Franka Potente as the titular character in Run Lola Run
Jesse Pasternack explains how the indie classic’s non-stop propulsion is achieved through its music, editing, and more.
Run Lola Run (1998) is one of the most energetic movies ever made. Everything about it, from its narrative to its editing and even its music, combines to create a cinematic experience that will get your blood pumping.
The movie takes place in Berlin and follows Lola (Franka Potente), a young woman who has a boyfriend named Manni (Moritz Bleibtreu). One day, Manni calls her and tells her that he lost a package he was supposed to deliver for a crime boss named Ronnie (Heino Ferch). If Manni can’t give Ronnie 100,000 marks when they meet up in 20 minutes, Ronnie will kill him. The passionate Lola immediately sets off on a series of adventures to save Manni’s life.
While this narrative would be exciting in and of itself, writer-director Tom Tykwer makes it feel even more visceral through small storytelling decisions. In addition to a philosophical prologue, he manages to set up the film’s characters, stakes, and everything else we need to know in ten minutes. He excels at communicating dense information in an interesting way, like when he uses black-and-white flashbacks to make you pay more attention to the story of how Manni lost the money. Tykwer also expertly deploys twists throughout the movie which will make you sit forward closer, eager to see how Lola will respond to them.
Lola running
Much of this film’s peppy power comes from its editing. Editor Mathilde Bonnefoy expertly uses rapid cuts to make you feel every ounce of Lola’s desperation to get the money. She also brilliantly keeps the main narrative moving at a good pace while finding time for montages that depict what happens to minor characters whom Lola meets on her run. The fact that she also does all of that in 80 minutes will make you want to applaud.
The music in Run Lola Run is also key to its spirited style. Tykwer collaborated on it with Johnny Klimek and Reinhold Heil. Most of it is techno music, with electronic-inflected instrumentation and a fast tempo. It feels like something you could put on in a dance club and people wouldn’t know that it came from a movie. It expertly powers Lola along her journey and serves as the sonic equivalent of her fierce desire to save Manni. In addition, it has a hummable quality which will make it linger in your mind.
Over a quarter of a century after it first came out, Run Lola Run remains the cinematic equivalent of a sugar rush. Every narrative and technical element combines perfectly to get your adrenaline pumping in the best way possible. It is the type of film which might make you want to go for a run yourself, as long as you don’t need a nap.
Run Lola Run will be shown at IU Cinema on May 29 as part of the Indie Auteurs series.