Run Lola Run
Run Lola Run (German: Lola rennt) is a 1998 German thriller film. The film was written and directed by Tom Tykwer, and starring Franka Potente as Lola and Moritz Bleibtreu as Manni. The story follows a woman who needs to obtain 100,000 Deutsche Mark in twenty minutes to save her boyfriend's life. The film was released on DVD on 21 December 1999 and on Blu-ray on 19 February 2008.
|Run Lola Run|
Original German release poster
|Directed by||Tom Tykwer|
|Produced by||Stefan Arndt|
|Written by||Tom Tykwer|
|Narrated by||Hans Paetsch|
|Edited by||Mathilde Bonnefoy|
|Distributed by||Prokino Filmverleih|
|Box office||$22.9 million|
Run Lola Run screened at the Venice Film Festival, where it competed for the Golden Lion. Following its release, the film received critical acclaim and several accolades, including the Grand Prix of the Belgian Syndicate of Cinema Critics, the Audience Award at the Sundance Film Festival, Best Film at the Seattle International Film Festival, and seven awards at the German Film Awards. It was also selected as the German entry for the Best Foreign Language Film at the 71st Academy Awards, though it was not ultimately nominated.
Lola receives a frantic phone call from her boyfriend Manni, a bagman responsible for delivering 100,000 Deutsche Mark. Over the phone, Manni relates the story that he was riding a subway to the drop-off location of the money and panicked at the sight of ticket inspectors. He exited the train and realized that he left the money bag in the car as he got off; he last saw a homeless man examining the money bag as the train pulled away. Manni explains that he is meeting his boss in 20 minutes, and that he will be killed unless he has the money. Manni is about to rob a nearby supermarket to secure the funds. Lola implores Manni to wait for her, and decides to ask her father who is a bank manager for help.
Lola hangs up and runs down the staircase of her apartment building past a man with a dog. At the bank, her father is shown having a conversation with his mistress, who informs him that she is pregnant. When Lola arrives, she has a conversation with her father, which degrades into an argument and him telling her of his affair and that she is not his biological daughter. Lola runs to meet Manni but arrives too late, and witnesses him entering the supermarket with a gun. She helps him rob 100,000 marks from the supermarket, but upon exiting the store, they find it surrounded by police. Surrendering, Manni throws the money bag into the air, which startles a police officer who shoots Lola in the chest.
The events of the film restart from the moment Lola leaves the house, only this time, she trips over the man with the dog. Lola now runs with a limp; her arrival at the bank is delayed, allowing her father's mistress to add that Lola's father is not the father of her unborn child. A furious Lola overhears the conversation, takes a security guard's gun, holds her father hostage, and secures the 100,000 marks by robbing the bank. She evades police and is able to meet with Manni in time, but Manni is run over by a speeding ambulance Lola had distracted moments earlier.
The film's events restart once more. This time, Lola leaps over the man and his dog, arriving even later at the bank and missing the opportunity to ask her father for help. She wanders aimlessly before entering a casino, where she exchanges all of the cash she has (about 100 marks) for chips, with which she plays roulette. She bets all of her earnings on the number 20, which wins. Roulette pays 35 to 1, so she wins 3,500 additional marks. She immediately puts all of her chips (3,600 marks) back on 20 and wins again - 126,000 marks. She gathers all of the money into a bag and runs to where Manni will be meeting his boss. Meanwhile, Manni spots the homeless man from the subway passing by on a bicycle with the money bag. Manni chases him down and takes the money bag by holding the homeless man at gunpoint. Lola arrives to witness Manni handing off the money to his boss. Manni joins Lola, who is disheveled and perspiring. As they walk along, Manni casually asks her what is in her bag.
- Franka Potente as Lola
- Moritz Bleibtreu as Manni
- Herbert Knaup as Lola's dad
- Nina Petri as Frau Hansen
- Armin Rohde as Herr Schuster
- Joachim Król as Norbert von Au
- Ludger Pistor as Herr Meier
- Suzanne von Borsody as Frau Jäger
- Sebastian Schipper as Mike
- Julia Lindig as Doris
- Lars Rudolph as Herr Kruse
- Ute Lubosch as Mama
- Monica Bleibtreu as the blind woman
- Heino Ferch as Ronnie
- Hans Paetsch as Narrator
The film touches on themes such as free will vs. determinism, the role of chance in people's destiny, and obscure cause-effect relationships. Through brief flash-forward sequences of still images, Lola's fleeting interactions with bystanders are revealed to have surprising and drastic effects on their future lives, serving as concise illustrations of chaos theory's butterfly effect, in which minor, seemingly inconsequential variations in any interaction can blossom into much wider results than is often recognized. (However, another explanation is that Lola's interactions with them didn't really cause anything. It's just that each person inherently has vastly different possibilities of life trajectory, a different version of which is explored and shown in the three iterations.) The film's exploration of the relationship between chance and conscious intention comes to the foreground in the casino scene, where Lola appears to defy the laws of chance through sheer force of will, improbably making the roulette ball land on her winning number with the help of a glass-shattering scream.
