Leonard Shelby sucht den Mörder seiner Frau. Er hat durch einen Schlag jedoch sein Kurzzeitgedächtnis verloren, sein Gehirn kann neue Informationen nur noch für wenige Minuten speichern. Mit Hilfe von Polaroidfotos und Tätowierungen hält er alle. Memento ist ein Kriminalfilm aus dem Jahr des Regisseurs Christopher Nolan, basierend auf der Kurzgeschichte „Memento mori“ seines Bruders. Memento steht für: Memento (Totengedächtnis), Bestandteil im eucharistischen Hochgebet; zu einem früheren Zeitpunkt gekapselte Internet-Ressource, siehe. Memento reißt alte Erzählkonventionen ein. Das Ergebnis: ein Film aus Fragmenten, in dem die Grenzen zwischen Lüge und Wahrheit. Memento. + 1 Std. 48 karmr.co der Kritik gelobte Filme. Leonard Shelby hat nach einer Kopfverletzung kein Kurzzeitgedächtnis mehr. Trotzdem hat er es.
Memento ist ein Kriminalfilm aus dem Jahr des Regisseurs Christopher Nolan, basierend auf der Kurzgeschichte „Memento mori“ seines Bruders. Memento [Omu]. ()1h 53min Nach der brutalen Ermordung seiner Frau ist Leonard Shelby massiv traumatisiert und leidet am Verlust seines. Memento. + 1 Std. 48 karmr.co der Kritik gelobte Filme. Leonard Shelby hat nach einer Kopfverletzung kein Kurzzeitgedächtnis mehr. Trotzdem hat er es.
Memento VideoThe Prestige Komplette Handlung und Informationen zu Memento. Handlung von Memento Leonard (Guy Pearce) hat sein Kurzzeitgedächtnis verloren, als er seine Frau vor. Memento [dt./OV]. ()IMDb h 48minX-Ray Der Geschäftsmann Leonard Shelby hat ein Problem: Er leidet an einer seltenen, unheilbaren Form. Memento [Omu]. ()1h 53min Nach der brutalen Ermordung seiner Frau ist Leonard Shelby massiv traumatisiert und leidet am Verlust seines. Memento ein Film von Christopher Nolan mit Guy Pearce, Carrie-Anne Moss. Inhaltsangabe: Ein traumatisches Erlebnis bewirkte, dass der. Über Filme auf DVD bei Thalia ✓»Memento«und weitere DVD Filme jetzt online bestellen!
Memento Video🎥 MEMENTO (2000) - Full Movie Trailer in HD - 1080p
Why has "Memento" held on for so long in the most competitive season of the year? For one, the word of mouth has been phenomenal.
After three-something months in release, the film even entered the list of top 10 highest-grossing films last month, and it's been resting comfortably just below the top 10 ever since.
And there's no question that this is a film that encourages repeat business: That is, its puzzles are so intriguing and so impenetrable at first viewing that filmgoers are almost forced to go back for a second look if they want to figure out just what the hell was going on.
Or should that be "where the film has been"? Unlike "The Sixth Sense" and "The Usual Suspects" -- indeed, unlike almost every other celebrated "puzzle film" in cinematic history -- "Memento's" puzzle can't be undone with a simple declarative explanatory sentence.
Its riddles are tangled up in a dizzying series of ways: by an elegant but brain-knotting structure; by an exceedingly unreliable narrator through part of the film; by a postmodern self-referentiality that, unlike most empty examples of the form, thoroughly underscores the film's sobering thematic meditations on memory, knowledge and grief; and by a number of red herrings and misleading clues that seem designed either to distract the audience or to hint at a deeper, second layer of puzzle at work -- or that may, on the other the other hand, simply suggest that, in some respects, the director bit off more than he could chew.
All of the notices about the movie have told us that the story is told in reverse order. We hear that Leonard, played by Guy Pearce "L.
Confidential" , kills the murderer of his wife in the film's first scene, and that the film then moves backward from that point, in roughly five-minute increments, to let us see how he tracked the guy down, ending with what is, chronologically, the story's beginning.
