Un hombre con pérdida de memoria a corto plazo intenta encontrar al asesino de su esposa.Un hombre con pérdida de memoria a corto plazo intenta encontrar al asesino de su esposa.Un hombre con pérdida de memoria a corto plazo intenta encontrar al asesino de su esposa.
- Nominado para 2 premios Óscar
- 57 premios y 59 nominaciones en total
Doshia Darmane
- Motel Guest
- (sin acreditar)
Stephanie Searson
- Jimmy's Daughter
- (sin acreditar)
Buzz Visconti
- Motel Guest
- (sin acreditar)
Argumento
¿Sabías que...?
- CuriosidadesEASTER EGG: The Limited Edition DVD (and the standard Region 2 edition) allows the movie to be watched in the exact chronological order of the events in the film. The first couple of scenes of the regular cut of the movie appear normal in this version, meaning they are not reversed. However, this version of the movie on Disc 2 is quite difficult to reach (the user must answer several questions and solve a puzzle), and forward, reverse, and chapter skip capabilities are disabled.
- PifiasWhen Natalie shows Leonard the picture of herself with Jimmy, she is smiling (in addition to Jimmy having a mustache). Later, when he gets out of bed and views it again, she is no longer smiling, and Jimmy's mustache is gone. Finally, in the close-up of Leonard writing the note on the back of the Polaroid he took of her, the picture has reverted to its original state. This is probably deliberate to make us feel we have Leonard's condition.
- Citas
Leonard Shelby: [running] OK, so what am I doing?
[sees Dodd also running]
Leonard Shelby: Oh, I'm chasing this guy.
[Dodd shoots at Leonard]
Leonard Shelby: No... he's chasing me.
- Versiones alternativasThe Region 2 DVD contains the original movie, and the re-edited "Chronological" movie as a hidden extra within the special features menu. This can be found by pressing "enter/select" on your remote, just as the menu is about to loop back to the beginning of the menu.
- ConexionesEdited into 5 Second Movies: Memento (2008)
- Banda sonoraSomething in the Air
(1999)
Music by David Bowie and Reeves Gabrels
Lyrics by David Bowie
Performed by David Bowie
Courtesy of RZO Music, Inc./Virgin Records America, Inc.
Reseña destacada
If I told you the entire plot of this film it really wouldn't matter as it is an exquisite paean to the subjectivity of memory and therefore is in itself ambiguous; the truth' of it is up to you. You come out of the cinema questioning yourself, your memories, your truths. Nothing in this film is as it seems, and yet paradoxically everything is as it seems. We see everything through Guy Pearce's characters' (Lenny) eyes, unfortunately he has no short-term memory so cannot form new memories. He would have already forgotten the first sentence of this review. He lives in snapshots of life; his only form of memory is his Polaroid camera, just like in the excellent German film Wintersleepers; also (partly) about a short-term memory disorder.
In this film Lenny takes snapshots to remember who people are, where he now lives, his car, everything. As you can imagine this is perfect for paranoia, suspicion, uncertainty, confusion, and betrayal. And that's exactly what you get in extreme doses. The difference between this film and Wintersleepers however is that Memento is entirely from Lenny's perspective. This therefore creates an imaginative, creatively unsurpassable film. The film begins where it should end, so far so trite, but here's the beauty, we, like Guy Pearce, learn in fragments what's going on. It is therefore perfect for those who love to second guess what's going to happen, who did what, who's doing what and why. The beauty of this film though is that my interpretation could be so different from yours, and neither of us could be sure whose interpretation is the right one; if there is a right one at all. Nothing is certain, nothing is clear. Another beauty of this film is the way it is filmed and edited. Pieces are shown a number of times with no real linear link between them, just like it would be if we ourselves had a memory disorder, and then they are cut up and edited next to things that happen either before or after it. It's just like holding ten different and linearly distinct Polaroids in your hand and having a short-term memory disorder. Excellent.
I'm not even sure if watching it again will make things any less ambiguous, but then who cares? The ambiguity is what makes this a great film, if it wasn't so cut up, or from Lenny's perspective it would be both very short and trite; and lacking in tension, suspense and interest. But as it stands it has all three, isn't trite and says so much about humanity. Oh, and the plot? It really doesn't matter, all you need to know is that everything about this film is indicative of the subjectivity of memory, of our experiences and interpretations of all that happens to us. Nothing will seem as black and white as it did beforehand. It will make you question every memory you have, almost as much as possessing a psychology degree, as I do! So, go and see it: be confused, acknowledge the frailty of all you know to be true, and then imagine the freedom of actually being Lenny, and then the horror of having nothing, nothing but the reliance of a pen and a Polaroid camera to know who you are.
In this film Lenny takes snapshots to remember who people are, where he now lives, his car, everything. As you can imagine this is perfect for paranoia, suspicion, uncertainty, confusion, and betrayal. And that's exactly what you get in extreme doses. The difference between this film and Wintersleepers however is that Memento is entirely from Lenny's perspective. This therefore creates an imaginative, creatively unsurpassable film. The film begins where it should end, so far so trite, but here's the beauty, we, like Guy Pearce, learn in fragments what's going on. It is therefore perfect for those who love to second guess what's going to happen, who did what, who's doing what and why. The beauty of this film though is that my interpretation could be so different from yours, and neither of us could be sure whose interpretation is the right one; if there is a right one at all. Nothing is certain, nothing is clear. Another beauty of this film is the way it is filmed and edited. Pieces are shown a number of times with no real linear link between them, just like it would be if we ourselves had a memory disorder, and then they are cut up and edited next to things that happen either before or after it. It's just like holding ten different and linearly distinct Polaroids in your hand and having a short-term memory disorder. Excellent.
I'm not even sure if watching it again will make things any less ambiguous, but then who cares? The ambiguity is what makes this a great film, if it wasn't so cut up, or from Lenny's perspective it would be both very short and trite; and lacking in tension, suspense and interest. But as it stands it has all three, isn't trite and says so much about humanity. Oh, and the plot? It really doesn't matter, all you need to know is that everything about this film is indicative of the subjectivity of memory, of our experiences and interpretations of all that happens to us. Nothing will seem as black and white as it did beforehand. It will make you question every memory you have, almost as much as possessing a psychology degree, as I do! So, go and see it: be confused, acknowledge the frailty of all you know to be true, and then imagine the freedom of actually being Lenny, and then the horror of having nothing, nothing but the reliance of a pen and a Polaroid camera to know who you are.
- Pseudo-geordie boy
- 24 ene 2001
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Detalles
Taquilla
- Presupuesto
- 9.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 25.544.867 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 235.488 US$
- 18 mar 2001
- Recaudación en todo el mundo
- 40.047.236 US$
- Duración1 hora 53 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.39 : 1
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