A Detailed Review of Tom Tykwer's Film Run, Lola, Run

Tom Tykwer’s Run Lola Run is a film that consists of such intricate character relationships and complex cinematic techniques that it is considered to be one of the film industry’s greatest masterpieces (Empire). Tykwer takes advantage of countless filming techniques to emphasize the intensity of scenes and to embellish the story and character developments. I will explore the film techniques that were effectively used to emphasize the various themes and to implicitly foreshadow future events in the film.

The story of Run Lola Run predominantly revolves around the concept of time. Though the concept of a “time limit” is introduced early on in the film, Tykwer often reiterates its importance and the power that time has over the characters and the plot. This theme is first introduced in the prologue when the camera does an extreme close-up of the hands of a brass clock. The fast ticking of the clock and the lighting were particularly exaggerated to perspicuously convey the importance of time. The viewers are not yet conscious of the significant influence that time has, so Tykwer incorporates this theme to also foreshadow the fact that both Lola’s actions and all the characters in the film are affected by time. It is fascinating and almost amusing to look back and realize that the bizarre introduction was in fact foreshadowing an important aspect of the film. The time motif is often reiterated throughout the film in either oblique or straightforward ways. In the prologue, there is a scene in which the lighting is sober and muffled whilst the film of the crowd is in fast-forward. I interpreted this as an abstract and oblique way of symbolizing that sometimes time can be so perplexing and empowering that people tend to be get “lost in the moment”. It may also suggest that though time is introduced as something that is exceptionally crucial in the story, many of the characters behave as though time is infinite and of little importance. The clock motif is directly correlated with the concept of time. Throughout the film, the camera does a close-up of the clock in Lola’s room, the clock above the phone booth and the clock in the casino. Although these shots are straightforward, the film techniques (for instance, quick transitions) being used emphasize the urgency of the moment and constantly remind the viewers that time impacts everything. I think that Tom Tykwer’s use of visual effects and camera angles not only effectively portrays how time is one of the principle themes in the film, but also foreshadows the importance of this theme throughout the story.

The clock and spiral motifs (inspired by Hitchcock’s Vertigo) are recurring concepts that are complementary to each other as they metaphorically represent fate and time throughout the film. In the beginning of the story, we are unfamiliar with the game-like plot, so Tykwer incorporates the spiral motif to foreshadow this. The spiral motif represents Lola’s state of mind, the constant activity in the film and the fact that the story functions like a game. This recurring concept is first introduced in the ‘titles’ when animated Lola is running through a spiral tunnel. In the first “run”, Tykwer uses a camera angle that is similar to a ‘point of view shot’ to indirectly tell the viewers that the spiral on Spirale Café, which Manni looks at from the phone booth, is there for symbolic purpose

s. Not only does this spiral foreshadow that the “game” is about to begin, but it also represents the emotional state that both Lola and Manni are in. The spiral motif can be seen just before each “run” starts when Lola throws her red telephone (with a spiral cord) in an almost spiral motion across the air. I also observed that in the third “run”, the camera did an extreme close-up of the roulette wheel in the casino since the spinning wheel is correlated with the spiral motif and “game” concept. Moreover, each “run” incorporates the same ‘bird’s eye view’ of animated Lola running down the spiral staircase to emphasize that when a new “run” starts, it’s as though Lola is playing the “game” again. I appreciated the fact that Tom Tykwer did not overuse the spiral motif but cleverly incorporated it so that the specific moment and the camera techniques would emphasize its importance in the film.

Run Lola Run is comprised of countless significant details that the effective use of film techniques allowed me to recognize that their purpose was to essentially emphasize the importance of the minor themes in the film. I observed that in the first two “runs”, when Manni walks towards the supermarket, the camera does a close-up of the gun in his pocket. Though this could be for the emphasis of intimidation and intensity, I perceived it as Tykwer’s clever way of foreshadowing the fact that this very gun would be the reason why Manni eventually retrieves the 100,000 marks from the vagrant. The close-up of the gun may also signify the film’s minor theme of “making choices” since it is Manni’s (desperate) choice to rob the supermarket.

Furthermore, I noticed that whenever Lola is not part of a scene, the film becomes grainy and sombre. When Papa and Jutta are in the office discussing about their love affair and her pregnancy, or when the vagrant is riding the bicycle, the film becomes more authentic, shaky and muffled. I interpreted this as an implicit way of representing that not only is the situation unclear, but it foreshadows the fact that whoever is part of the scene will later have to deal with disappointment and an ending that is not as they hope it will be. In specificity, Papa will later have to deal with the knowledge that Jutta is not pregnant with his baby, and the vagrant will eventually have to return the 100,000 marks to Manni although finding it had may have made him the happiest he had ever been in a while.

Finally, in the first “run”, the camera does a close-up of a Polaroid of Manni and Lola, and the lighting seems to precisely hit their faces and their names that are written on the photograph. This relates to the minor theme of “relationships” and the fact that many interpret this film to be one about a love story. I interpreted the Polaroid to be a detail that foreshadows the fact that regardless of all the obstacles, Lola and Manni’s relationship will remain strong until the end of the film. In addition to the theme of “relationships”, Tykwer incorporates the use of a split screen effect of both Lola and Manni, suggesting that they never are or never will be separated. Overall, it was compelling to concentrate on the little but significant details in the film since Tykwer often leaves them to be open to interpretation.

In conclusion, I thoroughly enjoyed Run Lola Run because of all the clever uses of film techniques and the riveting details that were incorporated in the film to foreshadow the fates of the characters. It is difficult to savour the film immediately as the plot and all the character relationships grow to become complex, and most of what occurs is open to interpretation. I, however, have come to appreciate the use of symbolic and metaphorical motifs in the film as they not only enhance the story, but also bring Tom Tykwer’s intentions and fascinating message to light.