What Nolan does in this film with time is incredibly innovative and original. The film's main plot unfolds in 10 to 15 minute fragments given in reverse chronological order (Leonard's hunt for John G.). These fragments are shown in color, and punctuated by a chronological subplot shown in black and white ( the ongoing telephone conversation in which the story of Sammy Jankis is revealed).This subplot gives back-story and context, but also provides cohesion to the main plot fragments, which is particularly helpful in the earlier parts of the film. Further comprehensive aid is given through the editing technique. Each successive fragment happens earlier in time than the previous one, but, the final moments of each fragment overlap or repeat the first moments of the previous fragment, connecting them and providing a sense of bearing . While the main plot and subplot unfold in opposite directions in time, a second subplot emerges. It is a reoccurring scene that starts with a closeup of bathroom tile, showing a little more of the scene each time until the entire scene, of what appears to be the murder of Leonard's wife, plays out. So, the involvement required to keep the plots sorted connects the audience in a way that just isn't typical of most films. This connected vibe is amplified by the fact that the audience is experiencing the film in the same way that Leonard experiences life--in confused 15 minute fragments. Thankfully, we are able to string those fragments together without Polaroids or tattoos.
So, is that it? Is Nolan's innovative time manipulation device or devices what make this film remarkable? Of course it is a great story with fascinating characters, and superb acting. But I think there are also intrinsic elements in the story that connect with everyone, contributing to the punch this film packs. In order to avoid a lengthy digression, I will simply pose two questions that the story provokes: 1) To what extent does our conscious memory constitute our identity? 2) Do we lie to ourselves to be happy? When considering this second question, I think of happiness in the Epicurean sense--equivalent to the absence of pain.
Leonard is the extreme example, willing to go to any length to maintain the absence of pain.
So, I think it is Nolan's manipulation of time, but also the story, the great acting, and the universal themes to which everyone can relate joined masterfully in concert that make *Memento* a brilliant memorable film.
Even though I have seen this film several times, I apparently pulled a Leonard and forgot the ending. So watching it in class I was captivated by the last half an hour of the film as if I had never seen it before. It would be so weird to live our entire lives like that. Nolan's manipulation of time (and, I would argue, of us) certainly make this a film worth seeing more than once. To answer your questions, I would say our conscious memory does play some role in our identity, but does not make up our whole identity. But if we can not remember what we've done or how we feel about things, it will be hard to put together some sense of moral code or structure by which we define ourselves. It is similar to how, to an extent, we define ourselves by others. And yes, we do lie to ourselves to be happy. Even if it is just about the weather, or a test, or that we're going make it to that meeting on time.
ReplyDeleteI really like that you mention how Nolan's use of time causes us, the audience, to view the film in a way that is very similar to how Leonard experiences life. The confusion and disorientation we feel while trying to piece everything together is nothing compared to what Leonard is experiencing throughout the film. That comparison and similarity can really help viewers relate to Leonard, or at least, understand him a little better, as we are trying to figure out the larger plot points. As to your questions, I definitely think conscious memory is a large part of a person's identity. It helps guide our decisions and behaviors. We see Leonard struggle with this throughout the movie. I think the importance of conscious memory to identity becomes most apparent when Leonard finds out what he has done and makes the decision to ignore it and "knowingly" become a killer (again), possibly to escape the pain of reality. He finds out who he is, doesn't like it, and chooses to forget it, so it doesn't change him or haunt him. The rest of us don't have that luxury. Of course, all of this depends on how you interpret the movie.
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