Run Lola Run Essay - Grade: 2:1 PDF

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Essay on an analysis of Run Lola Run for first year English Literature compulsory module.
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LFR Drama/Film Analysis

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Course Coursework Tutor

COML0001: Literary Forms of Representati Drama/Film Analysis HG Derbyshire, A Lee, AM Naylor

Course School/Level Assessment Weight Submission Deadline

HU/UG 20.00% 05/03/2012

Write a 1500 word analysis of a passage from Oedipus or A Midsummer Night's Dream or of a short sequence from Wasp or Run Lola Run. Alternatively, analyse A Midsummer Night's Dream as seen in performance at the Lyric Hammersmith. Coursework is receipted on the understanding that it is the student's own work and that it has not, in whole or part, been presented elsewhere for assessment. Where material has been used from other sources it has been properly acknowledged in accordance with the University's Regulations regarding Cheating and Plagiarism.

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Avigail Goodman

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Run Lola Run (1998) directed by Tom Tykwer is a German crime film that deals with a range of themes such as fate, love, chance and desire. These themes are conveyed through experimental methods creating a deeper meaning through film form by manipulating time. It is shot in a realistic way, juxtaposing the surreal arrangement of the content. I will be analysing the opening narrative sequence (from 4.46 to 9.32) with regard to representation within the film, disregard for prototypical cinematographic and editing conventions and as a result of this how we, as the audience, are still able to associate with the central protagonists.

In the sequence prior to this clip a character introduces the film saying ‘The ball is round. The game lasts 90 minutes. That’s a fact. Everything else is pure theory. Here we go!’ Using football as an allegory for film implies that film is a game, and therefore, anything can happen in it, we should expect the unexpected. With regard to this, Tom Tykwer has been quoted as saying:

Cinema that interests me is cinema about openings, unresolved questions and experiments; cinema that explores the possibilities offered by narrative and by associations, without refusing chaos, chance, destiny or the unexpected.

This sequence begins with an establishing shot; a bird’s eye view shot of Berlin that proceeds to zoom into Lola’s flat. Sound effects mimicking zooming in in conjunction with a fast beat implies that something is about to happen; that it’s likely the audience will be immersed in action from the outset. Beginning with a bird’s eye view shot indicates that from the start they lack control. The camera tilts and continues further into her home, finally fixing on the ringing phone. An unconventional jump cut signifies the danger on the other end of the line; the phone is red, further enhancing this notion, the colour denoting a warning and sign of danger.

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The first shot the viewer sees of Manni is from behind, being unaware of his location and appearance should result in hesitancy toward him, however, we are aware that something bad has happened to him due to the trepidation and anxiety in his voice. This means that rather than feeling that he is an enigma, we sympathise and generate concern for him. Upon Lola asking Manni in a worried tone where he is, the camera answers by dollying into the phone box at high speed displaying the desperation of the situation yet to be uncovered.

The following shots of Manni are tightly framed with the phone box framing the screen, giving the impression that Manni is enclosed, almost trapped, a metaphor for the situation that he is in. Manni cries and leans on the phone box, paralleling the way he is leaning on Lola emotionally, asking her for help later in the sequence, and saying ‘You weren’t there, and I messed it up’ as if he can only function with her help. This concern for Manni means that we automatically support Lola, as she is the only person who can help him. In addition to this, being accustomed to Hollywood films, we generally want the couple in love to succeed, in this case, Manni and Lola. An extreme low angle shot in deep focus shows Manni’s location; an unconventional camera angle when portraying a lack of control, therefore creating an uneasy affect and sense of unpredictability, further perplexing through the natural light contradicting the hopelessness of the situation.

Lola stands out in the frame due to her eccentric red hair; the use of such a bright colour represents her power and individuality, outlining the fact that she is on the edge of society, embodying the youth of Germany. Lola’s strength, as we see later in the film, as well as the extent that Manni depends on her extends this image of power. Her attire is reminiscent of resilient characters from action films such as John McClane in Die Hard (1988). In addition to this she is shot in front of a window, providing backlighting, creating an ‘angelic’ effect, suggesting that she is Manni’s saviour.

