Product: Run, Lola, Run [VHS] (1999)
Rating: 5.0
Run Lola Run, a presentation of the atypical
Run Lola Run, directed by Tom Tykwer, confronts stereotypes produced by Hollywood, with its unique graphic and audial representation as well as plot technique. Lola, our heroine, has 20 minutes to reach boyfriend Mani with a replacment for the money which he has been placed in charge of and lost. Lola is far from our average American female lead. Her hair is bright red, she's loud, and is imbued with superhuman powers. Not only is she able to sprint all-out for thirty minutes, she also is able to make it accross Berlin in this amount of time, and appears briefly as a cartoon character. Despite all this, in all of the scenarios, Lola never succeeds. Tykwer employs the use of three different senarios that play upon the butterfly effect and illustrate situations that Lola may or may not have experienced on her journey to Mani. The film is very contrary to stereotypes perpetuated by American cinema. Lola is everything but a heroine; she does not possess extraordinary beauty, has no control over her situation, and is unable to succeed in any area of her life it seems. She is unemployed (depicted by her low quality clothing) and so is her boyfriend Mani, apparently.Tykwer's use of unusual graphic depiction (cartoons), techno ambience (created by the musical track, which does not allow the viewer to rest), and portrayal of Lola as the anti-heroine all create such an unrealistic combination as to contrast and expose the lack of reality in traditional female heroines and movies.The original tital Lola Rennt (Lola Runs), was translated into Run Lola Run. Lola, who was originally running of her own volition, is now being told to run, presumably by Mani, a source of patriarchy in Lola's life. Lola runs to her father in the scenarios, requesting money from him. She represents the low class female, seeking help from the privileged, wealthy patriarchy. In one scenario, Lola dies, leaving Mani to gaze upon her devastated, unattractive body. Mani comments upon her appearance, leaving Lola once again in the role of the surveyed. In the final scenario, Lola comes to the rescue only to find that Mani has solved his problem, and that her help was unneccesary. Where before Lola has taken charge and responsibility, she is now powerless and useless, again in contrast to the heroine stereotype. The film closes with this thought and is emphasized by the shot of Mani and Lola interlocking hands. Lola is no longer seperate, equal, or powerful, and Mani does not need her.