Run Lola Run

    (1998). Run Lola Run. Retrieved from http://hattershostels.com/events/run-lola-run/

    Run Lola Run is definitely one of the unique and interesting films that I have watched through. The movie begins with Lola receives a phone call from Manni, her boyfriend who works as a runner for the mobsters, lost a bag of cash that he had smuggled into the country on a subway train. This leaves Manni with no choice of deciding to rob a grocery store nearby but Lola stops him. In the next 20 minutes, Manni will wait for Lola for the money if she is able to raise it or else he will take the action to rob. On the other side, Lola has to think of a way to raise 100,000 Deutschmarks for Manni in that short period of time. Three alternative endings all depend on different decisions and actions made by Lola during her run. Though not all of which the three different outcomes result with a happy ending. 

    Certainly, the film portrays a great deal of exciting storytelling; with the fusion of mixing some cartoon animation to express the frantic run by Lola and the repetition of Lola’s attempt to collect the needed amount of cash with minor changes to every setups. Mostly, the streets she runs through remain the same, but the people she met have slight changes in their behavior and each foretell events change depends on their attitudes. The forecast of how each of the people Lola run through will end up with are shown in a fast-pace cut shot. The images of their endings were edited in metric montage in black and white color and somehow making the fact that audiences are actually looking at their lives through photos. The message is that every small attitude towards an event can cause huge difference in consequences. To take an example, in the first run, the woman strolling with her baby swear at her then the images of her baby being taken away revealed whereas for the third run, when Lola rushed by her, this time images revealed that she has joined the church, her manner was better. The same goes to Lola where the last decision she made not only earned her an extra one thousand Deutschmarks but Manni also managed to settle his money matter with his employer.

(1998). The first encounter of Lola with this woman [Image, screen capture]. 

(1998). The third encounter of Lola with this woman [Image, screen capture].

    The director of Run Lola Run (1998), Tom Tykwer is belongs to a generation that embraces post-modernism and pop culture rather than following the classic way of portraying film. He broke the boundaries of genre and launched an avant garde style of aesthetic film practices to create a new direction in German film-making. The film itself is a product of its own time where the whole process of Lola running has a huge relationship with the obsession of time.

(1998). Some visual composition that represents limit of time [Image, screen capture].

   The film employs the element of pop culture that are deviant, nonconformist, disorder and that challenges the conventional forms of contemporary film. Pop is the key to present where the fast-pace editing locks the audience into the present and reflects the contemporary German’s urban settings where the life of post-war era is frustrating and buzzed. (Assheur. T) The mash-up of visual composition with the fast-pace sequences has led German to a new wave in film-making. The film experiments the visual playfulness of integrating the realm of game into reality. Tykwer cleverly enhances the pleasure of the spectator by incorporating the risk taking of making selection in reality like in games in his film. Thus, having three different outcomes with alternate selection made by Lola.

(1998). The first ending [Image, screen capture].

(1998). The second ending [Image, screen capture].

(1998). The third and last ending [Image, screen capture].

   This had discovered the possibilities in German cinema. Tykwer resorts to the aesthetic practices of avant-garde as he firmly wants the film to direct spontaneity with linear storyline. (Tykwer. T) According to the scriptwriter of Run Lola Run, he adopts the hybridity to the genre of the film that he experiments with different types of genre and includes it all into one film. The disintegration of classical narrative also represents as one of the traits in pop culture.  

    According to Tykwer confession, his inspiration of creating this film is in fact the desire of combining body movement, emotions and female body into one that acts as a vehicle to portray desperation and passion. Therefore, the character Lola was born with red hair blown while running to save his love. She literally manifests the essence of the entire film and also produces the new image of a tough and rebellious heroine on that era. How the film begins with an animated figure of Lola into the real life Lola has the intention of placing firmly a fantasy character invented into a real society. 

(1998). The integration between animated Lola and real Lola in the film [Image, screen capture].

    She is the visual pleasure for the ideal figure for woman: energetic, powerful, passionate and determined. Besides, Tykwer also attached a fairy-tale like romance bond on Lola with the security guard, Schuster. Each time Lola met him, he will worded out words from being sarcastic gradually to being kind and sweet. For instance, in the first meeting, Schuster ironically calls her the princess of the house then on second meeting, Schuster lectures her with the virtue of queen and finally, the last meeting he proclaims “you’re finally here darling” with the sound effect of loud pounding comes in. Other than that, on their last encounter in the ambulance, Lola was able to resuscitate him by staying by his side. 