It turns out that this is a substantial oversimplification of the movie's structure -- and that's just one of the surprises that unfolds once you look at the film closely.
Some have found the film daunting, and some critics panned it. They're entitled to their opinion, but many of the negative reviews make it plain that the critics didn't quite grasp what Nolan was doing.
It's heartening, however, that most critics at the country's major papers understood that the film has immense thought behind it, both technically and thematically.
Still, given the way the film business works, critics usually have only one chance to see the film and have to dash out a review before deadline, so even many of the positive reviews couldn't begin to chart the film's depths.
Yet, in Web communities, critics and film fans have discussed "Memento's" structure and meaning without letup.
I thought I would take the time to get to the bottom of some of its mysteries. I'm going to attempt to peel away a few layers of this prickly artichoke of a movie.
What follows is an explication for those who have seen the film -- if you haven't seen it, beware, because I'm going to discuss the plot and its revelations in detail.
Not everyone may wish to go quite as far as I have -- four theatrical viewings, three of them with copious note taking; a fifth viewing on videotape, with lots of whipping back and forth to check for differences in "repeated" shots, and slo-mo attention to quick-cut subliminal moments; reading the published script and comparing it to the film; reading the short story, "Memento Mori," written by Nolan's brother Jonathan and credited as the film's source; and a few trips through www.
More than anything, I'm grateful to everyone who posted ideas about "Memento" in the movie conference of the Well -- you know, "America's pioneering online community, see www.
As I mentioned above, asserting that "Memento" is a tale told backward is actually superficial -- even misleading. Nolan has in fact done something more complicated and way more clever than that.
The shocking opening credit sequence, in which Leonard kills a corrupt cop named Teddy Joe Pantoliano, the ubiquitous master of sleazebag characters, who played Ralphie on "The Sopranos" this year , is the only scene that literally runs backward: In it, we see a Polaroid photo undevelop, a bullet fly back up the barrel of a gun and Teddy come back to life briefly "after" the sound of the shot.
This scene, which is in color, is immediately followed by a black-and-white bit in which we see Leonard, in an anonymous motel room, explaining a little about his circumstances in voice-over.
The next extended scene, back to color, finds Leonard meeting Teddy at his motel and then traveling to an abandoned building, whereupon we see Leonard shoot Teddy again.
This time it's even more disturbing. The movie then proceeds, alternating black-and-white and color sequences. The main narrative of the story is the backward, color one.
We stumble back in increments, and meet "new" characters -- Teddy; a classic noir moll, Natalie; her boyfriend Jimmy; and a drug dealer named Dodd -- each scene stepping back to put the previous one a bit better in context and providing a lot of shocks, jokes and horrors along the way.
And in between each we see Leonard back in his hotel room, in black and white, talking on the phone and telling an oddly parallel story.
Here's what we figure out as we go: Leonard Shelby Pearce is a former insurance investigator. In his previous life, intruders rape and kill his wife one night.
He kills one of them, but the other bonks him on the head and gets away. The injury leaves him suffering from a condition called anterograde amnesia, which means that he can't create new long-term memories.
Leonard can remember everything prior to the accident, since his old long-term memories are still intact; but his current attention span lasts roughly 15 minutes and even less when he's stressed or distracted , and in no case can any of these current memories be permanently implanted in his brain.
Since he can't experience the passage of time, his wife's death is always fresh to him; and so he is passionately determined to find the remaining intruder and kill him.
He reminds himself of what he's doing through a series of notes, a pocketful of Polaroid snapshots with helpful information written on them and for really important stuff tattoos.
We see that he's developed a number of clues to the killer's identity, each of these burned onto his body. The killer's name is John or James and his last name begins with a "G.
As the movie lurches backward, we see how and where he gleans each piece of the puzzle. At the same time, the black-and-white scenes, which run in forward order, find Leonard in his hotel room talking on the phone.
In these sequences, Leonard tells that parallel tale, illustrated for us with visual "flashbacks. Leonard investigates and ruthlessly denies the man's medical claim on the grounds that it was a mental problem and not a physical one.
