Download Report

MTB Kino Klub
vsak ponedeljek
ob 20.30
Ponedeljek, 24.11.2014
Teci, Lola, teci! (1998)

Lola Rennt/
Nemčija/ 81 min/ Režija: Tom Tykwer/ selektorica: Nataša
trailer:
http://www.youtube.com/watch?v=jhltrTwlmKw&index=8&list=PLOEU3WJo9LVk3Tz0G0Lkgc81di
KzbSDpw
Run Lola Run (1998)
A Dangerous Game With Several Endings
By JANET MASLIN
Published: March 26, 1999, N.Y. Times
This year's New Directors/New Films series, sponsored by the Film Society of Lincoln Center and the
Museum of Modern Art, blasts off tonight with the jolting, futuristic energy of the hit German film ''Run
Lola Run.'' It's a furiously kinetic display of pyrotechnics from the director Tom Tykwer, who fuses
lightning-fast visual tricks, tirelessly shifting styles and the arbitrary possibilities of interactive storytelling
into the best-case scenario for a cinematic video game.
Mr. Tykwer does this with a vigor and pizazz that offset the essentially empty nature of the exercise. And he
makes ''Run Lola Run'' sufficiently hot, fast and post-human to pull that off. For its sheer cleverness and
gamesmanship, its altered sense of emotion and meaning in the face of breathless forward momentum, his
film makes a startling harbinger of things to come. Mr. Tykwer deliberately blows away all traces of the
mundane and the familiar, so that not even the closing credit crawl moves in the expected way.
''Run Lola Run'' opens with typical smashing bravado, as a few vague voice-over speculations about the
nature of mankind give way to a strikingly bold image. A crowd milling around suddenly forms the word
Lola as the camera shifts from ground level to aerial view, and with that we're off and running. Or Lola
(Franka Potente) is, anyhow, in a film that keeps her hurtling forward almost all the time. The setup sounds
like something out of a game's rule book: Lola's boyfriend, Manni (Moritz Bleibtreu), will be killed if she
can't come up with a large sum of money and meet him across town in 20 minutes' time.
As Lola takes off, trucking along with a muscular R. Crumb look and distinctive flaming-cranberry hair that
sets her off from any crowd, the fun is in the details. There are marking points along her route that will be
important later. A visit to her father's office, an encounter between an ambulance and a sheet of plate glass,
assorted encounters of the street: all of these will be refracted later in various ways. Meanwhile everything
looks as dazzling as possible, like the way the camera watches Lola run past her idle mother, spins around
the mother and then zooms in on a television screen where Lola is now running as a cartoon version of
herself.
The trip to Manni ends in death, but that hardly carries any weight here. Soon everything is erased and we
are back with the flying red telephone receiver that sparked Lola's journey. And this time each encounter is
somehow different, just different enough to alter the course of fate in playfully profound ways. Mr. Tykwer's
visual virtuosity revels in the possibilities here, as when he splits the screen between Lola and Manni, then
lets a ticking clock approaching zero hour (noon) slide up from the bottom of the image.
''What a difference a day makes,'' the soundtrack croons mischievously, while the destiny of each minor
character (shown in rapid-fire flash cuts, a whole lifetime in a matter of seconds) is made utterly different
each time. The story eventually replays yet another time, and it takes on new sardonic twists with each new
permutation, in a show of creative fireworks that is almost the most remarkable aspect of the film. The real
miracle, though, is that Lola (like the filmmaker) seems to run through it all without losing her verve or
breaking a sweat.
RUN LOLA RUN
Written (in German, with English subtitles) and directed by Tom Tykwer; director of photography, Frank
Griebe; edited by Mathilde Bonnefoy; music by Mr. Tykwer, Johnny Klimek and Reinhold Heil; set
designer, Alexander Manasse; produced by Stefan Arndt; released by Sony Pictures Classics. Today at 9 and
9:30, and tomorrow at 1 P.M. at the Roy and Niuta Titus Theater, Museum of Modern Art, 11 West 53d
Street, Manhattan, as part of the 28th New Directors/New Films series of the Film Society of Lincoln Center
and Department of Film of the Museum of Modern Art. Running time: 81 minutes. This film is not rated.
WITH: Franka Potente (Lola), Moritz Bleibtreu (Manni), Herbert Knaup (Lola's Father), Armin Rohde (Mr.
Schuster), Joachim Krol (Norbert von Au) and Nina Petri (Mrs. Hansen).