Memento 
(it. Memento)
color and b / w, USA, 2000 , Christopher Nolan
Duration: 113 min.
Genre: psychological thriller
Cast: Guy Pearce (Leonard), Carrie-Ann Moss (Natalie), Joe Pantoliano (Teddy Gammel), Mark Boone Junior (Burth), Russ Fega (Waiter), Joria Fox
(Leonard's Wife), Stephen Tobolowsky (Sammy Jankins), Harriet Sansom Harris (Mrs. Jankis), Thomas Lennon (Doctor), Callum Keith Rennie (Dodd) Kimberly Campbell (Blonde), Marianne Muellerleile (Tattooist), Larry Holden (Jimmy)
Screenplay: Jonathan Nolan (based on his short story "Memento Mori "), Christopher Nolan
Music: David Julyan
Photography : Wally Pfister
Editor: Dody Dorn
Distribution: Warner Bros
We all need to remember
there a way to live and a time to suit certain works of art that transcend the common sense of perception, comprehension, penetration of reality that surrounds us. It 'good to be in these particular circumstances when you are engaging in works such as Memento, more than a simple sequence of frames on the screen, a state of mind.
All Memento whole structure is designed and managed to create, from the first scene to the last, is unsettling, deeply chaotic in its perfect order non-linear, full of truth hidden between the lines, ready to be picked by those who wants to take, but especially those in able to do so.
supreme example of how the assembly is not only functional film work, but rather its fundamental resource to create a visual narrative, to build an invisible path as palpable among the sights and sounds, Nolan's film, the second most of time comes to restore a dogma beloved by directors just ordinary, what has now become a kind of label to show off to prove to be alternative. The non-linear narrative of Memento makes it a unique gem in the movies of all time, almost an object of study, research, because the effort that offers the viewer is a powerful neural milking, which causes the maximum voltage drop of the notice attention, even those within the space of existence as a nanosecond. Each part of the work, every frame, every word is weighed, examined with suspicion, then rearranged and placed in its proper order to build immense puzzle disconnected we are called to solve, while the narrative takes us by hand in this Fantastic journey through the maze of memory and its deceptions, its wonders, its abyss.
The story is the first part of this originality in this compound prematurely.
Leonard, the hero is a man who has a problem: His anterograde memory was damaged in its functioning, so can not maintain dei ricordi a breve termine, per più di qundici minuti. Dopo quel lasso di tempo, i suoi ricordi e la sua realtà ritorna ad un punto ben preciso della sua memoria passata, resettando ogni cosa, facendo tabula rasa. Così non ricorda più dove ha dormito la sera precedente, nè tantomeno cosa ha mangiato appena quindici minuti prima, chi ha conosciuto la mattina precedente... e se si dilunga in una conversazione per più di quei fatali quindi minuti, non solo non ricorderà più l'oggetto della tale discussione, ma non si ricorderà più neppure di conoscere il suo interlocutore.
Leonard era un agente assicurativo incaricato di individuare le frodi dei clienti della sua compagnia. Una notte, mentre dormiva al fianco his wife is brutally assaulted, murdered his partner, he hit on the head in a violent manner. The trauma of the loss of his wife and received physical damage due to the blow to the head, Leonard reduce to a broken man, broken, missing a normal life, a lifetime of normal, ordinary. The inability to remember anything for more than fifteen minutes cuts it off from the world, as one might expect. Lost everything, Leonard decides he must give meaning to his life, and to do so must find and kill the killer of his wife.
is not a simple story of revenge, no, but a dizzying vortex in a mind broken by fragments of reality that spread everywhere without mnemonic a lawful order, with nothing that seems to unite them. It 's the life of Leonard, our time as we identify ourselves in him through the state of the art of editing and management director, who put us in place, the confusion in not knowing, unconsciousness of our precarious existence.