The thematic exploration of free will vs. determinism is made clear from the start. In the film's brief prologue, an unseen narrator asks a series of rhetorical questions that prime the audience to view the film through a metaphysical lens touching on traditional philosophical questions involving determinism vs. philosophic libertarianism, as well as epistemology. The theme is reinforced through the repeated appearance of a blind woman who briefly interacts with Manni in each alternative reality, and seems to have supernatural understandings of both the present and potential futures in those realities. The film ultimately seems to favor a compatibilist philosophical view to the free will question as evidenced by the casino scene and by the final telephone booth scene in which the blind woman redirects Manni's attention to a passerby, which enables him to make an important choice near the film's climax.
Several moments in the film allude to a supernatural awareness of the characters. For example, in the first reality, Manni shows a nervous Lola how to use a gun by removing the safety, while in the second timeline she removes the safety as though she remembers what to do. This suggests that she might have the memory of the events depicted in the previous timeline. Also, the bank's guard says to Lola "you finally came" in the third timeline, as if he remembered Lola's appearances in the previous two.
Allusions to earlier filmsEdit
The film features two allusions to Alfred Hitchcock's film Vertigo. Like that film, it features recurring images of spirals, such as the 'Spirale' Cafe behind Manni's phone box and the spiral staircase down which Lola runs. In addition, the painting on the back wall of the casino of a woman's head seen from behind is based on a shot in Vertigo: Tykwer disliked the empty space on the wall behind the roulette table and commissioned production designer Alexander Manasse to paint a picture of Kim Novak as she appeared in Vertigo. Manasse could not remember what she looked like in the film; therefore, he decided to paint the famous shot of the back of her head. The painting took fifteen minutes to complete. The bed sheets in the red scenes also feature spiral designs which add to the allusion.
The soundtrack of the film, by Tykwer, Johnny Klimek, and Reinhold Heil, includes numerous musical quotations of the sustained string chords of The Unanswered Question, an early 20th-century chamber ensemble work by American composer Charles Ives. In the original work, the chords are meant to represent "the Silences of the Druids—who Know, See and Hear Nothing."
The techno soundtrack established dialectical relation between motives of the movie: Rhythm, Repetition, and Interval among various spatio-temporal logics. This produces unification of contradictions like Time and Space or The cyclical and the linear.
As of October 2017[update], the review aggregator Rotten Tomatoes reports that 93% of critics gave the film positive reviews, based on 81 reviews. The site's critical consensus reads, "More fun than a barrel of Jean-Paul Sartre, pic's energy riffs on an engaging love story and really human performances while offering a series of what-ifs and a blood-stirring soundtrack." On Metacritic, the film has an average score of 77 out of 100, based on 29 reviews, stating the film as having "generally favourable reviews".
In contrasting reviews, Film Threat's Chris Gore said of the film, "[It] delivers everything great foreign films should—action, sex, compelling characters, clever filmmaking, it's unpretentious (a requirement for me) and it has a story you can follow without having to read those annoying subtitles. I can't rave about this film enough—this is passionate filmmaking at its best. One of the best foreign films, heck, one of the best films I have seen", while Jonathan Rosenbaum of The Chicago Reader stated, "About as entertaining as a no-brainer can be—a lot more fun, for my money, than a cornball theme-park ride like Speed, and every bit as fast moving. But don't expect much of an aftertaste."
The film was nominated for dozens of awards, including the BAFTA Award for Best Film Not in the English Language. It won several, including the Grand Prix of the Belgian Syndicate of Cinema Critics, the Audience Award at the Sundance Film Festival, Best Film at the Seattle International Film Festival, and seven separate awards at the German Film Awards. Lola Rennt was ranked number 86 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. It was also nominated for the Golden Lion at the 55th Venice Film Festival, and a European Film Award in 1998.
The music video for "It's My Life" by Bon Jovi, released in 2000, was inspired by the film. The music video for "Ocean Avenue" by Yellowcard is also seen by some to have been inspired by the film, as is the opening scene of Buffy The Vampire Slayer episode "Beneath You", where a pink haired girl is seen running through a German Street to techno music reminiscent of the movie.
The film was the initial inspiration for the three-day cycle in The Legend of Zelda: Majora's Mask, a video game also released in 2000. In animated series, The Simpsons parodies Run Lola Run in 2001's "Trilogy of Error" and Phineas and Ferb features a 2011 episode titled "Run, Candace, Run." The series SMILF includes a 2017 episode ("Run, Bridgette, Run or Forty-Eight Burnt Cupcakes & Graveyard Rum") which references the film. The music video for "Walk Me to the Bridge" by Manic Street Preachers directly references the movie.[original research?]
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- Rouner, Jeff (11 November 2011). "Yellowcard Talks Lineup Changes, Growing As A Band, And Going Acoustic". Houston Press. Retrieved 9 May 2018.
Yellowcard's, "Ocean Avenue" was the final good video we saw on the channel. We were intrigued by what we were pretty sure was an homage to Run Lola Run, and that of course is awesome.
- Lamoreux, Ben (12 November 2014). "Aonuma Reveals the Inspiration for Majora's Mask". Retrieved 28 November 2017.
- Canning, Robert (11 August 2008). "The Simpsons Flashback: "Trilogy of Error" Review". IGN. Retrieved 14 May 2017.
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- "Run, Bridgette, Run or Forty-Eight Burnt Cupcakes & Graveyard Rum". IMDb. Retrieved 13 February 2018.