Memento Research Investigation: Narrative

Cause and effect plays a huge role in the film Memento but as the film can be described as non-linear, the audience already experience the effect before finding out what the cause is. Because of this, the film can be seen as both unusual and complicated at times, not to be watched halfhearted. Also, even though the narrative structure of the film is unconventional there are still aspects to it which are very conventional for films, such as action and enigma codes. 

"A plot's withholding of effects is perhaps most disruptive at the end of a film." 

(Thomson/Boardwell, Film Art: An Introduction, p79)

Even though the audience experiences the end of the film at the very start, Nolan still uses a variety of enigma codes which provoke questions. It could even be said that the unusual narrative structure of the film is an enigma code in itself as it forces the audience to be confused and want to understand the film further. Through the use of the black and white scenes the audience receive the huge enigma code of 'Who is on the phone?' It can also be said that the cut away scenes are also action codes because with every scene we learn new information about both Leonard and Sammy, therefore developing the narrative and driving us closer to the parallel narrative in colour. As Nolan keeps the identity of the person on the phone secret until 18 minutes to the end of the film, the mystery builds up to an extent. This is also accentuated in the black and white scene where Leonard is on the phone to the mystery person and he peels off the baggage from his arm and it reveals a tattoo that says 'NEVER ANSWER THE PHONE'. 

Memento relies on characters developing the narrative through their different reactions to situations, but due to the unusualness of the movie, the audience experience it in a different way. As the colour part of the movie is played backwards, the audience experience the effect of an event before learning how the characters triggered it. This is intriguing because it causes enigma codes which aren't answered until further along in the film, but in actuality they've already happened in the narratives time and space reality. An example of this is with Leonard's broken window on the drivers side in his Jaguar. It is first acknowledged by Teddy, in the 5th colour scene but it doesn't happen until the 11th colour scene. Even though it doesn't really effect the narrative too much it's a little detail which audiences can feel gratified with after they find out. 

"By triggering and reacting to events, characters play roles within film's formal system."

(Thomson/Bordwell, Film Art: An Introduction, p75)

As Leonard is our main protagonist it can be said that he develops the narrative the most as he is in every single scene within the whole film. But as people such as Natalie and Teddy use his condition to their advantages and manipulate him into doing things it can be said that they develop the narrative the most as they trigger new events. An example of this is Natalie using Leonard to abduct and ultimately kill Dodd without him understanding why. In the scene where the the audience finally learn that Natalie isn't just helping Leonard because 'she has lost someone as well' but because she needs him to protect her from Dodd is an eye opener for the audience because our feelings about Natalie are completely changed and she becomes a more manipulative and sinister character. By Natalie choosing to use Leonard's condition to her advantage she creates a separate storyline in which develops the narrative. 

In Memento, Nolan very cleverly uses the audiences expectations of an event or person to make a statement and ultimately turn their idea of it on it's head. Through the use of the backwards narrative he can easily establish a character or storyline in which the audience just accept but as the narrative develops, what the audience believe is true may not be.