Wednesday, March 21, 2012


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Memento is known for its unique style. Its opening sequence effectively sets the tone of the story, introduces its main character, and uses vivid cinematography to catch the viewer¡¦s attention.

The film begins with a close-up shot of a hand, the hand of a strong, robust man, holding a picture. The picture is a high-angle shot of a wall, stained in bright red blood. The duration of the first shot is the longest of the opening sequence, but it contains no camera movement. While the camera stays in place, the hand moves from a slight wave to a violent shake of the picture. Gradually, the bright colours on the picture begin to dim and separate out, until it finally disappears, leaving behind a pale beige piece of Polaroid film. The shot is point-of-view and the lens is normal since the picture is viewed from the perspective of the man. The focus is shallow, as the background is very blurry. Particularly effective in this shot is the lighting; the lighting employed is side lighting, directed from the hand to the picture in the hand. This type of lighting successfully draws attention to the picture, making it especially stand out. This beginning shot is extremely effectual as it raises the viewer¡¦s curiosity what is the picture and why is the color fading instead of growing darker like all Polaroid films?

The background music carries over to the next shot, which is another close-up shot. This time, however, the camera moves along with the action of the hand, in a mixture of crane and tracking shots. The frame follows the man as he takes the film, puts it in a Polaroid camera, and takes a picture. With the flashing of the Polaroid, the frame moves up, and we see the man¡¦s face for the first time. He has very pleasant features light brown hair, dark eyebrows, straight nose, symmetrical features, and slight moustache. The expression on the face, however, is quite different; he looks anxious, worried, even a little frightened by what he sees. There are scars on his left cheek and sweat running down his face. The camera then quickly moves down to the man¡¦s hands again, as we see the man nervously put the Polaroid camera in his pants pocket. The camera then moves back up to his face; with the help of lighting, it focuses on his eyes, staring blankly straight ahead. More questions are raised by this shot who is this man? What picture is he taking? By this point, the viewer is already attracted to the story, eager to find out more.

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