So Leonard decides to take revenge. His particular physical condition, however, forces him to take steps to ensure that his project will go through. Through the tragic story of Sammy Jankins, whom he met during one of his duties before the attack, we know that if you have this type of disorder, the record on notebooks and notebooks, miscellaneous sheets you have to do is especially harmful. The leaves are lost, spreading, mnemonic media surrogates are inefficient.
why Leonard is an innovative and superior. Through tattoos, he impresses on his skin, his body, every clue found useful to identify the culprit of the murder of his wife, turning himself in its grounds, in the middle and the implementation of its vengeance. The milestones in his permanent written indelibly in the body, like the memories they had to do with his brain cells, to fix the memory. So he still has a failing memory to be able to simulate.
His body becomes a living map mnemonic, a labyrinthine path to follow, a rebus button intentions.
method, is what distinguishes Leonard Jankins by Sammy.
Photographs, Polaroid snapshots, are another means of control that Leonard used to prevent chaos and disorder of his life is confusing on its way. Faces, objects, places, are all cataloged and immortalized by Polaroid in the captions, to define the world around them - a world that is formed, but that hides its true intentions, because they constantly forget. So, using those titles, Leonard announced his future I forget everything, if that face is photographed a friendly face or an enemy if he is in that place già stato e cosa rappresenta, qual'è la sua auto, dov'è il luogo dove risiede attualmente.
E' la fotografia, che da sempre è servita all'uomo per immortalare un istante, renderlo perenne nel tempo, per prolungarne la memoria, qui funge da protesi mnemonica vera e propria, nell'estensione di questa sua funziona presso la nostra normale percezione dei ricordi. Le foto e i tatuaggi, creano una sinergia inestricabile, inscindibile, che sostituisce la memoria di Leonard con dei surrogati, non altrettanto efficaci ma funzionali, rudimentali e ingegnosi sistemi di sopravvivenza al fato avverso.
Leonard ha dei nemici, gente che lo usa per i propri scopi approfittando del suo disturbo; per questo è necessario che He maintains the register of those negative events and people that are causing them, which would lead astray, away from his true goal. His world is a mess and then of suspicion, paranoia, hallucinatory doubt excruciating dilemmas. Can not trust anyone and everyone could be a disturbing element, a profiteer, a potential hostile. Leonard can only trust himself, the evidence that the self of the fifteen minutes before he left to himself now.
Its actually based on a continuous implementation by itself, in a rare example of the principle of personal self-determination.
Leonard's character is embodied by fisiscamente Guy Pearce excited to take parte al progetto di Memento, e immagine ideale dell'uomo che vuole rappresentare. Impeccabile nel mostrarsi sperduto ma risoluto, Pearce firma la sua migliore interpretazione di sempre, regalando al grande schermo un personaggio indimenticabile.
La struttura del film è il vero punto di forza di tutta l'opera, basata sulla storia, partorita da essa. Il montaggio del film è a dir poco geniale quanto contorto.
Il film è suddiviso in due linee narrative parallele ma con moto opposto, che si susseguono costantemente durante tutta la durata dell'opera. La prima linea narrativa, composta da spezzoni di cinque minuti l'uno, è a colori, ed è montata all'inverso. Then, it follows that the first block of five minutes of this narrative line, is the last scene, while the last block is the first stage of history. During this line develops real narrative, the life cycle of history, the survey and the mad rush to vengeance by Leonard. These clips
color than five minutes, are interspersed with other clips, black and white, assembled chronologically. Here Leonard talking on the phone with a mysterious interlocutor, he remembers that not even the identity, being more than fifteen minutes on the phone with him. In this cycle we see a narrative story about Sammy Leonard Jankins, the genesis of his method in the way sometimes Leonard alone are tattooed body.
All this is introduced by a brief scene, which introduces the opening credits, we witness the development of a Polaroid taken soon. Following is Leonard who shoots someone in the head. This short sequence is turned backwards, and serves as an introduction not only to the film, but the entire system that utilizes narrative. The viewer is therefore cordially advised by Nolan, his work will be neither compassionate nor even ordinary people who do not like to think deeply about what he sees and hears.
The dramatic musical introduction to this scene, David Julyan, along with other tracks during the film impresses with deep sadness that is inherent in dramma di Leonard, quello di essere un uomo senza memoria, senza passato, senza identità, senza futuro nè speranza. La musica della colonna sonora originale è fondamentale in questo film, come lo sono anche i silenzi.