(1998). First encounter with Schuster [Image, screen capture].

(1998). Second encounter with Schuster [Image, screen capture].

(1998). Third encounter with Schuster with the enhanced sound effect of heart pounding [Image, screen capture]. 

(1998). Lola revives Schuster by staying by his side [Image, screen capture].

    Through the perspective of cinematic language, it is obvious that fast-pace editing was vastly applied in this film. Not only has it had the purpose to reveal the urban settings of contemporary German but also to emphasize the importance of time in making decision during that era. Before the opening credit appears, it is interesting how the shoots focus on each sub character that appears in the film and then to aerial camera view where the crowd moves to create the film title. 

(1998). From the crowd walking to the aerial view of crowd forming the film title [Image, screen capture].

    Again, from the aerial perspective the camera moves rapidly into Lola’s house in which the same camera movement goes to shooting Manni in the phone booth. Interestingly, the movie directs the audience in a rapid speed in which distinct from the usual classic way of directing the audience in a slow pace. The way of moving the audience fast to the story though gives a sudden confusion, it somehow stimulates the nervous sensation to a certain extent where the audience will start to think of what is something bad happening.

(1998). The rapid speed of directing the audience into the story [Image, screen capture].

   Besides, the importance of prop in Run Lola Run is also well portrayed through editing. For instance, during the scenes when Lola and Manni mentioned “the bag”, rhythmic montage is used where they keep repeating “the bag” until the bum, main cause to the lost of bag, saying “the bag” as well. The purpose is to have the audience realize the importance of the cash to both Lola and Manni.

(1998). The recur of the word "the bag" [Image, screen capture].

   Despite, in the beginning of scenes, wipe transitions were also massively used for flashback. Instead of using classical low pace of fade in for flashback, the wipe transition could have the audiences dive in more quickly to the overall situation of Lola and Manni were into. For example, Lola explains to Manni about she missed the time to fetch Manni in front of the cyclops’ trading place while she thinks back, the similar transition also applied on Manni’s flashback.

(1998). Wipe transition used in one of the flashbacks [Image, screen capture].

   Moreover, split-screen that used in the film was to convey the message of incidents that happen simultaneously consider with the space and time. Furthermore, it is also to show the exuberant sprint of Lola through metropolis. For instance, Lola rushes to Manni to stop him from robbing and the scene where Lola rushes to ask for his father’s help. Both of the events show how Lola was already about to reach them though she did not succeed in meeting them every time.

(1998). Split-screen appear in each time Lola rushed to Manni as well as applied in one of the scenes where Lola was trying to catch up with his father [Image, screen capture].

   Despite that, the successive use of cut editing is visible for the first run ending. After the flashback of Lola, she claims that she did not want to leave at all thus the fast pace edit between the red trash bag and the red telephone carried in. The message is to give Lola a chance to reverse back time to the point she begins her run, which she says “stop” just when the phone falls. That is the starting point of the whole plot.

(1998). Repetitive cut shots between the red trash bag and the phone [Image, screen capture].

    Instead of using sound as a sub tool to support the flow of narrative, Tykwer emphasized it a lot in the overall film. The projection of sound volume increased every time Lola starts running, thus making the audience realize the relationship between the settings with the music. The techno music beat, in fact, lead the audience through a sensation of excitement in which the anticipation of “what is going to happen” in the audience towards the three alternate stories rise.  

    In a nutshell, Run Lola Run is absolutely a new direction of film-making for the German film industry. Instead of follow the trend of classical Hollywood movie, Tykwer displayed new aesthetic practises in film language and created a form of avant-garde art in the film-making field. If you like to dive into a realm of fantasy, Run Lola Run is definitely one of the films that embrace the escapism and would visually rouse the pleasure of watching it. 

