Page 7

Alison T -

Run Lola Run

Narrative?

‘RUN LOLA RUN’ is rather remarkable and experimental in its narrative.

It contains the key components of a linear tale, with a beginning, middle and end (in accordance with Tordorov’s requirements), yet ‘Run Lola Run’ is unusual. This is due to the fact that it has 3 beginning middles and ends. It contains 3 narratives in succession accounting for the same 20 minutes, with the outcome of each of the ‘possible futures’ altered by the films main protagonist Lola, due to her running and choices.

Reaction?

Personally this atypical narrative triggered me into thinking about how one person in one moment could change everything. That the possibilities are endless to how things may come out in the end. ‘Run Lola Run’ demonstrates this, with just one delay in Lola’s journey causing the outcome of her death, yet in a different circumstance with no delay, her path changes and the story ends happily. I think this is interesting as when there is usually a very negative or positive event in people’s lives they tend to think back and wonder, ‘what if,’ speculating that things could be entirely different if one action was altered.

In addition to this, the narrative reminded me of alternate endings in films and games. It seemed as though Lola somehow had the ability to choose the outcome she wanted the film to end with, that being the ‘happily ever after,’ where they both got away unscathed with a bag full of cash.

This also reminded me of video games, the fact that when Lola lost (died) she got to play over and over; till she won the game (her man’s life.)

Even Lola’s physical appearance reminded me of a video game character, with her over the top bright red hair, and bright green clothing. This idea was even further emphasised by the animated scenes, making her seem even more cartoon-like and unreal.

I thought the film was quite imaginative and quirky in its unusual style, incorporating animation, replays, with black and white scenes. I liked the way when we passed characters, for example the woman with a pram which Lola bumped into, we were shown snap shots of her life, different in each of the 3 outcomes. I thought that this was a clever device in further emphasising the theme of ‘one moment could change everything.’

Feminist film?

All in all I think Run Lola Run is a feminist film. Lola is identifiable as the heroine, with the story in the reverse of the traditional idea of a man rescuing and saving a woman, as Lola is saving her boyfriend. The film excessively shows Lola running, she appears determined, she’s fast, brave, athletic, unwavering from her goal, and overall she’s shown as a strong female, who even growls back at a dog.

In addition to this, she doesn’t fit the stereotypical female conventions of femininity in physical terms. She has rather strange bright red hair, baggy green pants (Lola literally wears the trousers), she doesn’t have make up on or look particularly groomed, representing her as not trying to be something she’s not or a feminine ideal, but her own person, being an individual.

However, you could possibly argue that the excessive shots of Lola running are included for the audience, especially males, to look her in a sexual way. She is indeed an attractive young female, wearing a tight top with her bra strap falling down, yet the way in which the editing has been done doesn’t linger on her for a ‘male gaze’ (Laura Mulvey) the usual perspective in man made films. The camera doesn’t or dwell on her attractiveness or show her as a sexual object, so further evidence that this is a feminist film.

In the film Lola even has ‘the balls’ to go to posh exclusive casino where she will be judged and likely thrown out, and she also helps to assist her boyfriend in robbing a supermarket.

Guns typically are a male preoccupation, also an extension of masculinity and manhood for some men. The fact Lola unthinkingly uses them in two of her three possible ‘outcomes’ shows she can take control and shows she’s as capable and strong as any man. I think the scripting to have Lola point a gun at her own father in the sequence where she robs him is very clever. This connotes that she can even take on the main male figure of authority/power in her life, basically connoting she can take on anything. On the whole the representation of Lola is very positive, she is shown as a strong resilient female who hasn’t been cast or represented to appeal to men on a sexual level, so all in all I think Run Lola Run could definitely be said to be a feminist film.

BLACK DOG

Original Screen play

By Alison

CAMERA follows a flock of seagulls flying and turning in a rather gloomy bleak sky.

A non-diegetic, rather sorrowful acoustic guitar tune plays over the sound of crashing waves.

A Long shot of the sea, with waves falling on to the sand follows.

A crane shot of an almost empty British beach ensues. A few figures are visible. Shots of Stalls and amusements being closed for the day - shutters slammed down against the sound of seagulls crying. (The amusements and people closing them look of the 60’s period, establishing the un-modern setting of the film.)

Long shot of the beach – lens focuses from background into a figure walking away from the camera with a limp.

A less distant tracking shot from the side then exposes them to be a female in their 40’s. A frontal tracking mid shot shows she is dressed in rather drab dated clothes. A further close-up reveals she has a pretty face, yet it is weathered and tired. Her eyes are a piercing blue and a Star of David pendant is visible around her neck. She looks Northern European. The camera follows her further as she walks down the beach.

A tracking shot from in front of the women walking shows a blackened unrecognisable figure further behind her on the sand. It gets closer to her, but no more distinguishable. The sound of waves crashing and the seagulls cry is increased in volume, and a tense piano is added to the soundtrack. A panting sound can be heard, before the figure becomes clear as a large black dog with strong green eyes. The woman hears it coming from behind her and turns around. A close up reveals the terror upon her face, coinciding with a loud wave crash. She begins to run but is slow with her limp. Her heavy breathing is added as a Non-diegetic sound adding to the busy soundtrack.

