"Memento" is the ultimate puzzle box film, a dive into a mind where the narrator is not only untrustworthy, but he may be completely mentally unstable. Nine years out, it is still Christopher Nolan's masterpiece, far and above "Insomnia" or "The Dark Knight" and "Batman Begins."
Guy Pearce ("L.A. Confidential") stars as Leonard Shelby, a former insurance investigator who was attacked in his home some years ago and as a result of a head injury, cannot form new memories. His whole life relies on Polaroid photos, scribbled notes, the testament of others, and tattoos that cover his body. Leonard is out to find the killers of his wife, murdered in that same attack. Or so we are told.
Nolan and his brother Jonathan, who wrote the film, tell their story backward - with an alternating forward motion in black and white -- so that we are as off balance as Leonard. Every next scene is the actual previous scene. Mark Boone Junior, Carrie-Anne Moss and Joe Pantoliano play the regulars in his life, all not to be trusted.
The beauty of this film, besides Pearce's mesmerizing, should-of-have-been-a-star performance, is how Nolan toys with the viewer's mind. And our morality. Does memory make a person, or does a person make their memories? How reliant are those memories? A brilliant twisting film that demands multiple viewings, "Memento" may be my favorite film of the decade. It can be watched a 100 times and remain fresh. A+
How's this for a mind-melting film? "Memento" was remade as an India Bollywood musical laced with noir, revenge film, mystery, slapstick comedy, romantic comedy, music, martial arts epic, college-romp girl mystery, rags-to-riches journey and western showdown. The result: "Ghanjini" -- written and directed by A.R. Murugadoss, with Aamir Khan as Sanjay Singhania, a rich CEO in the place of Guy Pearce's investigator.
Asin is the dead lover for whom Sanjay seeks vengeance. The backbone of the film is the same: A man, attacked by goons, cannot form memories, but nonetheless seeks revenge for his murdered beloved. But this film throws in every genre and is, by God, the most kinetic, insane, over-the-top, go-for-broke film I've seen in ages.
It isn't great, though: It's way overlong at three hours and has cheesy music that would make Menudo blush. But the absolute love, joy, thrills and action -- the heart -- of this film is undeniable. Khan is amazing as the romantic, determined business man and bumbling hero/singer turned muscle-bound mad man with whoop butt skills that would turn Ahnuld, Bruce and Sly all melt into jelly.
I can't help but like it, flaws and all. If only half the American films had this much energy. For sheer nutty joy. B+
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