Yes, this review is written backwards. Start from the end and work your way back, paragraph-by-paragraph. Seriously, if I get one more email asking me to clarify this, I'll bust a nut.

It's ironic that a film about short-term memory loss should be so completely unforgettable. "Memento" is as perfect as cinema is going to get for the foreseeable future, an intricate puzzle that's plotted, edited and acted to perfection, resulting in a film that is, on its own terms, flawless. "Memento" is possibly one of the best films never to triumph at the Oscars and, perhaps, all the better for it. See it and fall in love.

Then again, since when have we needed the academies permission to declare a film as ‘classic’? Maybe it’s best that they didn’t get their claws into it, lest it became a victim of over-expectation, with millions of Adam Sandler fans emerging from auditoriums scratching their heads, before heading off for another showing of “Little Nicky”. Nolan’s work is probably best left to those of us who believe sophistication is more than a stifled fart.

But what do they know? They’d rather pamper the likes of James Cameron and Julia Roberts; people who have helped line their pockets and wave the good old Americana flag. If “Memento” doesn’t rank higher than the likes of “Gladiator”, “Titanic” or – jesus – “Pearl Harbour”, I’ll happily glue my eyelids to a filing cabinet.

To be honest, there’s so much to gush over in “Memento” that a simple review cannot do it justice. You must see it, in the same way that you must breathe in order to live. Of course, it never stood a chance at the Oscars. The academy would never allow such a daring and honest film to blotch its “good-old-family-entertainment” rule, in the same way “Citizen Kane” was denied the haul of awards it so blatantly deserved.

You’d think with such a maze-like premise, “Memento” would completely lose its audience come the halfway point. But no. Every single attention to detail, every meeting, every tattoo, every scribbled note are brilliantly explained, and the manner in which Nolan begins every scene – with a huge question mark – and yet still manages to allow his tale to unravel in such a crystal clear manner is a clear warning to the Tarantino’s of this world. Hell, even Hitchcock should be rolling with worry in his grave.

Its aforementioned backwards-cycle scenes, that’s what. More than a simple gimmick (unlike this review), this brave idea helps inspire shocks never seen in a film before. The script, far from being a simple revenge mission, actually holds it’s major curve balls very early on. It’s just that we don’t get to see them until the very, very end. And when these revelations arrive – which thankfully, manage to avoid falling into the M. Night Shaylaman trap of being completely and utterly incomprehensible -, and the truth finally begins to become apparent, the levels of adrenalin overflow like the proverbial magic porridge pot.

So, great direction, great idea, great cast. What could possibly push “Memento” to the realms of absolute perfection?

All very clever. But what’s an inspired story without a stellar cast? Up the creek, that’s where, which is why the acting trio of Pearce (surely a superstar in the making), Moss (proving exactly how to avoid becoming typecast after her role in “The Matrix”, with a magnificent performance as the mysterious Natalie), and Pantoliano as the best friend who’s real identity is not understood until the final reel give it all they’ve got with performances of astonishing commitment.

Here’s an indication of how clever Nolan plays his hand: one scene begins with protagonist Leonard running down a straight, wondering what he’s doing. Glancing to his left, he sees another man sprinting. Figuring that he must be chasing him, Leonard heads towards this mystery fellow, only to realise – once a gun is pulled on him – that he’s the one being chased. Mouth-watering? Oh, you haven’t scratched the surface of the intelligence on show.

Of course, everyone will know “Memento” ‘s major selling point, the fact that it begins at the end and plays back, scene by scene to the very beginning. What these people won’t know however, is rather than resting on it’s own laurels “Momento” delivers a film of such intensity, such intrigue, and of such goddamn high-quality that no word of mouth could ever do this absolute classic any justice whatsoever.

He is helped, possibly, by apparent friends Natalie (Carrie-Anne Moss) and Teddy (Joe Pantoliano), whose motives remain shrouded in mystery, particularly for Leonard, to whom they are almost strangers each time they meet.

Reduced to relying on Polaroid photographs and notes both written on paper and, if important, in the form of elaborate tattoos on his body, he embarks on a mission to find, and execute, his wife’s killers.

Taking the form of a fractured, backwards-written narrative, “Memento” centres round Leonard Shelby (Guy Pearce), an ex-insurance investigator who, after he attempts unsuccessfully to prevent the rape and murder of his wife, sustains a head injury, which costs him his short-term memory.

The Holy Grail, the missing pages of the Necronomicon, an intelligent Dubya comment… all enigmas of our time. Now to that list can be added “Momento”, Christopher Nolan’s undiscovered (award-wise), dazzling, chokehold compelling, utterly unique second movie. Not since John Doe’s dishing of poetic justice in “Se7en” has a movie had the balls to carry on it’s convictions and deliver a story of truly awe inspiring proportions.


Recommended:
Yes

Viewing Format: VHS
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children Age 13 and Older