But Sammy's wife can't deal with the condition: She doesn't quite understand Leonard's ruling and think it means Sammy is in a sense faking.
She suffers from diabetes, and it's Sammy's job to deliver her insulin shots. So taking advantage of Sammy's memory problem, and knowing that her husband loves her and wouldn't do anything to hurt her, she asks him to give her three or four insulin shots in quick succession.
In doing so, she has the satisfaction, as she sinks into an irreparable coma, of proving to herself that his condition must be real.
But it's important to remember that this Gothic noir is dribbled out to us, largely in voice-over, in short black-and-white scenes in chronological order that alternate with the much more kinetic and confusing main backward story line, which is told in color.
The first of the film's cosmic jokes is revealed in the final color scene which is of course the first scene chronologically of the color story.
We see Leonard kill Jimmy, who we know is Natalie's boyfriend; with this act, Leonard thinks he's killed the man who killed his wife.
But then Teddy appears to articulate something we're just beginning to understand: Leonard has already tracked down his wife's killer: He just doesn't remember it.
It's one of "Memento's" delicious ironies that the avenging murder we've already seen Leonard accomplish is different from the one Teddy's talking about, but the net effect is the same: to give us a sudden and monstrous realization of Leonard's sanguinary condition.
Teddy even shows Leonard a Polaroid of Leonard, bloodied but beamingly happy, pointing proudly to an empty, untattooed spot on his breast, where we know he wants to imprint the news that he finally avenged his wife's death.
Teddy says he'd taken the photo right after the deed to give Leonard evidence that he'd achieved his desired revenge. Teddy explains to Leonard that he has manipulated Leonard to kill Jimmy and possibly several other similarly loathsome bottom feeders before that.
Leonard gets angry, and Teddy, apparently frustrated by his lack of memory, hits him hard with some uncomfortable truths: Leonard's wife hadn't even died, Teddy tells Leonard.
She actually survived the assault. Leonard himself had killed her, by administering insulin shots. The Sammy Jankis business is a dreamy conflation of a real story with events from Leonard's own marriage, events so horrifying and guilt-causing that Leonard has had to project them onto someone else -- poor, hapless Sammy Jankis.
This astonishing scene at once solves one part of the movie's puzzle but creates a new one in its place. For the first, we understand that Nolan has upended the conventions of the film noir, in which a flawed hero tries to find some measure of justice in an unjust world.
Leonard has suddenly become an Everyman in a potentially infinite purgatory, blindly trying to revenge an act that has already been avenged, and finding himself manipulated, over and over, by people who would use a splendidly configured avenger for their own ends.
It has been hinted along the way that even Teddy's death may be the handiwork of another manipulator, with a few hints pointing at Natalie as the possible perpetrator.
Leonard, having learned this, struggles to deal with it. He knows he won't be able to remember what Teddy is telling him. So he empties his gun, to fool himself into thinking he hadn't used it.
He burns the bloody and triumphant photo of himself. He drives off to have the number tattooed on his leg as a clue to help himself track down the killer later.
In effect, he turns himself into a time bomb, ready to go off when, at a period sometime in the future that he won't be able to appreciate fully, he will finally "solve" his wife's murder again, and wreak vengeance on Teddy.
In the end, "Memento" rights itself, and the wronged will somehow be avenged, in a corrupt way that is the only way to achieve justice in a corrupt world.
Once you see "Memento" a couple of times, you figure out the devilish scheme Nolan has constructed.
Here's how I think it works. If we give letters to the backward color scenes and numbers to the monochrome scenes, then what Nolan presents us with is this:.
What is beautifully clever here is that black-and-white scene 22, the last sequence in the film, almost imperceptibly slips into color and, in an almost vertiginous intellectual loop, becomes in real-world order scene A, the first of the color scenes: This then serves as the link between the forward progression of black-and-white material and the backwardly presented color stuff.
Even neater is that Nolan shoots this in such a way that very few viewers notice the switchover: Leonard enters a dark building; after some crucial action, he takes a Polaroid; as he shakes the photo and the Polaroid's color image fades in, so does the color of the entire scene.
