Tom Tykwer releases his alternative approach to German cinema with Run Lola Run. Contrasting colors, lagging images, and fast forward movement break established principles of film from the start. Tykwer pays homage to the character’s punk influenced style with these concepts. From soundtrack music to Lola’s vibrant red hair it is no secret these characters stand out from the rest of their society, a counterculture approach that actually proves their influence to those around them.
The story focuses on the fragility of the butterfly effect, redeeming it’s importance by including minor characters and how it influences the major characters.The innovative concept to restart the story three different times for the characters intensifies how time also plays a dramatic role into the outcome of the plot. Using multiple angles and split screens, the suspense lingers reiterating the film as action/thriller. The film brings question to the concept of everyday interaction and what if the minor details hadn’t occurred. High pitched screaming breaks up the calm demeanors that are seldom present within the film. Tykwer reminds the audience that Lola finds little control in the game of life, her best way to find that sense of power is to scream as a defense and perhaps even change her fate.
Using photographic cinema as a fresh outlook to show the future of the minor characters, the director can train the audience, much like Pavlov’s dogs, to expect that following the sound of a camera and snapshots they will see that character’s fate. When the final plot for Lola is coming to an end, Tykwer includes a camera sound effect so the audience expects to see her final fate. Alas, the credits roll and the audience is given a question to the outcome, an unsatisfied ending. A genius representation of anti-hollywood.