He has her try to re-create the scene from the night he and his wife were attacked. He discharges her and drives to a trashy construction site, where he ruminates about his marriage and burns some of his wife's belongings.
He stays there all night. As he leaves the construction site in the morning, Jimmy's car is spotted by Dodd -- a drug dealer who was Jimmy's boss. Wanting to know what's become of Jimmy -- and the money he was carrying -- Dodd gives chase. Leonard slips away and goes to Dodd's motel room -- Natalie had given him the address -- and waits for Dodd to arrive.
But he forgets where he is and why, assuming it's his own motel room. When Dodd shows up, Leonard mistakes him for an intruder and beats him up and tosses him in a closet. Desperate, he calls the only phone number he can find -- Teddy's. Teddy comes over and together they send Dodd packing. Teddy again makes efforts to get access to the keys to Jimmy's car. Knowing from his notes that his run-in with Dodd had something to do with Natalie, the agitated Leonard goes back to her place, demanding an explanation.
She placates him, agrees to help him identify the owner of the license-plate number on his thigh and takes him to bed. The next morning, they agree to meet for lunch, after Natalie has had a chance to look up the license number.
Leonard forgets to take his motel key and leaves, but Teddy is waiting for him. They go have lunch, after which Leonard returns to the Discount Inn. Realizing he doesn't have a key, he asks Burt to let him in. Burt takes him to room 21 instead of room , and Leonard realizes he's being ripped off.
But before Leonard returns to , he finds his note about having lunch with Natalie and dashes off to see what info she has for him. After some banter, Natalie gives him the DMV information, fingering Teddy as the killer -- just as Leonard had planned. He goes back to his room and calls Teddy, telling him to come right over. At the front desk he tells Burt to let him know if Teddy shows up, but Teddy gets there while they're talking. Leonard drives Teddy out to the same location where he killed Jimmy -- having gotten the address from Natalie -- takes him inside the building and shoots him.
It's the same shooting that we saw in reverse during the opening credits. On this level, "Memento" is a persuasive piece of work -- a seemingly straightforward murder mystery that ends up turning the genre inside out. But what has seized the attention of its fans is yet another level of meaning that Nolan seems to be working on. Throughout, the film features visual hints -- some so brief as to verge on the subliminal -- that call everything else in the film into question.
For one, as Leonard narrates the conclusion of the Sammy Jankis story, we see a serene, extended shot of poor Sammy in an insane asylum. A figure walks across the front of the camera -- and suddenly, for literally a split second of screen time, we see Leonard himself in Sammy's chair.
Similarly, as Teddy berates Leonard at the abandoned building, we see shots of Leonard himself administering insulin to his wife's thigh. But a split second later, we see him merely pinching that same thigh -- a "memory" that we have seen before.
These scenes call into question the film's back story -- everything that happens "before" the black-and-white scenes. No matter how jumbled the movie's chronology is, everything I've described in the narrative above is stuff that we in the audience actually see. It may be confusing, and we have good reason to doubt that anyone is ever telling the truth, but we see what we see. We have no reason to doubt the accuracy of what transpires.
But the back story is presented to us in flashbacks, flashbacks from the memory of a man with brain damage. We are told by Leonard -- who, remember, is a less-than-reliable, brain-damaged source of neurological information -- that, in his form of amnesia, his recall of his previous life is left intact.
Even if we accept that, there's no reason to believe that "intact" is the same thing as "accurate. Presumably the missing pages would have included the information that Leonard's wife didn't die in the original attack. But who took the pages? And why? But if what Teddy says about Leonard is true, and if Leonard can remember fully his life before the attacks, why doesn't Leonard remember his wife had diabetes? He says flatly that she didn't. If she didn't, then Teddy's not telling the truth.
And what's the thematic point of the Sammy story in the first place? Is it a hint that Leonard's condition may not be real?
As Leonard tells the tale, the crucial point is whether Sammy had suffered physical brain damage or if his affliction was somehow psychological.
Are the confusing final scenes just evidence of Leonard's brain synapses misfiring as he sits in the asylum? On the other hand, what's the point of a good movie about memory if you don't leave a few things up for grabs? As Leonard himself tells Teddy fairly early on, "Memory's unreliable Memory's not perfect. It's not even that good. Ask the police; eyewitness testimony is unreliable Memory can change the shape of a room or the color of a car. Ask Question.
Asked 8 years, 1 month ago. Active 4 years, 8 months ago. Viewed 20k times. Eventually he reveals a tattoo on his arm that says "never answer the phone". Is the person he is talking to revealed? Improve this question. Travis Travis 11k 29 29 gold badges 67 67 silver badges bronze badges. I wanna say Teddy, but I haven't seen it in a while nor do I have anything concrete to go off of. TylerShads i also thought the same but my memory is blurred.
AnkitSharma That's the point, your memory is as blurred as that of Leonard , and that's what the movie wants to achieve. Add a comment. Active Oldest Votes. Improve this answer. I am afraid that I can't add more than what is already explained in IMDB FAQ : In some cases it is clear that Leonard is talking to the front desk and at least one time it is Burt since Leonard says "Burt" as if the man on the phone indicated his name. It's a story about a man who has a similar mental condition but spoiler alert: It's actual a story about Leonard himself.
Instead of telling it over and over, perhaps it's a video story from YouTube he plays for everyone, like the one above. In the film, Leonard uses tattoos to remind him of necessary info about himself and his mission. In , he'd probably use what I use to remind myself about things like rent or doctor's appointments — cell phone alarms and calendar alerts. He could set them to repeat as often as he needs — no needles needed. Here's a given: Instead of Polaroids, Leonard would have a cell phone filled with photos and videos of the people he's met and new evidence.
In the film, Leonard often consults a police file, which could now be on a cloud, so he could access it anywhere. One day, a woman who calls herself Rita — who has amnesia and has just survived a car accident —takes refuge in Betty's house.
Betty befriends her and tries to help her piece together her identity. The two uncover various clues, including Rita's memory of a woman called Diane Selwyn who the two are unable to contact. They become lovers.
Rita uses a blue key she found in her purse to unlock a blue box that Betty finds in hers. The twist: And then everything changes.
The previous narrative was a dream of failed actress Diane Selwyn. Selwyn cast herself as the innocent and promising young Betty, when in fact she's a failed actress suffering from depression and psychosis. Rita is actually a more successful actress called Camilla; Diane was having an affair with her, but that's now ended. Diane has taken out a hit on Camilla, and when she receives a sign from the hit man that Camilla is dead a blue key , Diane shoots herself.
Christian Bale plays Patrick Bateman, a psychotic investment banker obsessed with his appearance, his music collection and his business cards. Bateman begins his murderous spree by offing a homeless guy, then follows up by killing his co-worker Paul, and making it look like he's gone to London. His killings escalate — including friends, prostitutes, cops, a security guard and a janitor.
Despite the fact that he later confesses to his lawyer's answerphone , Bateman never gets punished for his crimes. The twist: When Bateman returns to his colleague Paul's flat expecting it to be a crime scene, it's actually empty and for sale. Bateman then confesses his crimes to his lawyer, but his lawyer assumes it's a joke and tells Bateman he had lunch with Paul in London the week before.
In the movie version, it's not entirely clear what's meant to have happened — has Patrick just escaped the punishment he deserves? In the book, it's all a little more ambiguous because Bateman is an unreliable narrator. There's every suggestion he's fantasising or even hallucinating the killings. Related: Movies that made up their own time travel rules.
Richard Kelly's cult debut is one of the most willfully confusing and ambiguous movies around, and to be able to satisfactorily explain every element would take more brain space than we have.
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