Analysis of "Memento" Opening Sequence

"Memento" was a film written and directed by Christopher Nolan, showing in cinemas in the year 2000. 

"Memento" is a psychological thriller that sees its main protagonist, Leonard (played by Guy Pearce), struggle with a disability that renders him unable to make new memories. Up to the point of his wife's death, he can remember everything, but it was on this fateful night that he suffered a severe head injury at the hands of his wife's murderer, "John G". Driven by his need for revenge, Leonard systematically leaves a trail of breadcrumbs for his later self, noting down every clue that leads him closer to his wife's killer. Notes, pictures, tattoos, they are his guideline and saving grace in a world that seems alien everyday. His new friends however, know all too well of his condition and may have their own hidden agendas... Can Leonard stay true to his ultimate goal? Who can he trust? Will he ever find "John G"?

The following is an analysis of 'Memento's' opening sequence:

The opening sequence of "Memento" successfully establishes its narrative as something askew, something wrong; the close-up shot of the polaroid picture reveals a bloodbath and, more interestingly so, the picture after the first shake appears to be getting lighter and more undeveloped as the scene go’s on. After the third shake of the picture it is clear that the entire scene is in reverse motion presenting the greater issue of a warped flow of time in the film.

After becoming fully undeveloped, the picture is placed back into the camera (or rather, in real time, taken out of the camera) it is then that the film introduces what appears to be the main protagonist; a close-up shot rising up from just above the waist of Leonard breaks him in gently while allowing the audience to know more about his figure and type of clothing.



The indication that he wears a suit connotes to several associations the audience might have of him being a businessman or some form of upholding member of society, while the low angle, rising close-up shot of his face reveals him to be slightly unkempt and sleep deprived; the two scratches on his left cheek are indicative of some form of violence, (which is only solidifying the viewers assumptions after observing a scene of what appeared to be extreme violence in the polaroid picture), while his darkened eyes and clammy, sweaty skin suggests he has been active beyond his normal limits for an extended period of time. The high angle shot observing the scene below both places Leonard in a position of power and suggests that he might be responsible for this man's murder; microelements such as his clear fatigue and the two scratches on his face are indicative of some form of struggle shortly before this scene, perhaps a struggle in which he ended this man's life.

Overall, This serves in deliberately confusing the viewer, as such an act of violence is not characteristic of a stereotypical 'hero' or protagonist, establishing Leonard as a character driven solely by his need for revenge. (As becomes clear later on in the film)

The extreme close-up shot of the drip of blood helps to reaffirm the viewer’s grasp of this sequence being ‘backwards’. This is clear, due to the drip’s opposition in movement to gravity while also suggesting that the act of violence in question has occurred very recently as the blood has yet to settle.

The lighting of the scene is low with natural light seeping in from a nearby entrance. Leonard's immediate surroundings appear to be in a state of decay and dilapidation. Overall, these elements combine, building on the the viewers assumption that the setting the protagonist finds himself in is far from the regular environment of the everyday; Leonard is isolated, standing over the corpse of a man he's just executed.