It ends at the beginning and begins at the end.
The reverse narrative is what most will remember about “Memento,” a suspenseful drama from writer and director Christopher Nolan (“Following”), which from finish to start reveals the details of Leonard Shelby’s (Guy Pierce) quest to find the killer of his wife.
Although he can’t remember anything after her death (the blow to his head during the attack gives him anterograde memory-loss, which won’t allow him to create any new memories), Leonard is haunted by her murder and driven to avenge her death, partially in hope that his memory will return as well. Without his memory, Leonard has lost track of time and only has of a series of Polaroid snapshots, hand-notes and body tattoos to help him remember what he has learned along the way.
“Memento” is a stunning, engaging work – from which the viewer won’t want to stray from for even a second, out of fear of missing a vital piece to the puzzle. The disjointed narrative structure serves as the perfect way to give the viewer an understanding of Leonard’s condition. But fear not, “Memento” packs some jolting surprises, so knowing the ending in no way ruins the rest of the film.
Pierce (“L.A. Confidential,” “Rules of Engagement”) splendidly plays Leonard, who despite his condition, seems together and confident. Pierce subtly communicates Leonard’s fears, his doubt, his paranoia, his anguish and his desire to remember. The film is entirely dependent upon Pierce’s performance, and his acting could not have been more effective.
Leonard also must deal with a crew of characters whose credibility is suspect at best. Joe Pantoliano (“The Fugitive,” “The Matrix”) is Teddy, who may or not be trustworthy as Leonard’s friend. Carrie-Anne Moss (“The Matrix,” “Chocolat”) plays Natalie, who helps Leonard because she has also been hurt, but may have her own agenda as well. Mark Boone Jr. (“The General’s Daughter,” “The Thin Red Line”) is a hotel clerk who becomes intrigued by his memory-less boarder. Leonard must decide over and over again whom he can and cannot trust.
This thoughtful script builds slowly, unraveling the mystery and watering seeds of doubt until they bloom. In Nolan’s direction, which is equally thoughtful, it is obvious that care and consideration was taken into every shot. “Memento” avoids much visual trickery, other than the use of black-and-white during a sequence. This bare bones visual approach succeeds – the film manages to be visually interesting, while allowing the viewer to concentrate on the rich complexity of the story instead of cheap camera tricks.
“Memento” offers audiences a slice of film noir as it deftly crafts its tale with its provocative twists of reality that makes one question whether anything can really be known for certain.
“Memento” is now playing exclusively at the Drexel East, 2254 E. Main St.
