Before I Go to Sleep

In a very real way, our memories are who we are - our identities as individuals depend in an almost terrifying way upon our ability to remember what we do (and what we've done), why we do it, and whom we love. That's why the notion of memory-making (and losing) looms so very large in the art we create. In the cinematic realm alone, characters whose memories are sorely compromised have starred in thrillers (Memento), romantic comedies (50 First Dates) and weepies (The Notebook). Before I Go To Sleep, based on the novel by S.J. Watson, is a chilling if not entirely effective blend of family drama and thriller, trading on the heartache and horror that comes with losing oneself every single day.

Christine (Nicole Kidman) wakes up every morning with no memory of the last fifteen years of her life. Ben (Colin Firth), the stranger who shares her life and bed, informs her that he is her husband and that she lost her ability to make new memories after a bad car accident several years ago. Any attempt to forge lasting memories seems futile - and yet, Christine tries. She receives a phone call from Dr. Nasch (Mark Strong), a neurologist who assures her that they've been working to improve her condition. He reminds her that she's been keeping a video diary every day: one that, upon review, suggests that Ben is not telling her the whole truth about their shared life and history.

It's to writer-director Rowan Joffe's credit that he mostly manages to make a very personal - and inevitably repetitive - journey of discovery both cinematic and chilling. As Christine awakes each day with her memory reset, Joffe finds inventive and intriguing ways to ramp up the spinetingling alienation she feels from her own life and husband. He captures Christine's terror, doubt and paranoia in the shuddery footage she takes of herself while hidden away in the bathroom from a husband she doesn't recognise. As the wheels within the narrative spin and turn, Joffe's camera makes villains and heroes out of everybody: Ben, in particular, shifts from one to the other on an almost daily basis, as Christine doubts and then trusts the love this man must have for her to stay by her side for so many years.

Unfortunately, Joffe can't quite sustain the tension throughout - the film sags noticeably in parts, as Christine flounders miserably between very few choices. There are many twists, as she uncovers people and secrets in her past that will inevitably disappear from her grasp within a day, including a final doozy of a revelation. But Joffe winds up wasting much of this tension and intrigue with an oddly definitive ending. In a film filled with questions, doubts and uncertainties, it feels completely out of place and emotionally untrue.

Joffe's cast, at least, is unreservedly excellent. Kidman delivers her most fascinating performance in ages, one that's equal parts vulnerable and strong. Her Christine is very much a victim of her circumstances - and possibly her husband - but Kidman skilfully imbues her with a steely determination to reclaim her life and identity against very poor odds. Firth, too, is fantastic, shading both light and darkness into his trademark charm - enough to make us believe that he's the kind of man who could love and/or betray Christine with all of his heart.

It's a shame, then, that the final frames of the film don't live up to its promise or potential. Joffe has hit upon something truly unnerving with his premise: Christine's condition provides the ideal backdrop for either the perfect crime, or a love story for the ages. Before I Go To Sleep quite effectively teeters between the two extremes, as does Christine, but ultimately fails to follow through when the true depths of its darkness are revealed.

Literally messing with your head, Nicole Kidman plays a woman who suffered Trauma to the head that makes her forget the past 15 years of her life when she falls asleep. She wakes up next to her husband, a man she does not know unforgettably played by Colin Firth, and as her doctor played by Mark Strong begins to help her deal with the illness things about her past begin to burst out like a kid taking out puzzle pieces and some how she has to put this puzzle together, even though when she wakes in the morning, the puzzle's messed up again. It's a strange mystery watching the protagonist solve the mystery that is her life. The whole thing would have come off one dimensional if it were not for Colin Firth's part as the emotionally distress husband who loves his wife but wants somethings to stay lost in her memory. It was an enjoyable ride watching the mystery unfold, definitely glad I saw it.

