Memento (2000)

Memento mori: remember that you will die.

‘Memento’ is one of Christopher Nolan’s most theoretically impressive films. The fact that he manages to tell his story in such a unique manner makes the film engaging from the start, even on a second or third watch; the film makes you want to understand it completely.

Visually, it’s the peak of Nolan’s edgy noir-ish phase, full of monochrome, shadows, and mood. Despite the smudge that this makes the film, it seems to work quite well; it benefits the atmosphere massively and helps to add at least a tiny bit of discernible structure on first viewing. The heavy contrast is quite hit and miss, particularly in action scenes, but some of the film’s appeal comes from its rough edges and grit.

Much like its visuals, ‘Memento’s characters vary in quality. The protagonist is quite dull but he’s more of vehicle for the spectator, a demonstration of the film’s concept and not much else. However, there is real depth in a lot of other characters, the extent of which is amplified by the unfolding nature of the narrative. In Teddy, Natalie,and Burt the film truly shines, creating a world outside of the protagonist which only the spectator can access. It really is quite smart.

In the end, that’s what ‘Memento’ is; smart. It covers its lack of narrative depth with an intriguing idea, and its primary characters lack of character with other, more interesting figures. It is a film made to be thought about in the moment, but it leaves little lasting impact.