By: Libby Stefanich

Memento portrays Leonard Shelby, who suffers from short-term memory loss while aggressively searching for his wife’s murderer and rapist. Throughout his journey, he tattoos himself and photographs people to keep track of his lost thoughts, which he then uses as evidence to contact the person. Eventually, he realizes he’s searching for no one and finds himself trapped in a never-ending cycle of violent impulses to escape reality, thereby establishing the theme that deceiving oneself is effortless when attempting to flee from the truth.

The non-linear structure reinforces Leonard’s mindset; it is inconsistent, perplexing, and isolated. For example, the black and white sequences represent linear objectives and his memory, whereas the colored sequences represent engagement and subjectivity. In the colored sequences, they move backward, leaving the audience in Shelby’s mind. The polaroids and tattoos represent his consistency in trying to piece together the present and the past when there is nothing to discover. He develops relationships with Natalie and Teddy, both of whom abuse his memories to keep themselves safe. Leonard’s social and economic status changed dramatically after losing his memory; he once lived in a wealthy-looking house and now rents out many rooms at a motel inn. This underscores the notion that society primarily caters to the able-bodied, often neglecting individuals with mental or physical disabilities. The film aims to portray Leonard as a vulnerable man who contradicts stereotypes of heroism by introducing Sammy’s story.

The visual cues differ between black-and-white and colorful shots. For instance, during his attempt to organize his thoughts, the photographer employs low-key lighting and high angles to accentuate his body position, tattoos, and the condition of his room, which serves as the “evidence.” This informs people that these scenes are unfolding in chronological order. The colorful sequences, on the other hand, are less static and follow the characters, showing moments of interaction with people while also adding to his short-term memory, which is often hectic and complicated. Natalie is a prime example of a femme fatal, as she directly tells Shelby that she intends to use him. She portrays a seductive character with manipulative tendencies, incorporating noir themes. The film depicts her character, Leonard’s wife, and Sammy’s wife as victims constantly seeking explanations for their husbands and partners—Leonard’s wife remains unnamed. Her scenes are short, with only a few lines for her role.

Christopher Nolan’s objective was to put viewers and Leonard in the same position of questioning life; because it is nonchronological, it alters the themes, motives of the characters, and mood of the film, making it more effective. The structure of the film allows a man to go on a killing spree for someone he loves, and it subtly suggests that sex can serve as a coping mechanism during the loss of a loved one. The film is unique in that it incorporates cinema noir methods while also exhibiting thriller and mystery elements. The editing style is unique, with segments appearing out of order.

Memento. (R) dir. Christopher Nolan (2000); 113 mins.