So, if you want to look at the story as it would actually transpire chronologically, rather than in the disjointed way Nolan presents it -- oh, will this ever be fun to do on DVD!
You would then have to watch the remaining color scenes in reverse order, from B up to V, finishing with the opening credit sequence, in which we see Teddy meet his maker at Leonard's hands:.
Reading the film this way, here's what happens in real-world chronology. While things may seem confusing when you first watch the film, Nolan has been very careful to make sure that, when reassembled, everything in the main part of the film -- everyone's behavior and motivations -- makes perfect sense.
Leonard has been sitting around room 21 at the Discount Inn, poring over police files, trying to locate his wife's killer.
He's talking on the phone, explaining his condition to someone on the phone. He relates the story of Sammy Jankis.
Then he gets paranoid and hangs up the phone. But the person on the phone is persistent, even slipping notes under his door.
The motel clerk finally tells him there's a guy, a cop, waiting in the lobby for him. Leonard relents and goes out to meet him.
It's Teddy. We now understand that this is all a routine that Teddy has undergone with Leonard many times before. Teddy's in the midst of a manipulative plan to have Leonard kill Jimmy Grantz, a local drug dealer.
He gives Leonard the address of an abandoned building where Jimmy, who Teddy claims is the murderer Leonard is looking for, is due to arrive.
Leonard, wearing blue jeans and driving a pickup, drives off, with Teddy following a few minutes behind. At the building, Leonard kills Jimmy.
He switches into Jimmy's clothes and takes his car keys. Teddy arrives and throws water on Leonard's triumph: You've already tracked down your wife's killers, he tells him; you just forgot.
There's no such person as Sammy Jankis. Leonard's a mental case, Teddy tells him frankly. The pissed-off Leonard decides to manipulate himself, setting up Teddy as his next suspect; he writes himself a note, identifying Teddy's license-plate number as belonging to his wife's killer.
Leonard drives to the nearest tattoo parlor to get the number tattooed on his thigh. Teddy follows him there and tries to get Jimmy's car keys from him.
He wants that two hundred grand in the trunk. Leonard sneaks away, still wearing Jimmy's threads; by now he has no idea when or where he got these clothes or this spiffy car.
But he finds a note in Jimmy's pocket and, assuming it's meant for him, he heads for Ferdy's bar to meet Jimmy's girlfriend, Natalie Carrie-Anne Moss.
Natalie sees the car pull up and is surprised that the driver isn't Jimmy. Leonard enters the bar. Natalie's heard of a guy with Leonard's condition hanging around.
After testing his disability, in an unappetizing fashion, she's persuaded that he's is on the level, and takes him to her house.
After he watches TV and consults his notes for a few hours, Natalie returns. Ashwan assures that he isn't afraid and that he should have done this a long time ago.
Thanks to the help and courage of Ashwan, who convinces Kalfas' soldiers to stand down, Kalfas is arrested. SG-1 uses the Stargate to bring back equipment from Earth to repair the Prometheus.
Jonas says goodbye to Tarek and SG-1 heads home. Teal'c : Have we not been assigned to participate in the damage control effort? O'Neill : Yes.
And if there's ever any damage I'll do my best to control it. Ronson : Weapons officer. Prepare to fire on my command. O'Neill : to Teal'c He's a weapons officer.
You'd think he'd already be prepared. Teal'c : Indeed. Ronson : The bridge isn't exactly where you're supposed to be during a battle drill.
O'Neill : No. I've been meaning to talk to you about that. Ronson : Can it wait until we are not in the middle of a drill?
O'Neill : When are we not in the middle of a drill? O'Neill : Teal'c, prepare to assist in damage control.
Teal'c : I am prepared, O'Neill. O'Neill : See how melodramatic that sounds? It's unnecessary. Carter : referring to the problem It's like a light bulb that's burned out.
You can't just fix it. O'Neill : Do we have any extra bulbs? Ronson : There's no redundancy for that particular system.
O'Neill : So you're saying there's no redundancy. Kalfas : They seek the Ring of the Gods. O'Neill : If that's what you want to call it.
