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Memento (2000)

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A man with short-term memory loss attempts to track down his wife's murderer.

Director:

Christopher Nolan

Writers:

Christopher Nolan (screenplay), Jonathan Nolan (short story "Memento Mori")
Popularity
610 ( 24)

Director's Trademarks: The Films of Christopher Nolan

IMDb dives into the distinct trademarks of Christopher Nolan's directorial style to illustrate what The Dark Knight, Inception, and Memento have in common.

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Top Rated Movies #51 | Nominated for 2 Oscars. Another 56 wins & 55 nominations. See more awards »

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Cast

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

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. Written by Scion013

Plot Summary | Plot Synopsis

Taglines:

Some memories are best forgotten

Genres:

Mystery | Thriller

Motion Picture Rating (MPAA)

Rated R for violence, language and some drug content | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Memento | Official Facebook

Country:

USA

Language:

English

Release Date:

25 May 2001 (USA) See more »

Also Known As:

Memento See more »

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Box Office

Budget:

$9,000,000 (estimated)

Opening Weekend USA:

$235,488, 18 March 2001, Limited Release

Gross USA:

$25,544,867

Cumulative Worldwide Gross:

$39,723,096
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

Christopher Nolan wanted Peter Deming to be the film's Cinematographer, but he was unavailable, having already signed on to shoot Scream 3 (2000). See more »

Goofs

The size of the tape pulled off the roll and applied to Dodd's face. See more »

Quotes

[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.
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Alternate Versions

On the 2 Disc, Limited Edition R1 DVD, a "chronological" version can be found by going through the questionnaires on the second disc. When the question comes on screen concerning the lady with a flat tire, answer the 4-part question in reverse order (#3, then #4, #1, and #2) and the "chronological" version will play. The rewind and fast-forward features do not work while watching this version. If you put the pictures in the "correct" order, you get to read the short story the movie is based on. See more »

Connections

Featured in Hollywood's Top Ten: Sweet Revenge (2010) See more »

Soundtracks

Ipanema Dreaming
Written by Daniel May
Performed by Daniel May
Published by Revision West (BMI)
Courtesy of Marc Ferrari/MasterSource
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Frequently Asked Questions

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User Reviews

Confusion, uncertainty, and paranoia as an art form: possibly.
25 January 2001 | by Pseudo-geordie boySee all my reviews

If I told you the entire plot of this film it really wouldn't matter as it is an exquisite paean to the subjectivity of memory and therefore is in itself ambiguous; the ‘truth' of it is up to you. You come out of the cinema questioning yourself, your memories, your truths. Nothing in this film is as it seems, and yet paradoxically everything is as it seems. We see everything through Guy Pearce's characters' (Lenny) eyes, unfortunately he has no short-term memory so cannot form new memories. He would have already forgotten the first sentence of this review. He lives in snapshots of life; his only form of memory is his Polaroid camera, just like in the excellent German film Wintersleepers; also (partly) about a short-term memory disorder.

In this film Lenny takes snapshots to remember who people are, where he now lives, his car, everything. As you can imagine this is perfect for paranoia, suspicion, uncertainty, confusion, and betrayal. And that's exactly what you get in extreme doses. The difference between this film and Wintersleepers however is that Memento is entirely from Lenny's perspective. This therefore creates an imaginative, creatively unsurpassable film. The film begins where it should end, so far so trite, but here's the beauty, we, like Guy Pearce, learn in fragments what's going on. It is therefore perfect for those who love to second guess what's going to happen, who did what, who's doing what and why. The beauty of this film though is that my interpretation could be so different from yours, and neither of us could be sure whose interpretation is the right one; if there is a right one at all. Nothing is certain, nothing is clear. Another beauty of this film is the way it is filmed and edited. Pieces are shown a number of times with no real linear link between them, just like it would be if we ourselves had a memory disorder, and then they are cut up and edited next to things that happen either before or after it. It's just like holding ten different and linearly distinct Polaroids in your hand and having a short-term memory disorder. Excellent.

I'm not even sure if watching it again will make things any less ambiguous, but then who cares? The ambiguity is what makes this a great film, if it wasn't so cut up, or from Lenny's perspective it would be both very short and trite; and lacking in tension, suspense and interest. But as it stands it has all three, isn't trite and says so much about humanity. Oh, and the plot? It really doesn't matter, all you need to know is that everything about this film is indicative of the subjectivity of memory, of our experiences and interpretations of all that happens to us. Nothing will seem as black and white as it did beforehand. It will make you question every memory you have, almost as much as possessing a psychology degree, as I do! So, go and see it: be confused, acknowledge the frailty of all you know to be true, and then imagine the freedom of actually being Lenny, and then the horror of having nothing, nothing but the reliance of a pen and a Polaroid camera to know who you are.


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