Memento (2000)

Note des utilisateurs:

8.6/10   

Réalisateur:

Christopher Nolan

Writers:

Jonathan Nolan (short story "Memento Mori")
Christopher Nolan (screenplay)

Release Date:

11 octobre 2000 (France)

Genre:

Mystery | Thriller

Accroche:

Some memories are best forgotten

Plot:

A man, suffering from short-term memory loss, uses notes and tattoos to hunt for the man he thinks killed his wife.

Plot Keywords:

Memory | Murder | Short Term Memory | Short Term Memory Loss | Polaroid

Awards:

Nominated for 2 Oscars. Another 42 wins & 32 nominations

Avis des utilisateurs:

can't believe how much I'm still thinking the day after

Ensemble

Guy Pearce	...	Leonard
Carrie-Anne Moss	...	Natalie
Joe Pantoliano	...	Teddy Gammell
Mark Boone Junior	...	Burt
Russ Fega	...	Waiter
Jorja Fox	...	Leonard's Wife
Stephen Tobolowsky	...	Sammy
Harriet Sansom Harris	...	Mrs. Jankis
Thomas Lennon	...	Doctor
Callum Keith Rennie	...	Dodd
Kimberly Campbell	...	Blonde
Marianne Muellerleile	...	Tattooist
Larry Holden	...	Jimmy

Autre(s) titre(s):

Mémento (Canada: French title) [fr]
Memento (France) [fr]

MPAA:

Rated R for violence, language and some drug content.

Durée:

113 min | Turkey:107 min (TV version)

Pays:

USA

Langue:

Anglais

Couleur:

Noir et Blanc | Couleur

Aspect Ratio:

2.35 : 1

Son:

Dolby Digital

Classification:

USA:R (certificate #37211) | Iceland:14 | Portugal:M/12 | Netherlands:16 | Argentina:13 | Australia:MA | Brazil:16 | Canada:14A | Chile:14 | Finland:K-15 | France:U | Germany:16 | Hong Kong:IIB | Ireland:15 (re-rating) | Ireland:18 (original rating) | Japan:PG-12 | Mexico:B | New Zealand:R16 | Norway:15 | Singapore:PG (censored version) | South Korea:15 | Spain:13 | Sweden:15 | Switzerland:14 (canton of Geneva) | Switzerland:14 (canton of Vaud) | UK:15 | Singapore:NC-16

Emplacements De Pelliculage:

Burbank, California, USA

Company:

Newmarket Capital Group

Anecdotes:

Chronology: When numbering the scenes chronologically, then sorting them how they appear in the film, the pattern becomes more clear. The letters A-V will represent the color scenes (with A happening chronologically first, and V chronologically last), and the numbers 1-22 represent the black and white scenes chronologically. The scenes appear in the film like this: 1, V, 2, U, 3, T, 4, S, 5, R, 6, Q...20, C, 21, B, 22/A[1] The two types of scenes alternate. The black and white scenes (numbers) start from the very beginning soon after the injury, and work forward to the climax at 22/A, while the color scenes (letters) work backward from the climax at 22/A. The climax scene (22/A) changes to color halfway through, showing the convergence of the two story lines.

Goofs:

Continuity: As Leonard stands at Dodd's door preparing to enter, there isn't a window on his left side. Once Leonard breaks into Dodd's room, a window appears to his left.

Guillemet:

[first lines]
Leonard Shelby: [voiceover] So where are you? You're in some motel room. You just - you just wake up and you're in - in a motel room. There's the key. It feels like maybe it's just the first time you've been there, but perhaps you've been there for a week, three months. It's - it's kind of hard to say. I don't - I don't know. It's just an anonymous room.

Movie Connections:

Referenced in Proinhibition (2004)

Soundtrack:

Motherlode

can't believe how much I'm still thinking the day after

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.