Run Lola Run (Lola rennt)

Dir: Tom Tykwer

1998

*****

Tom Tykwer's cult 90s hit Lola rennt (Run Lola Run) is one of my favourite films of all time. It had everything I didn't know I wanted from a film, it broke all the rules and did so magnificently. It also acknowledges those that helped it get where it was and draws and maps its influences in a beautifully respectful manner, out of tribute and out of great love. It is reminiscent of Krzysztof Kieślowski's 1981 film Blind Chance, Kieślowski being a clear influence on Tykwer, with the German director since finishing the Polish director’s last film after he died. A lot of the imagery, particularly the spirals, are a direct influence from directors such as Alfred Hitchcock (as seen in Vertigo) and the overall plot feels like an updated version of a story he could have written, albeit in vivid colour and a dance soundtrack. The film's many themes range from the idea of chance, determinism vs. free will, chaos theory, the butterfly effect and the idea that there is an infinite number of parallel universes. This in turn touches on certain philosophies, such as Libertarianism, an idea that upholds liberty as a core principle, seeking to maximize autonomy and freedom of choice, voluntary association and the importance of individual judgement. Epistemology, which explores the nature of knowledge, the justification and rationality of belief and the analysis of its nature in relation to concepts such as truth and scepticism, scope and the overall criteria for true knowledge and its justification. It also taps into otherworldly spiritualism (the reoccurring scene featuring the blind women) and compatibilism, the belief that free will and determinism are compatible ideas and that it is possible to believe in both without being logically inconsistent, that that freedom can be present or absent in situations for reasons that have absolutely nothing to do with metaphysics, free will being a freedom one has to act accordingly to one's motives without arbitrary hindrance from other individuals or institutions. However, the fact that it is Lola's free will that changes the events for every character (because no one else seems prepared to take resolute and self-aware actions as she does) it does push the idea that absolute control of your own surrounding can be achieved by free-will. It seems other in the film (generally played by famous German TV or sports stars) understand this also and speak to Lola as if they've met her in parallel timelines already. This isn't Sliding Doors though, this is far more supernatural in many respects. Of course at the time I heard many people consider it as nothing more than an art house performance that sees a women running for ten hours straight and I know many who missed it first time round because they believed it. Theology aside, at the heart of Run Lola Run is a faced-pace, adrenaline-fueled thriller romance, with unexpected but well-conceived sections of animation and one of my favourite soundtracks of all time. I totally fell in love with Franka Potente after this as did pretty much every guy I know, it may sound strange but I've never seen anyone act as well as she did while running at high speed. Every frame counts and absolutely nothing is wasted, it breaks down convention while still appealing to the mainstream, it asks technical questions while reaching peak levels of entertainment throughout its run time and all of life's issues are explored through the motion of a woman running. It is a seriously overlooked masterpiece and one of my favourite films of all time.

A Hologram for the King

Dir: Tom Tykwer

2016

****

Tom Tykwer's adaptation of Dave Egger's novel A Hologram for the King is a somewhat perplexing affair, which is in my opinion, the best way of going about it. A Hologram for the King deals with confusion, panic, regret and frustration without focusing on a particular group or section of society, if anything, it is focused on everyone, as at one time or another, one of these emotions will effect you, more often than not, completely unnecessarily. The story doesn't make a whole lot of sense, it's about confusion after all, so actually it makes a lot of sense. Life is ridiculous at times and Tykwer has visualized this perfectly. I love the film's total irreverence to formula, what may come across as clumsiness is actually rather refreshing, indeed, it is refreshingly awkward to watch and yet I didn't leave the cinema scratching my head or being puzzled as to what the film was all about. Tom Hanks clearly gets it and gives an outstanding performance accordingly. I thoroughly enjoyed it, it's a rather surreal journey of conflicting ideas that actually makes perfect sense. Great films make you look at yourselves, I've never been to Saudi Arabia, I know nothing about holograms (other than that they are very cool) and I've never had to sack a factory of workers but I have complete empathy with Tom Hanks' character. The film flickers between comedy, tragedy, drama and romance quite smoothly, even though each genre feels as unexpected and misplaced as the last. A hell of a lot happens in very little time but that said, nothing feels rushed, complex or simplistic. It is a complete contrast to the last film I watched (Hector and the Search for Happiness) which was a tiresome exploration of a similar issue. A Hologram for the King never preaches, there is no real message to be had, just an example of an everyday occurrence. One mans trip to the chemist is another man's journey into the desert to sell a King futuristic communication devices, it's the abnormal everyday, a surreal journey into the ordinary. A beautiful contradiction meets the spectacular ordinary, I found it to be strangely comforting and consistently engrossing, which I find to be quite typical of a Tom Tykwer film.

The International
Dir: Tom Tykwer
2009
***
The International is never over the top and never unrealistic, it is a grown up sort of thriller but if your a big Bourne fan then you may feel a little disappointed. Personally, I felt it was a breath of fresh air that the genre needed and you certainly can't go wrong when you cast Clive Owen and Naomi Watts (well, most of the time anyway). Okay, so it doesn't have the unexpected twists and turns that many a modern thriller does but when you start to think that the plot is very feasible, then it gets a little scary and that is where it succeeds. I thought it was pretty good but that said, I think Tom Tykwer is a director who can do better and I don't think this is him at his full potential.

Cloud Atlas
Dir: Andy Wachowski, Lana Wachowski, Tom Tykwer
2012
***
I read the book first. Hark at me. I didn't hate and I didn't love Cloud Atlas the book, I was right down the middle. I did however feel like I deserved an award for perseverance when I'd finished it, I at least expected everyone I passed in the street that day to either high-five me or pat me on the back. The use of language is clever and often wonderful but unfortunately, often underwhelming. I believe the challenge is intentional, but I read for pleasure and stimulation more so than bewilderment and puzzle. I enjoyed the Luisa Rey chapters and I loved every word of The Ghastly Ordeal of Timothy Cavendish chapters but I disliked An Orison of Sonmi~451 and loathed the Sloosha's Crossin' an' Ev'rythin' After section of the book, I would have stopped then if I hadn't had got so far. I found reading that style headache inducing. I wasn't that fussed about Letters from Zedelghem much either but The Pacific Journal of Adam Ewing part 2 made up for the first part and at least gave some conclusion as to what the hell it was all about. Not a particularly satisfactory conclusion but to be honest, I'd guessed the ending about half way through and I was glad I'd finished it. The film flipped everything on it's head for me. The chapters I disliked in the book really came to life and the chapters I loved were close to awful. The pub scene in The Ghastly Ordeal of Timothy Cavendish was awful. The Luisa Rey chapter lacked any of the suspense and thrill of the book and yet, the An Orison of Sonmi~451 chapter was really good and the Sloosha's Crossin' an' Ev'rythin' After section finally made more sense to me. The editing was nuts and the film was overlong. Just like the book really. After watching the film I felt exactly like it did after reading the book, so in that sense it was a faithful adaptation. It is a masterpiece but with glaring problems. The overuse of prosthetic noses was probably quite apt as it is like putting a Groucho Glasses & nose mask on the Mona Lisa. Don't get me started on the stupid idea of casting a select few actors in all of the roles...