CONTINUED FROM PART 1...

Another distinctive characteristic of the film is that it suggests several events before the events of the movie itself. An example would be when Leonard and his "friend" Teddy (Joe Pantoliano) first meet up with the drug-dealer Jimmy Grantz (Larry Holden). When we first see Jimmy in the film, he already knows about Leonard, his condition, and the story of Sammy Jankis. This provides the feeling of a fully realized world that exists outside of the film. This also connects to one of Leonard's lines at the movie's conclusion: "I have to believe in a world outside my own mind" (hence, outside of the film, which takes place in Leonard's mind). The only preceding event we do see is a flashback to that fateful day of the break-in that caused his brain damage.

The other factor that elevates this film is its main character Leonard, a likable, complex, and sympathetic human being. Although I may not agree with Leonard's quest for revenge, I understand his plight and feel for him. He isn't some mindless maniac out for blood, but a broken man who just wants to "make things right." There is also a profound exploration of the nature of our memories and of reality itself, showing how Leonard feels and copes with his disability. As he tells Natalie (Carrie-Ann Moss) in the restaurant, "Just because there are things I don't remember doesn't make my actions meaningless. The world doesn't just disappear when you close your eyes, does it?" The most meditative scene for Leonard, however, is when he is in bed with Natalie, talking about his inability to heal emotionally because he cannot "feel time." Coupled with the haunting, melancholy score by David Julyan, this scene reaches philosophical heights.

Memento has its roots in film noir, the gritty crime genre established back in the 1940s. Not only does the black and white photography serve to easily separate the two story threads, but it is also an homage to the old film noirs. The mystery and revenge plot is a common facet of those dark crime movies. Leonard is the "hard-boiled detective," the man out to solve the mystery but is flawed and moralistically unclean. Natalie is the "femme fatale," the attractive but potentially dangerous woman who seduces and then helps or uses the main character (she actually does both here). The abandoned building where the murders happen is one of those shady, desolate places where film noirs often occur. The first-person narration (which reveals the main character's thoughts and is sometimes unreliable) and the nonlinear timeline are also common qualities of film noir. Is Leonard's old job as an insurance investigator a nod to Edward G. Robinson's character from the famous 1944 film noir Double Indemnity? Perhaps.

There are many mysteries throughout the film, some obvious and some not. The most apparent mystery is the identity of "John G.," the man who killed Leonard's wife. The other, subtle mystery occurs near the end, when Teddy reveals "the truth" about what's really going on. Is he really telling the truth or is he lying? It is so wonderfully ambiguous that a good case could be made for either. The other pertinent mystery is one that is not asked by the people in the movie, but by people who are watching it: if Leonard can't make any new memories, how does he remember his own disability? Fortunately, this is explained in the film by "conditioning." Basically, the more you do something, the more it becomes totally natural and instinctual so that you don't have to remember it. This explanation isn't completely airtight, but that's ok. It works well enough for the premise to be convincing and plausible. Brilliantly written and edited, Memento is my favorite mystery movie and film noir, and one of the greatest thrillers I have seen.