Christopher Nolan's Meta-Thriller, Memento (2001): - Page 2

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Mar 21, 2001

See how complicated this is? I hesitate to scrutinize the numerous plot contrivances too closely, since Nolan’s irresistible frame of narrative forever being wiped out allows an easy escape route. The concept is strong enough to overcome basic plot hurtles. Lies are invented to lead into scenarios too good to be true, or to steer away from those truths.

Pearce does an admirable job holding Memento together in the lead role, a fiery-eyed, charismatic cipher. The supporting cast of reliable character actors (suspects, all) are a virtual who’s who of reality bending meta-thriller veterans: mysterious barmaid Carrie Anne-Moss and the excellent Pantoliano are familiar from The Matrix. Vicious thug Callum Keith Rennie played a notable heavy in David Cronenberg’s eXistenZ. Stephen Tobolowsky, a crucial sideline player also suffering from short-term memory loss, was the unctuous, ever-present salesman that harassed Bill Murray throughout Groundhog Day.

In retrospect, the plot of Memento is simple, if somewhat open to audience interpretation - I’ve heard no less than three different theories about what happened. Don’t believe their lies. At the immediate moment of viewing, however, anything is possible. How ironic that a film with the queasy inverse logic of a nightmare should brace you into feeling awake and observant to every detail.

On an odd symbiotic note - I saw Memento shortly after stepping off a plane from Los Angeles, still reeling from the three-hour time difference. After checking out this excellent retro-noir, a queasy guilt set in. Something had slipped my mind. Tickets had been reserved for myself and friends to attend a play that evening. Too late now. I had forgotten to write it down. Talk about short-term memory loss!

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