Memeno Shower Scene
Editing, Transitions, and Their Effect
The scene starts with the closeup of the identifiable memento of a liquor bottle. Given the movie’s non-linear plot, the montage has to link the crucial props to the events that happened beforehand. The closeup of a bottle, as an application of Hitchcock’s rule, symbolizes the previous scene that the audience will later link together (Memento 46:05-46:09). This editing technique highlights the importance of the object within the story to support its storytelling. The remainder of the sequence showcases the continuity editing approach. The cutaway transitions are used predominantly to convey the fast pacing, linearity, and inner monologue that are present in other parts of the movie that communicate the second parallel storyline.
Rhythm, Tempo, Pacing, and Time of the Scene
Within the shower scene, the editing is practiced for both time contraction and its expansion. The first half of the sequence between 46:05-48:46 contracts time and communicates fast pacing and tempo (Memento). Since an intruder attacks the character, the pacing indicates the quick and hectic passing of time, and the abundance of jump cuts convey that from the character’s viewpoint, the fight happened rapidly.
However, the second segment of the scene indicates a long period and creates suspense and tension. The montage in the fragment between 48:46-48:57 shows the character waiting for the call back nervously and longingly as the aftermath of the confrontation (Memento). The shot portrays Leonard in the same position, making repetitive motions, that hint at the fact that time is passing mindlessly.
Continuity Editing
Furthermore, the scene is edited continuously to show what precisely happened with no flashbacks or alterations. The movie mainly consists of two storylines: the first one of the present moments in a non-linear way and the second one involving the flashbacks portrayed in black and white. Similar to other current plot segments of the movie, the scene is presented as a linear part of a scattered narrative. Continuous editing is used for clarity in a specific portion. Given the sophisticated storytelling of the movie as a whole, more discontinuity montage within small sections of the film would confuse the audience.
Sound Editing
Cutaway transitions are primarily used in the scene to communicate the linearity of the narrative. The sound editing, in its turn, is utilized to display the fight convincingly. At the start of the scene, there is a voiceover of the main character to disclose his thought process (Memento 46:05-46:09). However, the remainder of the scene does not involve any inner monologue. For instance, the sound effects of the struggle and fighting are dominant (Memento 47:03). Once the confrontation is over, the sound effects circle back to the main character’s thought process and his phone conversation.
Metric Montage
Metric montage is apparent in the scene and is employed to show the events continuously, with little emotional context. As metric montage is one of the most commonly used for actions like dialogues and chases, it fits the context of the fight and its aftermath. Although the montage showcases the linear narrative, it also adds intellectual and emotional undertones due to its sound effects.
Sammy Jenkis’ final test
Editing, Transitions, and Their Effect
The dominant montage technique in the scene is the discontinuity editing to exhibit the flashback. To achieve the effect of going back in time, the transitions of cutaway and direct cut from the main character to his fictional narrative are applied multiple times (Memento 1:27:08, 1:29:32). Another method is cut-in and closeups of the essential pieces of information like the images of the insulin bottle, the needles, and the process of doing the shot that is essential to the context.
Rhythm, Tempo, Pacing, and Time of the Scene
As the scene involves reliving the memory, the editing is utilized to contract time. However, time manipulations also take place by quite literally reversing the hour hand by 15 minutes to hide the action from Sammy, like it never happened (Memento 1:27:46). This technique is employed to convey the psychological time that characters experience. The rhythm is progressive, while the tempo and pacing are expeditious to distort, yet effectively display the narrative.
Discontinuity Editing
As opposed to the previous scene discussed, however, the editing in Sammy Jenkis’ final test scene is discontinuous since it represents the second storyline. This peculiarity is apparent from the black and white setting, as well as flashbacks, or analepsis. The discontinuity editing is used throughout the sequence to portray the story that the character tells the man on the phone. The transition of cutting from the present moment to the actions that happened in the past is seen at 1:27:08 and 1:29:32 (Memento). This type of montage is needed to communicate the idea of distant time and retrospectives.
Sound Editing
As it concerns the sound editing of the scene, it involves music, the dialogue between the characters, and the monologue of the narrator, Leonard. Voiceover of the protagonist directs the story, while the ominous music signifies the obscurity of the flashback scene. Additionally, one of the sound effects is the television sound – the TV is never actually shown. Still, the audience understands what Sammy does by the distorted sound of the television in the background.
Intellectual Montage
By utilizing the black and white palate, the analepsis, and the foreshadowing, the scene displays the intellectual type of montage. Firstly, the color choice indicates the second storyline, as well as the emotional context. Secondly, what makes the sequence intelligent in the montage is the foreshadowing, as seen in 1:30:02 when the character of Sammy is replaced by Leonard, the protagonist (Memento). The creative edit of replacing the characters for brief seconds gives hints to the audience and demonstrates the resolution of the movie.
References
Memento. Directed by Nolan, Christopher, performance by Guy Pearce. Newmarket Films, 2000.