1 thought on “Memento (2000)

  1. Before I start, don’t get me wrong, I love this film. There is no doubt in my mind that Nolan is a genius that has yet to make anything less than spectacular. What I would like to say, is that I have detected a few gross errors by the author of this article.

    First, one need not specify the fact that a film is “American film noir”. The film noir style is typically synonymous with American films, and should only be designated by country if it comes from anywhere but the United States. Even though the style has its root in the German expressionist films of the 1920’s and 30’s, film noir is distinctly American.

    Second, just because a film contains black-and-white cinematography and a “taught and tense plot” does not make it a film noir. The film noir canon of films are characterized with two major identifying marks: the use of offset camera angles and the unique chiaroscuro shading. Thus, a film noir is less of a genre and more of a style of filmaking.

    Finally, the grossest miscalculation of the entire article is to call this film a film noir at all. In fact, if you check your film history, film noir is only represented by a select few films of the 1940’s and 50’s. After those years, historians confirm that there is no new material within film noir. Everything past “Touch of Evil” in 1958 is farmed out to genres such as psychological thrillers, crime thrillers and dark melodramas. The closest one can hope to achieving a film noir from the 1960’s to the present is to be designated as a neo-noir. That is where Nolan’s “Memento” resides, along with other films like “Blade Runner” or “L.A. Confidential”.

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