References

No author (n.d.). Run Lola Run (1998) Plot Summary. IMDb. Retrieved July 4, 2015, from http://www.imdb.com/title/tt0130827/plotsummary

Ebert, R. (1999, July 2). Run Lola Run. Roger Ebert.com. Retrieved July 4, 2015, from http://www.rogerebert.com/reviews/run-lola-run-1999

Kosta, B. (n.d.). Tom Tykwer's Run Lola Run and the Usual Suspects: The Avant-Garde, Popular Culture, and History. Retrieved July 4, 2015, from https://www.press.umich.edu/pdf/0472113844-ch11.pdf

Gladiator

Crowe, R. (2000). Gladiator's poster. Retrieved June 22, 2015 from http://www.impawards.com/2000/gladiator_ver3_xlg.html

            The story begins with The Great Ruler of Rome; Emperor Marcus Aurelius intended to pass his throne to Maximus Decimus Meridius, the finest general instead of his son, Commodus. Out of his jealousy, Commodus murdered his father and also intrigues to do the same way to Maximus. However, Maximus was able to escape from his execution. Along his escape, Maximus sensed that his family were in great danger and instantly rushed for their rescue. Unfortunately, it was too late when he reached his home, all he could found was his wife’s and child’s dead bodies nailed on the cross. Maximus collapsed from the suffering loss of his family’s brutal death. He later realized that he was saved by an African and became slave after he was sold to become Gladiator. From slave, he strive through many fights and finally to becoming the heroic Gladiator in the Colosseum. He seeks his revenge from there.

            Through the semantic perspective, it was obvious that the settings were placed in the period of A.D. 180 Rome. The most significant stage for the thorough scenes is the Collosseum where it was the notable building in Rome. Many of the camping tents also could be seen in the early scene as to show the raging war period of Rome. Other than the Colosseum scenes, the castle of Commodus also plays as one of the major platform for the flow of narratives. 

(2000). Colosseum building [Image, screen capture].

(2000). Camping tent scene [Image, screen capture].

Despite, settings can be also used as an implication of an actor’s psychological disturbance. For instance, when Commodus came in to Emperor Marcus’s tent, there were many curtains covering almost the whole feature of Commodus. This implied that Commodus was about to do something secret that nobody would knew except him which was murdering Emperor Marcus.

(2000). Commodus enters Emperor Marcus's tent [Image, screen capture].

            In terms of mise-en-scene, props also serve as an iconic item in the overall film. In the film Gladiator, props used mostly were weapons like shield, armor, bow and so on. It is because the platform was set during the Romanian war period. Other than that, props can become the metaphor to descibe an actor’s sentiment. For example, the two tiny carved statues of Maximus family, his wife and son. Both of these tiny statues show Maximus’s immense love for his family. It reminds the audience of Maximus’s love to his family. Whenever, he encountered struggle or making a huge decision, Maximus would look at both these tiny statues and gained strength from them.

(2000). Maximus's carved statues of his wife and son [Image, screen capture].

            Furthermore, costumes and make-up also play an important role in the language of film. The status of a character can be visible with the change of an outfit. For instance, the transformation of Maximus from a slave to Gladiator is visible with the wear of armor. It also indicates how Maximus struggles and fights for his fate; from a slave gradually taking the position of Gladiator that loved by the people of Rome. The armor he wore also proves his status of becoming the savior of Rome. 

(2000). Maximus' stattus change from slave to gladiator [Image, screen capture].

Besides, divergence between the authority and the poor citizens were also evident to be seen through their clothing and make-up. For instance, the upper-class residents wore expensive fabrics embroidered with much jewelry while the lower-class citizens wore ragged or cheap cloths.

(2000). The difference of social status through clothing [Image, screen capture].

            Besides, performance of actors and actresses are also one of the important elements within a film. Performance including facial expressions and body languages of actors or actresses could emphasize or affect the atmosphere of a particular scene. While acting in front of camera, actors or actresses need to hold the skills of “naturalism” in order to emphasize the feeling in the scene and to reach the audience’s satisfaction. Although playing as a villain, Commodus was not as evil and cunning as other villains. Instead, the audience could judge him as a coward emperor and was always afraid of people around him would betrayed him one day. Commodus also does not played as a formidable character. One of his body language that told that he does not felt secure was that he often would relied on his sister, Lucilla whenever bad fate inclined to him.

(2000). Commodus gained comfort from his sister [Image, screen capture]

Moreover, atmosphere or the relationships between characters were connected with the positioning of characters or objects within a frame. By positioning the characters in particular places, the whole mood in a frame could be emphasized intensely. For instance, Commodus was positioned at a high seat in the Colosseum, showing his great authority over the people and slaves. 

(2000). Commodus sitting on high place overlook the slaves [Image, screen capture].

Despite that, director would sometimes place two male and female characters in a close position to indicate that they share a romance relationship. To take an example’s scene, Maximus and Lucilla were often seen standing close to each other in the film, indicating the vague romance relationships shared by them.