I agree with the reviewer who wrote that this was "three quarters of a very good film." The cast is marvelous. Kidman brings movie queen presence and guarded vulnerability to her role, as only she can. The icy, remote, sparse atmosphere of the film is noteworthy, but somehow creates a detachment from the raw emotions of the story. The plot unfolds in an efficient, generally satisfying manner. However, the film is sober, where it should have been flamboyant, and safe where it might have been edgy. In the end, I was wishing this had been filmed with panache, by a stylish and adventurous director. Atmosphere and character developments might have been richer and more complex. As it stands, it is a solid, classy, well-acted potboiler.

"Before I Go To Sleep" is an effective psychological thriller.

Nicole Kidman plays Christine Lucas, someone who if she saw "50 First Dates" wouldn't remember it the morning afterwards! She wakes as a forty-something 'housewife' in her suburban home every morning with Ben (Colin Firth) in bed next to her. However, she can remember little to nothing of the last twenty years.

She is being covertly helped on a pro-bono basis (with a trace of pro-boner thrown in) by UCL neuro-scientist Dr Nash (Mark Strong). Nash reveals that she ended up in this state after being severely beaten up and left for dead near a Heathrow hotel. He persuades her to maintain a video diary of the days' events and recollections, but he has to remind her where she's hidden the camera via phone every morning.

But Christine has a traumatic and terrifying past, remembered (and then immediately forgotten) in dreams, but which only very slowly starts to piece itself together during the waking hours. One character emerging from the mental mist is a long-time college friend Claire (James McAvoy's wife Anne-Marie Duff) who disappeared from her life under mysterious circumstances but is now 'found' again.

Will Christine piece together the jigsaw? What was she doing in the Heathrow hotel? Who beat her up and why? Where does Claire fit in? Can Mark Strong play anything other than a 'baddie'? So many questions, so little memory.

Produced by Ridley Scott and with Rowan Joffe ("28 Weeks Later") writing the screenplay and directing, the film is pleasingly set in and around a non-touristy London with some fine scenic shots - you can't really beat the view from the Royal Greenwich Observatory, and this nicely features in one scene. Nicole Kidman has a lot of acting to do in this role and she does it very well. Firth and Strong - two of my favourite actors - are both excellent and keep you guessing throughout. But of all of the acting roles I found Anne-Marie Duff particularly effective in the short-and-sweet role of Claire: a very powerful and touching performance.

It is tempting to describe any psycho-thriller as 'Hitchcockian', but there are moments where this film can certainly be tagged in this way. This is helped by a Bernard Herrmann-like score by Ed Shearmur, moody photography by Ben Davis and crisp editing by Melanie Oliver.

I enjoyed this film, but even with all of these positives it still felt more like a B-movie than an A-movie for reasons I can't quite sum up. In addition there were a few niggling plot points and, in my opinion, a slightly weak epilogue ending. Also note that, in a world where far too many women still face physical violence, there are flashback scenes in this film that some may find distressing, earning it its '15' UK certificate.

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I'd actually read the book before seeing this film so it was a question to ask ourselves: can we be bothered? In the event, it was worth it and I found that I was submerged in the film during the showing.

It's the sort of film that doesn't get made very much now in these days of big budgets, explosions, and cartoonish characterisations. But I'm glad it appears on the big rather than the small screen of TV because they brought in really good actors in the three leads. Particularly in the case of Nicole Kidman, she downplays her looks to come across as an ordinary woman approaching middle age, a brave choice for an actress.

The big surprise to me was Colin Firth who is way outside his normal range here and completely credible in the role. Mark Strong also is good in portraying a psychiatrist with empathy.

The film is very sombre but this is appropriate for the subject matter and really the director and cinematographer deserve a lot of credit for catching the uneasy tone of the book.

The reason I don't give it a rating higher than 7 is the unnecessary slasher scenes which could I think could have been done without so much blood and violence. Modern filmmakers should pay more attention to the work of someone like Hitchcock who suggested the gore rather than shoved your face in it. Still a mature film well worth seeing.