyes become waterfalls.

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