Memento (2000) is a English movie. Christopher Nolan has directed this movie. Guy Pearce,Carrie-Anne Moss,Joe Pantoliano,Mark Boone Junior are the starring of this movie. It was released in 2000. Memento (2000) is considered one of the best Mystery,Thriller movie in India and around the world.
Memento chronicles two separate stories of Leonard, an ex-insurance investigator who can no longer build new memories, as he attempts to find the murderer of his wife, which is the last thing he remembers. One story line moves forward in time while the other tells the story backwards revealing more each time.
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Thank Goodness I didn't read the reviews posted before I saw the film!! Most reviews (including ones on this site) will tell you waaayyyy too much about the movie, and that's just plain frustrating. But, as an avid cinephile, I promise not to do the same. Memento is one of those pictures that will have you sitting in the theater after the lights come up so you can talk to everyone else about what they thought of the movie. This is a highly intelligent and original brain teaser that will have you guessing from beginning to end, and even afterwards. The story and the direction are the best I've seen so far this year, and it deserves all the kudos it gets. Plainly put, the film tells the story of Leonard Shelby: a man who lost his short term memory in an assault where his wife was raped and murdered; now he's looking for the killer, despite his handicap. Simple as that. You don't need to know anymore. The film is constructed and told in such a way that you are constantly put into the shoes of Leonard Shelby, beautifully played by Guy Pierce. Carrie-Ann Moss gives an equally mysterious and complex performance. This film is well-made all the way around--from the direction, to the editing, and especially the unique story that is rarely found in Hollywood these days. Four Stars! This review may have been a little dry on the details, but go see the movie--you'll be thanking me later. PS: Only go to the official website AFTER you've seen the movie. It too will give too much away. Afterwards, though, go and look at it--it's pretty impressive.
If you're looking for something intense, suspenseful, and different than your usual effects-packed thriller, this is the best movie you will see all year. You will be talking about Memento at work, at the grocery store (to total strangers!), and you will find yourself joining conversations when you hear the word "Memento." That's why this little film that received almost no marketing stayed in theaters for months and was in the top 10 money makers for several weeks. The movie starts with a murder -- a revenge killing, in fact. But was the right person killed? Leonard Shelby (Guy Pearce) is a man with no short-term memory. He hasn't been able to form new memories since the night his wife was murdered. Now he's on a hunt to find the murderer but with no way of remembering names, dates, places, facts and faces. Instead he tattoos himself with mementos of his search. When someone knows his name, he checks Polaroids to see if he knows them. Does he like this person? Does he trust this person? Is this the killer? He doesn't know unless he's scribbled a note. Don't worry about trying to empathize with Leonard because Writer/Director Christopher Nolan puts you right in Leonard's shoes. You live the story in reverse order so that you never know more than Leonard does. In one scene you see Leonard getting information from a person who knows him -- maybe a good person; maybe bad. In the next scene you see a previous meeting between the two which sheds more light on their relationship. Later still you see how they met. But is that all of the story? You've yet to find out... and you won't know everything until the last scene. By living it backwards, you, like Leonard, have no knowledge of what came before. It's brilliant story telling. But you might get frustrated because you don't know what's going on. That's normal. In fact, that's the whole idea. Just sit back, try to relax (though that's difficult in this movie), and find out just how twisted and complex Leonard's world is. This film will leave its own memento on your mind, and you'll have a hard time forgetting how much you enjoyed it.
Christopher Nolan's "Memento" is truly a rare and exceptional achievement in modern filmmaking in that it manages to be new, fresh, hip, and exciting without ever tiring its audience out - unless you're walking into this film without the desire to participate and actively analyze the mysterious details. If that's the case, then this is DEFINITELY not a movie you should see. If, on the other hand, you are open-minded, creative, and alert, you'll definitely appreciate and get a kick out of this one. "Memento" is an old-fashioned "film noir"-type mystery thriller with an intriguing, ingenious twist: outfitting the entire film with a style that mirrors the protagonist's own mental condition while giving the poor viewer(s) his own perspective as well. It is masterfully filmed and edited in such a way that it is chronologically presented backwards (with two initially separate, parallel storylines - the main one, shot in colour, is the chronologically-backwards story with scenes that intercut with those of the other story, which is filmed more like a documentary, shot in black & white, and mostly takes place inside a motel room with the main character narrating, talking about the effects of his condition, etc.) While the average viewer may already be put off by such a complicated, confusing format, it is a very original premise that is well worth the struggle to figure out. Acting is solid across the board, as is the writing, directing, etc., but special kudos must be extended to the very talented editor Dody Dorn, who successfully managed to put all of these fragments together and help them flow in a smooth, healthy manner that is not easy to pull off. One of the most "memorable" (sorry, couldn't help slipping in the bad joke) films you're likely to ever see, "Memento" is an instant classic due to its groundbreaking narrative style and impressive dramatic undertones. For those jaded moviegoers who seek something to keep them awake, interested, and constantly thinking, there couldn't be a better choice than this film.
