T.G321
Memento (2000, Christopher Nolan, US)
The first two minutes of this neo-noir-psychological thriller include a single close-up of a polaroid photograph, depicting a dead man, which lasts for over a minute. Even so, the sequence manages to create enough enigma to engage viewers, and encourage them to continue watching, at the same time as giving time to ponder the aforesaid enigma. The point-of-view shot helps to construct the importance of the polaroid, by linking it on a deeply sentimental level to the main character.
The polaroid is shown developing in reverse, from a clear image to white. Viewers are expected to realise that the shot is reversed, therefore setting up the repeated theme of a reversed narrative in the viewers' minds. The next few shots continue the idea of reversal, and an increase in editing pace builds up to a climax, in which Leonard, the main character, is shown shooting the man, but in reverse.
As more clues are introduced to the viewer, the identity of Leonard's character is constructed. The focus of the first two shots is Leonard taking the photograph. This in itself creates an equivocality; some viewers may interpret this as Leonard being controlled by a superior force, such as an employer, whereas some viewers will interpret Leonard's photography as an intimation towards a psychological issue. The latter introduces the potential for greater enigma, concerning what actions he will take, what the consequences of those actions will be, and how he will be dealt with, either by an external authority, or by himself.
The disclosure of the main character's appearance gives the audience an early intimation towards understanding the film's syuzhet, and therefore its fabula.
The font used throughout the sequence contains serifs, which create a sense of outdated formality. This choice could either be due to a trend of the time in which the film was produced, or to a reference to Leonard's personality, and way of thinking.
The first shot of Leonard's face is a low-angle, connoting power, although this contrasts with the mise-en-scène, as he has significant scarring on his face. Interestingly, these scars are stereotypical of an antagonist, whereas he is later portrayed as the protagonist.
The motif of disorientating the audience is explicitly shown through short shots of blood and a bullet, which foreshadow the man's death. The shot of blood flowing up a wall consolidates the perplexity of the viewer's sense of reality, via both the erratic nature of the reversing effect, and the esoteric mise-en-scène.
A worm's-eye view of the man's glasses is shown, which continues to foreshadow his death. The low-key lighting works with the slightly lurid blood splatters in the background, to amplify the calamitous complexion of the scene.
In some cases, the reversal of the shots suggest that Leonard may have supernatural powers, i.e. when the gun appears to fly into his hand. Whilst this may only be symbolism, it provokes a feeling that his psychological issues are not entirely negative.
The non-diegetic orchestral music playing over the text contemporaneously stimulates feelings of sorrow and calm, but also a predominant sense of determination. To some degree, this emulates Leonard's personality.
The diegetic soundtrack consists of the selective sound of the photograph being shaken, and then the camera. Further selective sound is present when the gun "flies" into Leonard's hand, and when the bullet and glasses move along the floor. The soundtrack itself is reversed, "before" Leonard shoots the man, in order to enhance the tension to increase the impact of the climax. A single word of dialogue is used throughout the sequence: "What?". The word is heard together with the reversed noise, milliseconds before the gun is fired, which disorientates the audience, creating a sense of confusion, parallel to that of Leonard's own mind.
As no group recorded dialogue completely successfully in the preliminary exercise, avoiding it as much as possible in the main production would be a pragmatic approach.
The opening sequence to this film has certainly provided some innovative ideas, and has affirmed that some concepts can be used successfully, such as a single prolonged shot, and using minimal dialogue.
Including "time-travel" and reversed shots in our own production has the very significant potential to disorientate the audience to the extent that the enigma overruns the understandability of the narrative.