Any amazing roller coaster has some fantastical elements: a heart racing soundtrack, a colourful spectrum of special effects, and, of course, an intensely varied railroad track that leaves its riders feeling breathlessly exhilarated. The cinematic equivalent of said coaster would have to be the German film Run Lola Run, directed by Tom Tykwer. This refreshing foreign gem stands out from the monotony of generic flicks in North American theatres and should be seen by audiences from every corner of the globe.
The film opens with Lola (Franka Potente) receiving a distressing phone call from her boyfriend Manni (Moritz Bleibtreu). While acting as messenger for a criminal gang, Manni leaves the 100,000 marks which were supposed to be delivered to his boss on the subway. Before the train doors close, he sees a homeless man take the precious bag of money. Unable to locate the man, Manni panics and tells Lola that unless he is able to give his boss the cash by noon that day, he will be killed. Lola has to meet him in twenty minutes with replacement cash, or else Manni will rob a nearby supermarket for the cash if she is late. This ensues in three separate “runs” of Lola trying to acquire the amount and reach Manni within her time limit. Defying traditional time sequence, she resets her scenario each time a devastating event occurs, ultimately taking control of her own- and even strangers’- destinies.
Potente gives a spectacular performance as Lola; easily channelling her spunky, tough girl persona. The only character flaw would be her manic and unnecessary screaming. Yet she also adds an emotional depth to the title character by narrating her philosophical thoughts about her love for Manni. Her portrayal of the unpredictable protagonist keeps the movie fascinating and suspenseful. Bleibtreu's depiction of distraught, violent Manni is also admirable. He displays Manni's menacing side while simultaneously exposing his character's insecurity with effortless grace. Herbert Knaup also receives an honourable mention for his role as Lola's insensitive yet terrified father as he drastically changes his reaction to her money request in two separate scenarios. These talented actors pave the way for the movie's fast-paced, brilliant storyline, doing the exciting plot twists justice.
Tykwer is a gifted director who masterfully tells this story by his incorporation of music and special effects. The movie's soundtrack has a constant, pulsating beat that practically breathes adrenaline, and his frequent usage of sped up photographic frames creates a constant curiosity for the extras in the film. Tykwer also dabbles in the use of animation, slow motion, and red camera scenes to allow each part of the movie to make an arresting image upon viewers. His usage of colour makes even the simplest of scenes effective, most notably of Lola running through the city. Her vibrant red hair serves as an important focus point for the audience while the music echoes her desperation and concern for Manni. Tykwer appeals to ears and emotions rather than just focusing on the mere visuals of movie making, creating the ultimate cinema experience. The resulting combination of distinct filming styles is a cinematographic masterpiece with the backdrop of the beautiful city of Berlin.
Run Lola Run has all the elements of a suspenseful thriller and the subtle depth of a thought-provoking film. It is a wholesome movie that should be thoroughly enjoyed and digested, therefore it is not recommended for viewers who like light, comedic entertainment. Lola and Manni’s deep ponderings about love and death will resonate with many in Canadian audiences. A fast paced bank robbery, a confrontational police chase, and Lola’s incessant running scenes will also provide sufficient action for those who enjoy a heart pounding thrill. However, not everyone enjoys the bewilderment and anticipation that accompanies a ride on a roller coaster. Yet for those that do, Run Lola Run is an invigorating plunge into the questionable continuum of time.
The film opens with Lola (Franka Potente) receiving a distressing phone call from her boyfriend Manni (Moritz Bleibtreu). While acting as messenger for a criminal gang, Manni leaves the 100,000 marks which were supposed to be delivered to his boss on the subway. Before the train doors close, he sees a homeless man take the precious bag of money. Unable to locate the man, Manni panics and tells Lola that unless he is able to give his boss the cash by noon that day, he will be killed. Lola has to meet him in twenty minutes with replacement cash, or else Manni will rob a nearby supermarket for the cash if she is late. This ensues in three separate “runs” of Lola trying to acquire the amount and reach Manni within her time limit. Defying traditional time sequence, she resets her scenario each time a devastating event occurs, ultimately taking control of her own- and even strangers’- destinies.
Potente gives a spectacular performance as Lola; easily channelling her spunky, tough girl persona. The only character flaw would be her manic and unnecessary screaming. Yet she also adds an emotional depth to the title character by narrating her philosophical thoughts about her love for Manni. Her portrayal of the unpredictable protagonist keeps the movie fascinating and suspenseful. Bleibtreu's depiction of distraught, violent Manni is also admirable. He displays Manni's menacing side while simultaneously exposing his character's insecurity with effortless grace. Herbert Knaup also receives an honourable mention for his role as Lola's insensitive yet terrified father as he drastically changes his reaction to her money request in two separate scenarios. These talented actors pave the way for the movie's fast-paced, brilliant storyline, doing the exciting plot twists justice.
Tykwer is a gifted director who masterfully tells this story by his incorporation of music and special effects. The movie's soundtrack has a constant, pulsating beat that practically breathes adrenaline, and his frequent usage of sped up photographic frames creates a constant curiosity for the extras in the film. Tykwer also dabbles in the use of animation, slow motion, and red camera scenes to allow each part of the movie to make an arresting image upon viewers. His usage of colour makes even the simplest of scenes effective, most notably of Lola running through the city. Her vibrant red hair serves as an important focus point for the audience while the music echoes her desperation and concern for Manni. Tykwer appeals to ears and emotions rather than just focusing on the mere visuals of movie making, creating the ultimate cinema experience. The resulting combination of distinct filming styles is a cinematographic masterpiece with the backdrop of the beautiful city of Berlin.
Run Lola Run has all the elements of a suspenseful thriller and the subtle depth of a thought-provoking film. It is a wholesome movie that should be thoroughly enjoyed and digested, therefore it is not recommended for viewers who like light, comedic entertainment. Lola and Manni’s deep ponderings about love and death will resonate with many in Canadian audiences. A fast paced bank robbery, a confrontational police chase, and Lola’s incessant running scenes will also provide sufficient action for those who enjoy a heart pounding thrill. However, not everyone enjoys the bewilderment and anticipation that accompanies a ride on a roller coaster. Yet for those that do, Run Lola Run is an invigorating plunge into the questionable continuum of time.
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