FACT ONE: "Just because there are things I don't remember doesn't make my actions meaningless." FACT TWO: "Your notes could be unreliable." FACT THREE: "Memories can be distorted." FACT FOUR: "But, even if you get your revenge, you won't remember it. You won't even know it's happened." FACT FIVE: "I want time to pass, but it won't. How can I heal if I can't feel time?" FACT SIX: "We all need mirrors to remind ourselves who we are." When life becomes incomprehensible human beings tend to simplify things, revise memories, select facts that may or may not be representative of "the truth." We strive to make events as intelligible as possible but that act often has unintended consequences. Now, if you can capture this existential human reality on film in such a way as to allow the viewer to experience this struggle for understanding, for the placement of private aspirations into the context of the moment even as the primary character makes this same struggle, then you have connected our hearts and minds seamlessly with the film's lifeworld. That is a rarity indeed. Such is Memento, a brilliantly conceived and executed work of art that has its audience literally at their wits end (just like the film's main character) trying to understand it all. The great debate of whether Teddy's version of the truth at the end is really "the truth" is symptomatic of director Christopher Nolan's purposeful craftsmanship. The very fact that we are as uncertain throughout most of the film as to the context of Leonard Shelby's actions as Leonard himself signifies that Nolan has succeeded in not just telling us Leonard's story put allowing us to know what it is like to *be* Leonard. This allows the film to work at a much deeper, almost subconscious, level scarcely achieved on film. Guy Pierce, Carrie-Anne Moss and Joe Pantoliano all deliver terrific performances with some of the most original material I've seen in years. This film grabs your brain and won't let go. It twists and turns and just when you think you've got things figured out Nolan whips the rug out from under your feet. You are left totally involved and struggling with creating some sense of closure out of the infinite loop of the film's structure. You can debate endlessly whether Teddy's final summary of events is the truth. You can argue both sides of whether Leonard killed his wife or invented Sammy Jankis out of thin air. In the end these are open questions. In the end there are no definitive answers. In fact, in the end ANY answer is plausible, just choose the one that sits best in your mind. Make that the truth. Because THAT is what this film is all about. It's about a man who can remember who he is but not what he has done and, to that extend, it is the prefect postmodern critique. We are often forced to act without sufficient information. The accelerating rush of our lives sends us headlong into our present without full consideration of where we've been. And on that level Memento provides a bold, compelling narrative that connects Leonard with every person. It is the mirror image of our divided selves. No matter how much his audience might disagree with the film's conclusion, Nolan understands that - in the end - truth doesn't matter. It is what we choose to do with what we think is the truth that's important. And that can mean anything at all.
So the "innovative" concept of filming out of sequence has been cliche for at least a few years now, but here's a film that makes it work far better than its been shown in a while. Having read the reviews and talked to others who saw it, I thought that I'd go into the movie figuring everything out right away and declaring the concept unworkable. I couldn't be further from the truth. This movie does things to your head that are illegal in some countries. Portrayed (for all intents and purposes) backwards, it forces you to think in the same way that our lead character, Leonard Shelby (Guy Pearce being more brilliant than usual) does. Suffering from a condition that renders him unable to remember anything for more than a few minutes, he is searching for the man who raped and killed his wife. Since each seen lasts no more than 15 minutes before jumping back to the what happened before that, our perceptions are shattered in the same way. Carrie-Anne Moss and Joe Pantoliano (both of The Matrix) put in great performances that leave you guessing; simultaneously endearing and revolting. Overall I left the film trying to figure out what was what, and I'm still not sure. This film noir concept shouldn't work, but it does so wonderfully.