Dopo l'introduzione ecco uno degli spezzoni cronologicamente lineari, in bianco e nero, con Lenny che si risveglia in una stanza d'albergo. Ancora la musica, sempre uguali per la linea narrativa in bianco e nero, che inquieta, perchè è sottilmente infida, scandisce metronomicamente un tempo inesistente per Leonard, che afferma questa sua incertezza così:
"Allora.. dove sei? Sei in una stanza d'albergo... ti sei svegliato e sei in una stanza d'albergo. Ecco la chiave. Per te è come se fosse la prima volta che sei qui, ma invece potresti essere qui da una settimana, o da tre mesi... è difficile dirlo. No, non lo so. E' solo una stanza qualunque."
E' un brano inquientante, all'interno del quale si possono rintracciare ombre del lavoro che Akira Yamaoka ha compiuto per Silent Hill, il videogame della Konami del 1999.
L'intera colonna sonora originale è costellata da brani melliflui, a volte molto lenti, che scorrono come un banco di nebbia mentale. Spesso alla fine dei brani vi sono dei dialoghi tratti dalle sequenze in bianco e nero del film, dove Leonard riflette o parla al telefono, a sottolineare quanto la musica nel film sia complementare alla narrazione.
Christopher Nolan Memento touch with the peak of his directing career. Legend has it that he remembered discussing the idea of \u200b\u200bthe film in a car ride the thing with his brother, Jonathan, who wrote the short story from which the film is based, "Memento Mori". In an interview, the director admitted he was terribly attracted to the idea of \u200b\u200bthe unreliable narrator, the investigator was unable to fix something that was caused by him. As in other films in this genre, as in "Angel Heart", we are faced with uncertainty, doubt among the doubts, the self-evident fact that perhaps our point of view might be totally distorted. What is safe, what reality, and where it starts the error, the mistake?
Some existential questions such as these have the power to panic even the most strong and determined men, and here it is used for art.
The brilliant assembly also places the viewer to identify himself completely into the story. In the narrative line in color, one mounted backwards, the first scene is always the last color of the scene later, a useful device to recreate the sense of loss of meaning, namely non-linear sequence in which Leonard captures the information or simply live the moment. E 'effective and terribly effective, so that anyone who has seen Memento even for ten minutes, will experience a sense of confusion, uncertainty and loss totals. Who does not get up quickly from his chair, will be swallowed into the vortex of Leonard's disease, and will try to solve life as he would with her, trying to put together the pieces of the mosaic that has gone mad before. The two narrative continuum
different color mounted upside down in black and white and mounted on a regular basis, feed into a single sequence at the end, merging all the different fragmented reality in one large application, the final question of the most atrocious.
Nolan signed a cinematic revolution that is pure surprise, total interest, that leaves no one who is able to capture, to hold out for the first few minutes. And 'returning to the cinema that can convey the magic of the improbable, the suspension of disbelief, the desire to let go. E 'endless work, of infinite potential, which defines the cinema.
The Journey of Leonard is not an experience for everyone, indeed. Though there is a special edition of the DVD version installed chronologically, the true backbone of Memento is its destructive force and dissociative against conventional perceptions of the world of reality.
Leonard is the final thought, but ours is the doubt, the torment, because we like him we need to know about us, memories that tell us constantly from place to come from, what is our source, what we did, and why. The actions differ, and perhaps identify a man ... in the present time we are interested. But if we had not even the memory of this, how could we give value to those actions and putting them in some context that we identify with certainty?
And so we sail in doubt.
"We all need to remember that tell us who we are. And I'm no different."
Links:
Note: the links section for Memento is well-fed this time. I would especially point out the existence of an official website which is perhaps the best I have ever seen ever. Done in flash, the film offers a view from a different point, analyzing evidence about the murder of the wife of Leonard in the film are not seen, putting together the pieces here and there, interacting with a metatext view of its own. Visit the site, with background in the original soundtrack of the film, is a unique complement to the film itself.