Three types of cameras are used throughout the film. 35mm is used in sequences with either Manni or Lola present, creating a very clean, polished, yet realistic effect. Black and white footage is used to show flashbacks, often used in aggregation with a hand-held camera

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or steadicam to create an aged effect as well as to enhance interpellation. Voice-overs from Manni and Lola guide the flashbacks, by providing descriptions they inform each other as well as the audience, allowing us to react with the protagonist building a stronger association with them. It’s these flashbacks that cause concern amongst the audience for the characters and their predicament. Video is used when Lola and Manni aren’t present, creating a more unrealistic composition; the use of crosscutting in this instance allows the audience to have superior knowledge over the protagonists building the anticipation.

The flashbacks are introduced by way of a wipe; a form of editing that is conventionally used for comedic purpose. However, in this instance it mimics the turning of a page, as if relaying these past events is like reading from a storybook. In the same way that you can go backwards or forwards in a book, Lola has the ability to manipulate time in this way.

Manni’s shady business dealings are shown using chiaroscuro lighting to dramatise the exchange. Manni describes getting off the train at the sight of policemen ‘an old reflex’, further enforced by an out of focus shot, portraying the absence of any form of cognitive thought, his departure is based purely on instinct emphasising his feeling of panic.

After getting off the train, shots of Manni and shots of the bag are alternated, this editing denotes Manni’s realisation of having left the bag on the train, supported by the amplification and increasing rhythm of the music generating tension and anticipation. This flashback is interjected as we revert back to Manni and Lola conversing, they both alternately repeat the same phrase, ‘The bag’, numerous times as they are filmed from various irregular and discomforting angles, showing their disbelief of the facts; and their helplessness. The repetition of this phrase is to emphasise the ‘disaster factor’, stressing how dire the situation really is. When Norbert Von Au, (The Bum) says ‘The bag’, he’s side lit, meaning his intentions aren’t bad, he innocently found the bag and yet he will be the root of their problems and will unintentionally cause havoc.

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Manni’s voice-over suggesting where The Bum could be leads to quickly edited freeze-frame postcard shots of these places, juxtaposing the hand-held tracking shot in video showing The Bum leaving the station interjecting these bright, vibrant, exotic locations. This contrast is further heightened when a black and white medium close-up of Ronnie menacingly staring directly at the camera is incorporated in this quickly edited montage. The editing mimics the volatility of their sporadic, fluctuating thoughts. The beat of the music becomes louder and faster, synchronised with the increasing speed of the rhythm of the montage. As viewers, this allows us to generate angst in the same way that Manni and Lola have.

In the following flashback Manni’s voice-over explains what happened when he previously committed a minor wrong against Ronnie. The hand-held camera pans around them both, stopping at a canted angle conveying Manni’s perturbed feelings, the unusualness of this relationship and the forthcoming consequences. A jump cut expands on these feelings and creates a shocking affect when Ronnie head-buts Manni, generating empathy within us as viewers.

As the music’s rhythm builds impetus, their anger reaches a climax, and a high angle shot of Lola screaming “shut up” occurs, high angle as everything is out of her control whilst her high-pitched scream is representative of her attempt at gaining control. More affective because of the jump cuts used; these close-ups allow us to see Lola’s fear and loss of composure, whilst still trying to remain strong and decisive.

Her screaming builds up to, and causes, the glass bottles to smash. The glass is representative of the fragility of life, something that is repeatedly shown in the film. The fact that she has the aptitude to make glass smash shows her capability, desire and ability to manipulate the situation, hinting at their inevitable success. Signifying the ‘eye of the storm’, the glass smashing is followed by immediate silence with the exception of the faint sound of thunder confirming this.

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This quiet continues in the subsequent shots. Canted framing of the window indicates her skewed view of reality, the dark interior of the flat contrasts the brightness of the outside world depicting reality, a place that Lola can see, but can’t get to. This is ensued by a shot of photographs of Manni and Lola stuck on the wall, hearts are present within this frame signifying their love for one another, their habitual unity and the strength of their relationship. Whilst the use of canted framing in this instance indicates that their relationship will be tried because of this situation. Like the plastic dolls shown in the following shot they feel manipulated in this game, a game in which we know anything can happen; it’s 90 minutes, but everything else is pure theory.

Continuous non-diegetic music reminds us of the fictional setup of the narrative. However, the themes dealt with are authentic. We never lose sight of the films aim, the iconography such as the bag of money, maintaining the generic verisimilitude reminding us of their quest as well as constantly using cinematography and editing in unexpected and therefore interesting ways engaging us as viewers. This is in addition to the representational elements used as well as Lola’s intense passion and determination, all of which allows us to associate with the situation, despite it not being of a realistic nature.

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