(2000). Lucilla and Maximus shared a former relationship [Image, screen capture].

            Finally, the last trait in mise-en-scene is lighting. Variant color of lighting could shape out the atmosphere of the entire scene where it could captures the audience’s attention and further their expectations. In initial part of scenes, the color lighting used was rather dim and bluish to show the miserable war atmosphere. 

(2000). Dim and bluish lighting applied in the midst of war [Image, screen capture].

In major parts of the film, dim color lighting or chiaroscuro lighting was also often used. The purpose is to portray the nervous atmosphere of the thorough narratives. For instance, when Commodus is planning something bad, low key lighting will be applied on his face. Sometimes, the director will play lights on certain facial expressions to enhance the psychological feeling of a character. For example, after the arrangement of Maximus’s escape, Lucilla met Commodus where he questioned her whereabouts. At that moment, a line of lighting source was applied on Lucilla’s eyes, indicating the mysterious plan she had prepared. Furthermore, surreal color was applied during the illusion saw by Maximus after he was injured.

(2000). A line of light source casts on Lucilla's eyes [Image, screen capture].

            Mise-en-shot is defined as how each of the shots are designed or done for a particular meaning. Different types of shot scale used in particular scenes portray different meaning behind the shots. When in conversational scene, over the shoulder shot was often used to have the audience see clear views of two characters are having a chat. Apart from that, close-up shot was often applied whenever an important expression is delivered by the actors. For instance, close-up shot on Maximus grieving over his wife’s and child’s death. 

(2000). Maximus mourned for his dead wife and son [Image, screen capture].

Sometimes, the director would shoot a frame in 360 degree angle in order to show the massive spatial environment of certain place, such as the scene where the crowds cheered for Maximus. 

(2000). Camera rotates 360 degree in this scene [Image, screen capture].

In terms of camera angle, low key camera angle was most generally applied while showing a character’s power position, like the scene where low angle was shot when Commodus capture Lucilla and threaten her. It was to enhance the villain’s characteristics of Commodus and indicates his dominant power over people around him. 

(2000). Commodus captured Lucilla and threaten her [Image, screen capture].

Compare to editing cut shot, camera mobility was less utilized in Gladiator. One of the crane shot that was visible is during the escape of Maximus though the duration was short. Crane shot or panning were usually to show the direction of a character is going.

(2000). Maximus runs away from his execution [Image, screen capture].

            In addition to film language, editing technique was massively used in the overall film. One of the techniques that had used is cross-cutting where it is to show two events happening simultaneously. This technique could be seen during the escape of Maximus in which the frame also edits to his home simultaneously, showing the arriving of soldiers to Maximus house. Besides that, impact editing techniques was applied at the end of narratives when Maximus seeing illusion of his home as he was slowly dying. The shot scale was violently changed from long medium shot to close-up on Maximus’s face. It was to indicate that he is dying and had seen the illusion of his home.

(2000). Maximus sees illusion of his homeland after he was injured [Image, screen capture].

            In the consideration of ambiance, the director emphasizes a lot on sounds. It can be stated as one of the key element to fulfill the quality of Gladiator. Scenes which involve violent fighting and blood shedding battle, the intense instrumental music will fade in and heighten the nervous atmosphere. Moreover, intense instrumental music also fades in whenever Commodus is intriguing on something. Other than that, during the scene where Maximus sees the illusion of his family, the surreal type of music plays in. 

(2000). Surreal background music plays at the end of the scenes [Image, screen capture].

Sound could utilize as a tool to express a character’s feeling. For example, when Commodus provokes Maximus to kill him by describing the death of Maximus’s wife and son, the melancholic instrumental music plays in instead. Hence, the audience will comprehend that Maximus will not take Commodus life yet, as he grief for his suffering of his wife and son.

            Gladiator is a film that is worth watching as it portrays meaningful messages of “win your own destiny” and “war only brings suffering and loss”. Although there are some buildings in the setting were modified from 3D and looks unrealistic, and many viewer criticize it as well, but the narratives told a great wisdom behind and people should focus more on the story rather than the composition.

           

Reference

No author (n.d.). Gladiator (2000 film). Wikipedia The Free Encyclopedia. Retrieved June 22, 2015, from https://en.wikipedia.org/wiki/Gladiator_(2000_film) 

No author (n.d.).Gladiator Synopsis. Fandango. Retrieved June 22, 2015, from http://www.fandango.com/gladiator_30/plotsummary