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Running in Circles: Form in ‘Run Lola Run’ (Stylistic Form (Use of…
Running in Circles: Form in ‘
Run Lola Run
’
Stylistic Form
Misc
Both creates and supports the narrative form
We experience the film as a linear continuum
The film becomes a dynamic expression of Lola’s energy and the power of her need
Stylistic elements of music, motion and editing are vital to this
Tykwer’s idea for the film was prompted by the simple image of a woman running, and this captures the essence of motion in the film (the recurring images of Lola running)
Music
Creates rhythm and structure on a subconscious level
The start of the new ‘runs’
Pacing – similar to editing
Lola running is set to fast paced music whilst her interaction with other characters is marked by a slight decrease in the tempo of the music (though a sense of urgency is maintained throughout the film)
Silence – used to create stillness
Eg. The Red Fantasy Scenes
Music also connects us to the emotions of the characters
Editing
Quick cuts create a dynamic beat-like feeling in repetitive moments
Repetition of 'the bag'
In contrast, slow, contemplative moments have longer shots
Condensing of time allows for greater emphasis to be placed on central images
Eg. Manni's body lying as a cross in the middle of the road
Use of Different Visual-Media
Flash forwards are in still images
When Lola runs down the stairs the sequence is animated
Flashbacks are in black-and-white
Lola and Manni are shot on 35mm film, whilst scenes without them in it are shot on video
Tykwer – This makes their reality seem more intense
The initial effects of these visual-media are subconscious
It creates a system of cues for the audience over the course of the film
This seems to support the emotional, ‘classical’ development of the story
Narrative Form
Time in ’
Run Lola Run
’
'Multiform' plot – multiple alternatives/perspectives on an event
In the film its three alternatives on how a period of twenty minutes could play out (Lola’s Death, Manni’s Death, Success)
Time is represented chronologically in these sequences, except for when chance meetings with incidental characters a flash forward comprised of still images and major consequences
Introduces the central theme of Chance
Lola and Manni’s deaths are seemingly the result of a collection of minor coincidences.
Indeed, the whole plot premise is based upon a chance event (the theft of Lola’s moped, and the encounter on the train)
The pre-credits scene – with a camera tracking through a crowd settling on ‘incidental’ characters is a thematic introduction
The security guard reaffirms this when he says, ‘The ball is round, a game lasts 90 minutes, everything else is pure theory.’
‘
Run Lola Run
’ and Traditional Narrative
Whilst the multiform plot defies conventions, there are still plenty of conventional features to be found in the film
See Joseph Campbell's
Monomyth
A Protagonist
Resulting Action and a Goal
Development of the Protagonist
A Climax
A Resolution
A Problem
Tykwer – The film ‘continues to work according to the structural principles, which were the mainstay of Classicists.’
Tykwer also feels that Lola experiences all three possibilities
In this way,
Lola's
form is both conventional and unconventional
The film could be said to have both a multiform and classic form
The Power of the Individual vs Fate and Chance
In the context of a classic story arc, Lola acts as a ‘causal agent’ (The primary focus and cause within a story), however in a purely multiform one she might be seen as a victim of chance
This dilemma, that Lola could be both incidental and essential to the plot, is the key concern of ‘Run Lola Run’s’ form
It should be noted that ultimately, however, Lola succeeds, so it might be argued that Tykwer was making a statement with this decision
Introduction
The editing process of the film was influenced by an early release teaser trailer
It captured the style, rhythm, and mood they wanted
Features included an escalating pace, effective use of music and rhythmic editing
Bonnefoy:
At this stage the film transitioned from an intellectual exercise to an aesthetic one
The Form of '
Run Lola Run
' is essential to the audience experience
Bordwell and Thompson reject the notion of ‘form vs. content’ entirely, and suggest that the two work in unison
In some ways, the form of '
Run Lola Run
' is its story
Citation
Matthews, Kate. Running in Circles: Form in 'Run Lola Run' [online]. Screen Education, No. 45, 2007: 153-158. ISSN: 1449-857X.