Connections to Run, Lola, Run and Reading

In Understanding Film Theory, the author writes about Run, Lola, Run (1998) in the context of placing all of the characters in an archetype/spheres of actions list. The list was composed of 7 characters who felt into the categories accordingly:

  1. The Hero: (the character who seeks something)
  2. The Villain: (opposes or actively blocks the hero’s quest)
  3. The Donor: (provides an object w/ magical properties)
    LOLA *has magical/supernatural powers-shattering glass, healing man from heart attack*
  4. The Dispatcher: (ends the hero on their quest) MANNI
  5. The False Hero: (Disrupts the Hero’s success by making false claims) Everyone who gets in her way?
  6. The Helper: (Assists and rescues the hero) MANNI/Man in ambulance who gives her a ride to where she needs to go.
  7. The princess/the father

These categories were helpful to see, although they don’t necessarily fit hand-in-hand with the film completely, but it was a nice skeleton to see on the relation of the characters in comparison to the hero, who in this case was Lola. The characters are far more complex than the traits they are given above, but they come to be complex with the help of plot and climax. For Lola, she is complicated by her connections to Manni, Her Dad and even the security guard at the bank. In addition to this, when the writer mentions that she has supernatural powers, I quite didn’t see it much as her powers, I saw it more as an editing technique used by the director in order to create a surprise or connection between the three chunks of footage.

The form of the film was done very well and it was nice to see how the changes impacted everyone’s life, not just lola’s. In addition to form,  Tykwer included many different visual effects (also mentioned in understanding film theory) that moved along the illusion of time and space. As well as the visual effects there was also the inclusion of music that created a fast paced atmosphere which we were fully engaged with because of its connection to the scenes.

Overall, the connections of form, sound and editing brought this film together to a place where the form made the film what it is. As said in Chapter 3, “Form is privileged over content”

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