A slow motion shot follows the dog leap on to her back with sand flying into the air. The soundtrack is completely removed for the moment.

The women roles to her front as the dog pins her down and glares directly into her eyes. An extreme close up of its green eyes contrasts a following ECU up of the women’s blue eyes brimming with tears of fear.

A deafening whirring sound increases as shots cut between her eyes and the dogs. The camera begins to vibrate as the screen goes black and green in colour. A close-up showing the woman’s face in full is then to cut to.

<flashback> We can tell it’s the same woman with her piercing blue eyes wearing the same Star of David pendant, but she is much younger in her early 20’s, indicating that this must be round the 1940’s.

The camera cuts to a mid shot of a similar looking large black dog barking at her from below her on a cobbled road at night. Her reaction is fearful. An exterior long shot establishes she is in an upstairs window looking onto the pavement outside. The soundtrack is chaotic, the sound of smashing glass, shouts, and the cracking and licking of flames can be heard. We can see gangs of men out in the street destroying property and a group beating a man to death with hammers and axes. In the distance burning homes and shops.

A shot from inside the house shows the back of our female protagonist peering out the window, and then she quickly turns around. The shot includes part of the room set, revealing dated furnishings including a crib, and writing in German and Hebrew on books on a shelf.

The anxious and fearful woman quickly picks up a very cute baby from the crib wrapped in a white blanket, nursing it in her arms her as she runs terrified down the houses flight of stairs. Dramatic music ensues. Quick editing. Varieties of high and low angle disturbing shots as shouting from outside gets louder (closer.)

WOMAN/SIMA:

WAKE UP PAPA! WAKE UP! (Frantic)

An elderly man asleep in an arm chair in the houses living room jumps up and turns around to WOMAN/SIMA.

WOMAN/SIMA: it’s… happening Papa. (Emotional) Hurry! We must hide! (Urgent tone)

PAPA jumps up and hurries towards door out of room.

PAPA:

The wine cellar! Hurry Sima!

Shot of a trapdoor being pulled open from the floor by PAPA.

PAPA:

Get inside my child! Do not worry, God is watching over us.

Then a shot of the houses’ glass front door being smashed, also loud shouts.

Shot of SIMA carrying her baby, anxiously clambers down inside the trapdoor to the sound of the front door being kicked open.

A shot of PAPA reacting to the sound with terror is shown. A subjective shot through the eyes of SIMA inside the trapdoor looking up, sees PAPA smile at her with tears in his eyes and he drops the trapdoor and the screen fills with darkness.

We see a distressed Sima holding her baby in almost darkness with only the light from the floorboards above her head coming through.

SIMA:

PAPA!!! (Sobbing) PAPA!! PAPA!!! PAP… (Cuts off by sound of other voices and smashing sounds)

ASSAILANT storms into the kitchen towards PAPA. A mid shot reveals he is carrying a large hammer, and a close up of his hand shows the hammer is covered in blood and the man has a swastika tattooed upon his wrist.

ASSAILANT: DON’T TRY ANYTHING JEW.

More sinister large men enter the kitchen carrying similar weaponry.

PAPA:

Please sir…

The men begin to trash the room, setting fire to the curtains as the tense music heightens to a crescendo.

ASSAILANT:

DO NOT ADRESS ME WITH YOUR VILE JEWISH TOUNGUE.

The ASSAILANT raises his weapon and brings it downwards.

A shot of PAPA shielding his hands to his face and head is shown. Before a cut back to a sobbing SIMA and her baby in the cellar below. We hear cries of pain and laughter from the attackers, and view SIMA’S emotional reaction to her father being murdered.

ASSAILANT 2:

Do you hear something Sir?

The men’s laughter subdues.

ASSAILANT 3:

I think there’s more Jewish vermin here Sir.

A shot of Sima in the cellar is shown, her face reacting to the possibility they know she’s there.

ASSAILANT: And where do we find vermin boys?...Rats live under the floor boards.

Wicked laughter ensues. The trap door swings open.

The men roughly drag a kicking and screaming SIMA with her baby from the door.

SIMA: LET GO! LET GO!!!(SOBBING)

An assailant snatches the baby and begins to head towards the front door and outside to the street as the rest of the men restrain SIMA. Camera work of SIMA very close-up, quick editing, music loud and dramatic.

SIMA manages to break free and heads towards the front door. She gets outside in time to see the man toss the white blanket bundle (with her baby inside?) to a black dog. Who proceeds to rip it to spreads growling ferociously.

Cuts to a shot of SIMA she looks pale, her expression blank with tears rolling down her face. In slow motion the men from the house come from behind her to restrain her once again. The sound of the men and the scene outside is affected, sounding as if we are under water, and muffled.

Cuts from SIMA falling to her knees from the time of the flashback and also from the time of the beach are spliced together. Until finally we are in the present day (60’s) back on the beach.

SIMA kneels. Tears falling down her face. A long shot shows the black dog racing off into the distance and blurring. The camera follows up to the sky to watch the flock of seagulls twist and turn.