identification on Memento
... (Turbrett, 2001.p.10) In memento we are in allegiance with Leonard, mainly due to his tireless revenge driving pursuit of the rapist murderer of his wife. These ideas are probably natural and instinctive reaction for society in its majority – to avenge the rape and murder of a loved one. It is not until towards the end of the film that we genuinely question our protagonist’s integrity, however we do also to some extend in the beginning (which actually is the end of the film in chronological terms) before the narrative/ Leonard situation is made clear to us. It is probably not until Leonard’s meeting with Natalie that we get the impression that Leonard is a good guy. This is the fifth colour scene in) is the first time that we get a real insight into Leonard’s feelings, as he attempts to picture and remember his wife. The issue whether or not we aligned with Leonard’s complex one, due to the intricate nature of the films (Non –Linear) narrative. It is difficult for us to keep track of what both Leonard that we know, in our initial viewing, although for the most part we know more than what Leonard knows, but not necessary more than he’s forgot. Furthermore, with regard to beginning at the end – so to speak- we are learning the facts backwards, so again, we are never at the same point as Leonard i.e. the present (Teddy’s murder). Because the narrative is constructed/structured in this way, it is also extremely difficult to become drawn into the film, and its characters. This could be viewed as frame-breaking a term derived or taking from Erving Goffman, as it is not conforming to typical rules and conventions and has a lack of cohesion with regard to continuity and inadvertently audience involvement, insofar as the narrative structure distances us but it could be argue that the convention frame set up in the film was meant to be broken. We, the audience are frequently represented in Leonard’s b/w motel room scene, the ‘mystery caller’. Leonard is always giving us all of this information as well as the caller. Reflecting on the b/w scenes alone, in my point of view, I believed it is easier to possibly feel aligned with Leonard, especially in relation to the ‘there’ and now. We appear to know as much about the motel room and location as Leonard, those facts being just the basics. Also, we feel lost and puzzled by Leonard’s current life, as does he, because of his condition, so here we are identify with the mystery caller ‘Memento is so disturbing because it extends identification without identity. Identifying closely with a character whose identity becomes destabilized both implicates the viewer in Leonard’s madness and challenges their own sense of identity, linked throughout the film with him.’ (Turbrett, 2001,p.10) This feat is very unusual in film, however it is a partial contribution to its uniqueness and success. It is quite difficult to find an alignment with other characters as everything is told from Leonard’s point of view, although we are taken on the journey through the narrative by using Leonard point of view, his ‘condition’ makes it impossible for us to know what is real and also to connect with him, but it could be argue that the film itself point of view is identical to Leonard’s, this is because we experience things Leonard doesn’t. However, in Smith’s approach (1995, p84), and contrary to other popular theorist’ beliefs, point of view bears nothing to the extent that we can identify with certain characters. He states that point of view neither entails, nor is essential to, recognition, alignment, or allegiance.’ For a specific moment in Memento I will be looking at the final scene. In this case from the point where the final b/w scene (b/w scenes being the first actual chronological part to the film excluding flashbacks), joins with the final colour scene that is the point where Leonard is waiting for the Polaroid of a dead Jimmy Krantz to develop. In my point of view, it is not until this stage of the film that we can even begin to identify with and to understand any character, and even at this very stage in the film this is still impossible task to do after a single viewing. It is throughout this final sequence of events that bring into question Leonard’s virtue. We bear eyewitness as he chooses to not only ignore the revealing to us and Leonard and it is through words spoken by Teddy, however, he also physically counteracts them by lying. He does this by scribing ‘don’t believe his lies’ onto his picture of Teddy, and also taking down his car registration number, as that of the infamous, ‘John G’, knowing only too well that these current acts will probably lead to him murdering Teddy in the future, as he carries them out. Even though here, and arguably for the first time, we can choose to see Leonard as bad guy in this mixed up scenario, but we cant help sympathise with him, and of course, his ‘condition’. Still with the memory that he has killed, and probably more than once, Leonard mentally reassures himself:...