Grey Singleton comes to the film for the first time, just like the others. In this case, he has no pre-existing knowledge of Nolan or Memento. He is, however, a sophisticated movie viewer with an alert mind.
Grey knows Kubrick and Malick and has read that Malick's The Thin Red Line was a primary influence on Nolan. He believes he is an ideal viewer to play the game that Nolan sets up because he can catch many of the clues, dead ends and tentative futures in the structure.
The key cinematic situations of this example focus on space as an organizing principle, because that is what Malick and Kubrick used, and which Grey understands.
The motel in particular is of interest in certain scenes with Burt (the motel clerk) as an associated or surrogate agent. Interesting facts are:
- The place (Discount Inn) is to be discounted.
- It is where Teddy placed Leonard, twice. (Also Natalie.)
- The maps Leonard makes seem significant.
- Sammy Jankis has a test 'map.'
- There is a peculiar shaped reminder on Leonard’s chest.
We therefore model some dynamics associated with Burt, the motel and location in general.
What We Have Seen
(The time markers here are when a cited scene begins.)
[02:34] (black and white) “Where am I?” is first question, so you know there is a spatial as well as a temporal disorientation. You see the key to room 21.
[02:57] (color) The motel sign is deliberately shown at [3:21], indicating this early in the game that it matters. “Discount?” Are we to discount it? Basement as related to identity, because Teddy says: “Let’s go down into the basement. Then you’ll know who you really are.”
[06:26] (black and white) Primed to think about space, we notice Leonard look out at room 304.
[07:01] (color) We might have caught the different room thing because in this scene, only seconds after Leonard looks at room 304, he leaves room 304. We learn more — pretty much all we need to for the rest of the movie — about his memory condition except for details of system. We suspect that space has something to do with the system.
[11:06] (color) We see the key to and photo of the Discount Inn.
[16:58] (color) Natalie gives key to motel room 304, and we should notice the difference from 21 now. There has to be a significance in choosing the woman from “Matrix,” which has a spatially driven narrative. She asks how the “discount” is treating him.
[22:18] (black and white) In talking about his role as an investigator — which he and we are now — he says at [22:49] that truth “is all about context.” Around now we will be wondering who is taking care of Leonard. It could be someone in the motel.
[22:56] (color) Leonard says: “Facts, not memories” which he knows because he is/was and investigator. “ [24:09] “Memory can change the shape of a room.” Burt always calls Leonard “Leonard,” the only one who does. While less manipulative, it is noticeable enough to be a cover for some sneakiness, which we discover that exists in the double renting. Here at [26:17] is where the number three example is rooted. We know Burt shuffles the spaces now. And we have to assume that space matters, and perhaps has agency, that perhaps it was Burt on the phone. Burt just says: “Leonard, always get a receipt,” a memento.