'Memento' analysis: Widely regarded as one of the most unique and intriguing thrillers of all time, as well as being noted as "one of those films you immediately want to see again" by The Guardian, this unique Art Film released in 2000 back tracks through time to reveal shocking events, in order for the main role to begin the ultimate act of revenge. Directed by Christopher Nolan - adapted by his younger brother Jonathon's short story 'Memento Mori' - we follow leading man Leonard Shelby (Guy Pearce) track down the predator who has raped and murdered his wife. However, all is not as simple or as it seems, as since the tragic incident of the night of her massacre, he has suffered from anterograde amnesia (short-term memory loss); therefore, leading to him depending on various memento's, usually in the forms of Polaroid photographs and tattoos, due to him being unable to recall any event or place he has just visited or anyone he has just met minutes before. Deter mind to find out the answers to who killed his wife and why, he investigates the past, needing the help of his clues as well as bartender Natalie (Carrie-Ann Moss) as well as Teddy (Joe Pantoliano) - both whose friendship may not appear what it seems. Including the Rashomon effect - where the narrative is told in opposing and contracting accounts/views, this is a critically acclaimed, independent film. Featuring classic flashbacks, deceit in reverse as well as original memory twists, this film has been noted for its nonlinear narrative structure and reverse chronological order, allowing it to be recognized at the Box Office, as well as receiving various accolades and academy award nominations - for its editing and original screenplay. In relation to its opening sequence, 'Memento' opens up with its its distributor's logo of 'New Market'. This allows the audience to acknowledge how recognisable this film may just be, which is an American film production and distributing company which converges with Newmarket Capital Group, founded in 1994. Their typical iconography fades into black, revealing a dark canvas. This is then broken up by the words of "New Market Presents" in white, which eventually fades into more separate words - such as the producers, editors and actors - throughout the titles. The bold writing draws attention, contrasting with the dark background, alerting the audience to pay attention to what is being portrayed. After understanding the plot of the piece, they may understand that the fading of the colouring may be interpreted as the main role's memory decreasing. Each of these titles last for approximately 3-4 seconds, which parallels with the non-diegetic violin sound that progresses throughout after 4 seconds of this opening. The films score gradually gets deeper and softer in its tune, which gives off a thoughtful, dream-like atmosphere. However, the different moods are almost sad, connoting the ambience of the motion-picture. Throughout these black opening titles, no diegetic sounds are heard.These continue for approximately 36 seconds, when the films title - emphasized by its larger spread words - lingers linger than the previous words, eventually dissolving onto a natural scene, which opens the film. The titles continue throughout the opening, with more typical title conventions being featured. The scene features an extreme close up of a mans hand, which is holding a Polaroid picture, which features an individual bloody and injured in what appears to be a bathroom. In relation to rule of third, the image covers up two-thirds of the frame, emphasizing its an important piece of work; moreover a memento, opening the main theme of the plot. On top of this, this shot has been pulled into shallow focus, so the hand and picture are emphasized. At first there is no sudden movements in this shot, apart from the gradual fading of the picture; underlining his memories disappearing. After several seconds, the mans hand eventually pulls this away from the camera, shaking it several times, as well as pulling it back towards the screen. This is the opening ambient sound within the piece. This constant shaking of the photography - alongside the gradual fading of the image - underlines his desperate grasp of capturing his memory as it leaves him. Once the director (the typical finale of the titles within film conventions) fades alongside the image, we view another shot - a close up - from the opposite perspective, which shows the photograph in the mans hand from the front. The camera then slowly pans upwards, following the Polaroid being inserted into the camera and then the reaction of the individual leading guy; Guy Pearce. He appears sweaty and uncomfortable, focused upon something, therefore showing he's distressed. We learn from this edit that this opening scene has been edited in a slow-paced reverse, therefore already diverse from other films. It shows the audience that the narrative of this film may be dissimilar from others, showing a main motif of the picture; time. A cut-in shot then shows his hand appearing the get the Polaroid out of his pocket - although, as edited in reverse, he is in fact slotting it into his pocket. The shots then gradually fasten up in pace, as it cuts away to an extreme close-up of dripping blood (connoting danger), following by a lingering shot of a single bullet; broken glasses and a aerial shot of a mans bloody head. This adds to the tension. We then watch the leading man from a superior low-angle, as the gun appears to swipe into his hand thanks to the fast-paced edit, followed by the shocking gunshot near the camera lens. We then witness a hurried montage of images, that relate to the previous bullet and glasses, that are forwarded to their original places - the bullet in the gun and the glasses to the bloody man. The man then spins around - from a high-angle shot, underlining his victim character - finalising on him being shot. This instantly halts to a stop, aiming to shock the audience, cutting to a black and white scene of the lead lying on his bed. A heartbeat-like tick is overheard as the score, stressing his thoughts, as the camera tracks up-close, upwards of his face, towards his mind, following the non-diegetic narration of his wondering mind. His reaction is confused alongside his worries of "where am I?", all paralleling well. The camera then cuts in to a key from his eye-level, as he ponders his surroundings, followed by various lingering shots of what he sees around him. A master shot then concludes the opening sequence, showing how alone he looks in the hotel room, alongside his lone thoughts. This opens up a hidden theme of the film - loneliness - where the main character aims to almost beat the 'baddy'. It also adds mystery and a certain thrill to the film, hencing the thriller novelty. The scene also includes low key lighting, which may show his dark thoughts due to him being in the unknown. The black and white convention is typical in film noir films, as well as the low key lighting. The last film-noir relation lasts for 23 seconds - being of a quick, sharp opening of the plot, instantly allowing us to know confusion and drama will be stressed throughout. However, the entire opening lasts for 2 minutes, 44 seconds, therefore being a snappy opening for a film.
http://www.youtube.com/watch?v=LTq8tjPjmEQ
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