Run_Lola_Run

Since the moment we have been able to think logically and esoterically the human race has struggled with and pondered on philosophical questions about the existential forces of time, love, and the interrelationship of chance and chaos that inevitably impact on our lives. These universal themes are cogently exemplified in the 1998 postmodern feature film Run Lola Run by Tom Tykwer and W.H Auden’s eulogy Funeral Blues. Furthermore, both these texts explore ways in which distinctively visual images are created and used to shape meaning. The idea of time being a dispassionate, tyrannical force that relentlessly moves forward without any empathetic concern regarding our destinies or fate is a central idea which is skilfully constructed and uniquely represented in both texts. The film frantically opens with a hyperbolic visual motif of a clock and its unremitting ticking sound illustrating time as the central thematic concern of this film. The camera shows a pendulum constantly swaying back and forth across the screen. The camera pans upwards to an undershot of the demonic faced clock placing the audience in a submissive position within the narrative. The mouth of the creature clock opens and metaphorically consumes the audience into the dark abyss illustrating time as controlling and ominous. Furthermore the combination of the swinging talisman and the diegetic, pleonastic sound of the rapid ticking creates the fast-paced and dramatic atmosphere of the film. Similarly time also continues to surge forward despite the sorrow felt by the persona in funeral blues. The unpredictability of time in relation to love is clearly demonstrated in the quote “I thought that love would last forever: I was wrong.” The use of temporal language gives reference to time and the emptiness time has caused him. The persona now feels that all is futile, as he can no longer share the eternal element of love with his partner. Time is also examined in this poem in relation to death through the use of imperative verbs. “Stop all the clocks, cut off the telephone, prevent the dog from barking with a juicy bone.” The verbs represent a form of aural imagery as the persona demands that all noises be eradicated. The demands portrayed through a melancholic tone demonstrate the persona’s wish for silence and reverence in respect for his partner, however he realises time will not stop, despite the heartache and loss that is being experienced. Both texts lucidly explore the existential question of love and the desire for the characters to make love last forever. Love is the driving force behind Run Lola Run and is revealed through distinctively visual features that assist in developing the romance narrative. Tykwer’s use of split screen allows the audience to appreciate the inextricable connection between Lola and Manni. Furthermore, the love scenes are the incentive of the film and are exhibited through the red filter scenes. Within the scenes Lola and Manni engage in an intimate conversation about their future emphasizing their unconditional love. Similarly love is also the driving force behind Funeral Blues as the persona longs to be reunited with his lover. A directional metaphor is used to illustrate that the persona’s love for his partner was all encompassing creating a sense of visual imagery. “He was my north, my south, my east and west.” He relied on his partner for guidance similar to a compass to guide us in the right direction. This reliance is further enforced through the use of cummulation. “My working week and my Sunday rest, my noon, my midnight, my talk, my song;” the hyperbolic metaphors reveal the intimate relationship shared between the persona and the deceased. An engaging idea explored within the narrative structure of Run Lola Run is how the notion of chance in relation to chaos can cause ripple-on effects that immensely impact on our lives. This is exemplified through the television image of falling dominoes conveying that the choices made by Lola affect the lives of those around her. This is exhibited through flash forwards reinforcing the notion of chance and how every action causes a reaction linking the overall idea that one’s future is determined by a series of random, complex and unpredictable events. Tykwer also manipulates the conventional narrative form to create images that explore the post modernistic theme of chance through an innovative tripartite structure. The subtle visual changes result in three alternate endings which explore deeper existential, philosophical questions that challenge our perceptions and demonstrate the complexity and unpredictability of chance moments. Contrastingly chance and chaos is also revealed in funeral blues through a pessimistic tone “For nothing now can ever come to any good.” Unlike Lola who is able to reshape the narrative structure to save Manni, the persona cannot and by a chance moment he must face a truly tragic experience in order to realise that love is not an immortal element. This unfortunate event forms the overall chaos that endlessly spirals around the persona’s life; reinforcing that he has given up. In conclusion responders recognise the interrelationship of chance and chaos that revolves around their lives as they are confronted with these incessant forces on a daily basis. Time, love, and the vagaries of chance which creates the never-ending chaos are all themes that are concerned with the philosophical questions of life. These core elements dominate the lives of humans as well as the characters within the film Run Lola Run and the persona in Funeral Blues. Tykwer and Auden both incorporate these salient themes within their texts and illustrate them through distinctively visual images; Tykwer’s through his visually creative and idiosyncratic mis-en-scene and Auden’s through his powerful and evocative imagery.