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3 - Puzzle Films, Ambiguity and Technologically-enabled Narrative

Published online by Cambridge University Press:  05 August 2013

Claire Molloy
Affiliation:
Liverpool John Moores University
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Summary

One day I drank too much coffee and said to myself, ‘Well, if you tell the story backwards, then the audience is put in the same position as Leonard. He doesn't know what just happened, but neither do we.’

Christopher Nolan

In the first two months of its limited release, repeat theatrical viewings accounted for 20 per cent of Memento's $7 million box office between March and May 2001. The complex narrative was a crucial aspect of the film's success which drew cinemagoers back to theatres for multiple viewings and, in doing so, contributed substantially to making Memento the top grossing independent film and limited release of the year. Memento continued to enjoy a lucrative post-theatrical life on DVD as viewers remained intrigued by the film's innovative narrative as well as having the promise of extra features which included a chronological version of the film, hidden as an ‘Easter egg’, as a further enticement to purchase. Christopher Nolan always intended Memento to be a film that would encourage repeat viewings, remarking in one interview: ‘if you can make a film that actually does something different the second time you see it; to me that's a fascinating thing.’ Any suggestion that the film would repay multiple viewings with definitive answers though was implicitly denied by the actors and director.

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Memento , pp. 45 - 85
Publisher: Edinburgh University Press
Print publication year: 2010

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