Ring of the Gods is good. Ashwan : Please understand, this device you seek—the Stargate. I regret to tell you— Kalfas : It's a myth.
Ashwan : There has never been a shred of evidence to prove its existence. O'Neill : Have you looked around?
Ronson : We will do this little barbecue of yours, but that's as far as I go. Sign In Don't have an account?
Start a Wiki. Do you like this video? Contents [ show ]. Categories :. Cancel Save. SG-1 Season 6.Https://karmr.co/serien-stream-legal/clannad-serienstream.php heartening, however, that click here critics at https://karmr.co/gratis-stream-filme/mariette-hartley.php country's major papers understood that the film has immense thought behind click here, both technically and thematically. They are not real people. Binders Database. Https://karmr.co/serien-stream-legal/star-wars-dvd-box.php an interpretation, not a record. I saw "Memento" in the early afternoon, a fact for which I am Zaga. AnasAL-Masri Mar 14, Leonard ist entschlossen, den zweiten Einbrecher zu finden und den Tod seiner Frau zu rächen. Memento - Vorspann Read article. Freigegeben ab 16 Jahren. An alles, was davor geschah, kann sich er erinnern, was danach auch passiert, remarkable, Lets Dance Karten opinion Leonard spätestens nach 15 Mi Mehr Infos: SD Deutsch. Um überhaupt seinen Alltag zu organisieren, nimmt er Polaroid-Fotos auf und macht here Notizen. David Julyan. Anmelden via Facebook. Durch seine Im Strahl Der Sonne Stream bekam er anterograde Amnesie — seine letzte Go here ist der Anblick seiner sterbenden Frau auf dem Badezimmerboden. Christopher Nolan. Der umlaufende Pfeil symbolisiert die chronologische Handlung, die Zahlen und Buchstaben link beiden Erzählstränge im Film. Man befindet sich damit permanent in einer Handlung, ohne deren Vorgeschichte zu kennen, wodurch es erschwert wird, das Gesehene zu ordnen und in Bezug zu setzen. Leonard ist entschlossen, den zweiten Einbrecher zu finden Memento den Tod seiner Frau zu rächen. Von Christopher Nolan.
Memento InhaltsverzeichnisVereinigte Staaten. Der Mann, der zuviel wusste. Aktuelle News zu weiteren Filmen. User Die Wie Viele Folgen Follower Lies die Kritiken. Zum anderen werden gegenwärtige Geschehnisse https://karmr.co/gratis-stream-filme/rupauls-drag-race-season-6.php. Netflix Netflix. Weitere Serien und Filme. Möchte ich sehen. NEWS - Reportagen.
Memento - Die Jagd auf John G. - die Handlung von MementoDas könnte dich auch interessieren. Freigegeben ab 16 Jahren. Melde dich an, um einen Kommentar zu schreiben. Mystic River. Stephen Tobolowsky. Die Besten Psychodramen. Doch was sind seine ureigensten Motive, sein Antrieb? Ansichten Trek Voyager Star Bearbeiten Quelltext bearbeiten Versionsgeschichte. Um überhaupt seinen Alltag zu organisieren, nimmt er Polaroid-Fotos auf und macht sich Notizen. Schauspielerinnen und Schauspieler. Vormerken Ignorieren Zur Liste Kommentieren. Unkonventionell, Rau, Düster, Spannend. Das Hidden Feature, mit dem man den Film in chronologischer Reihenfolge sehen check this out, fehlt bei dieser Neuauflage. Mehr Infos: SD Deutsch. Später tätowiert er sie auf seinen Körper. Ulrich Frank.
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When the question comes on screen concerning the lady with a flat tire, answer the 4-part question in reverse order 3, then 4, 1, and 2 and the "chronological" version will play.
The rewind and fast-forward features do not work while watching this version. If you put the pictures in the "correct" order, you get to read the short story the movie is based on.
See the full list. Sign In. Added to Watchlist. Available on Amazon. Carrie-Anne Moss. Joe Pantoliano. Mark Boone Junior.
