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It appears from the first one thirds of the movie that it is a pure love story. Yet the entire narrative and Joel Barish (Jim Carrey)'s minimal traces of dramatically exaggerated gestures in staging in the remaining plots reveal that it is a mix of genres embracing ingredients of a love story, science fiction and parody.

The grey tone of the image, the use of handheld camera, the swish pans and Barish's voice over in low pitch all connote the emotional instability of the protagonists and Barish in particular. The narrative is assembled by numerous flashbacks out of Barish's intrinsic meditation together with intensive cross-cutting that shuttles among various temporal and spatial dimensions. The elements of parodies are dominant in the second half of the film when Barish tries to prevent some of his memories from being erased during the process. Here the narrative and the visuals resemble another film "Being John Malkovich" (both are from the author Charlie Kaufman).

Special props and settings (kitchen settings, the sink and the fridge), some scenes in high key lighting and some sound effects (vocals in resonance) in the plots of Barish's internal meditation intensify the film's elements of parody, powerfully enriching the film in terms of narrative, visuals and acoustics.

The narrative structure is sustained on a coil of repetition. The same sequence of visuals is used at the beginning of the film and near the end of the film. That repetition is a crucial glue to the entire diegesis as it furnishes a complete revelation of the chronological order of the plots in the 108 minute screen time. That visual repetition tactfully reveals the narrative repetition: the couple fall in love twice, first before their erasing of memories and second after it.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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