THIS POST CONTAINS LARGE AMOUNTS OF SPOILERS FOR CHRISTOPHER NOLAN’S ‘MEMENTO’. This film explores the idea of telling a narrative in a disjointed manner, and is certainly worth a watch for any fan of psychological thrillers. For this reason — if you do not wish to have major plot points of the film spoiled, then please stop reading this post now. Consider this a warning.

Christopher Nolan creates mind[expletive]s.

One of my all-time favourite films to talk about is Memento. This psychological thriller follows Leonard (Guy Pearce) as he aims to track down the man responsible for killing his wife during a botched break-in. The only problem? Leonard cannot create new memories due to a brain condition (anterograde amnesia) stemming from a head injury sustained during the break-in.

What makes this story so compelling – other than some of the incredible plot twists throughout – is Nolan’s structuring of the film. There are two sets of story — one in black-and-white of Leonard in a motel room making a phone call, the other in colour. The film see-saws between the two; first colour, then black and white. However, we quickly learn that while the black-and-white scenes are playing chronologically, the colour scenes are shown in reverse order – with each scene ending where the one that came before it picks up. A visual representation of this structure is best laid out on the film’s Wikipedia page.

 

This structure creates two very different ways of viewing the narrative.

 

SUJET NARRATIVE – Likely story arcs given presented structure of events

Note — this structure does not follow the classic representation of setup, conflict, resolution. Instead we seem to have resolution, twist, realisation.

Act 1

Leonard murders Teddy, believing he cannot trust him.

In black and white, we learn of Leonard’s condition.

 

Act 2

The viewers learn that it was Leonard who caused Natalie’s injuries — not Dodd as she led him to believe. Furthermore, we begin to realise Natalie is using Leonard’s condition to her advantage.

In black and white; we begin to learn of “Sammy Jankis” – a client of Leonard’s insurance company who had the same condition as Leonard, long before the accident.

Act 3

Teddy reveals that he found “Jimmy G” — the guy that Leonard is looking for. Jimmy G is also Natalie’s lover — hence her initial hostilities towards him and her wish for Leonard to kill Teddy. Teddy then reveals that Leonard found the John/Jimmy G who broke into his home years ago — but he cannot remember it — and so Teddy (who is an undercover cop) continues to track down drug dealers who fit Leonard’s criteria in order to have Leonard kill them and Teddy claim the cash from the dealer’s cars for Leonard’s efforts. Leonard leaves, musing about whether he can let himself forget what he has just learned. He finishes “You said you’re a John G. Maybe you can be my John G”

 

 

 

 

FABULA NARRATIVE – Acts given chronological structure of events

Act 1

The entire black and white sequence plays out. Leonard talks about his condition, Sammy Jankis, and how he keeps tattoos and photographs as ways to remember things about his life.

 

 

Act 2

The film switches into colour as Teddy and Leonard kill Jimmy G, and Teddy reveals his deceit to Leonard. He also tells Leonard that Leonard’s wife survived the break-in attack, and that the Sammy Jankis story was actually about what happened to Leonard — he just couldn’t live with the guilt of killing his wife via insulin overdose. Leonard leaves in Jimmy’s clothes and car, after writing “DON’T BELIEVE HIS LIES” on the photo of Teddy.

 

 

Act 3

Leonard returns to the drug den with Teddy — this time killing him under Natalie’s suggestion.

While I may have just outlined the entire film — Memento is still an incredible watch to see the Sujet v Fabula split in action. It’s a very interesting, ambitious approach to narrative — which is why I feel it such a fantastic film; because it is so unique.