Russ Fega. Jorja Fox. Stephen Tobolowsky. Harriet Sansom Harris. Thomas Lennon. Callum Keith Rennie. Natalie's heard of a guy with Leonard's condition hanging around.
After testing his disability, in an unappetizing fashion, she's persuaded that he's is on the level, and takes him to her house.
After he watches TV and consults his notes for a few hours, Natalie returns. She surreptitiously hides all the pens and pencils in the room and then starts insulting Leonard, provoking him until he punches her.
While Leonard desperately searches for some way to write a note to himself about what has just happened, Natalie goes outside, sits in her car and smirks.
After a few minutes, she slams the car door, knocking Leonard's concentration off track, and reenters, crying about how someone named Dodd has beaten her up.
Moved, Leonard agrees to defend her from this supposed batterer. She writes a description of Dodd for him. He gets in the car to go after Dodd, but is immediately distracted: Teddy is waiting for him in the car.
Teddy tells him not to trust Natalie and suggests that he stay elsewhere. He recommends the Discount Inn.
Leonard has now forgotten about the Dodd business and, more amusingly, has also forgotten that he's already checked in at the Discount Inn, in room Friendly, greedy desk clerk Burt gladly rents him room as well.
Leonard sets up shop in and calls an escort service for a hooker. 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.
It's an interpretation, not a record. Memories can be changed or distorted, and they're irrelevant if you have the facts.
In its own weird way, it's also a tribute to grief. Grief is an emotion largely based on memory, of course. After some investigation, the crew finds out that the reactor's buffer overloaded because they came in contact with a gravitational wave from a star while in hyperspace.
In addition, they are unable to repair the buffer. Jonas Quinn identifies—from the cartouche —the gate address of a nearby planet, P3X , which is only 0.
They decide to fly there, using the hyperspace engines for a short jump, to find a Stargate. After the short flight they establish an orbit around the planet, but the Naquadria reactor suddenly overloads, forcing the crew to jettison it.
It detonates in a massive explosion, discharging an electromagnetic pulse that damages the ship, even through its Asgard shields.
After determining the damage, they detect long-range ballistic weapons, originating on the planet below and heading their way. They conclude that the hyperspace engine explosion could have been construed as an attack against the planet.
Since they have no other available options, the crew contacts the planet and O'Neill asks them to disengage the rockets.
The rockets ultimately self-destruct 17, meters away from the ship. Afterward, the ship is contacted and given landing coordinates on the world, which is named Tagrea.
Prometheus landing on Tagrea. The Prometheus lands and SG-1 leaves the ship. Upon going outside, they are confronted by a large army and forced to disarm.
They are brought into a city, where they meet Chairman Ashwan and his council. The team tells him about the Stargate but it turns out that the council believes it's a myth.
Back on the ship, the team looks over several historical documents, given to them by the council, but find nothing regarding the Stargate.
Teal'c and Jonas then get access to the archive of the Tagreans after inviting them to a dinner, over Colonel Ronson's protest but again turn up empty-handed.
However, they notice that a strange man Tarek Solamon has watched and followed them. He clandestinely tells them that he can help.
During dinner, it is revealed that the recorded history of the Tagreans only goes back years because there was once a "dark age" speculated by SG-1 to be when a Goa'uld controlled the planet that the Tagreans want to forget ever happened.
In his office, Tarek shows Jonas and Teal'c relics from ancient times and believes their creator and god to be Heru'ur.
Thanks to an old document, they also find out where the Stargate may lay. Jonas and Teal'c are then taken to the Wastelands of Anhur by Tarek although Kalfas has an argument with Ashwan about this , where they uncover the Stargate.
After unearthing the device, however, they are attacked by Kalfas, who takes them prisoners.
When Kalfas ignores Ashwan's orders to release them, Ashwan convinces the soldiers manning the batteries surrounding Prometheus to stand down, allowing it to launch and fly to the location where Kalfas is holding Jonas and Teal'c.
As they prepare to ring off the ship, Sam wonders if Ashwan is ready, stating that things could get bad.