In this film, Lola is a very un-stereotypical heroine who undergoes three nearly identical episodes in which to save her lover Manny from his mob boss.
The character of Lola critiques the Hollywood mainstream heroine in many ways. She is not a contrived Hollywood beauty. She has bright orange/red hair and punk clothing which offer a disassociative affect for the viewer, allowing them to critique the mainstream heroine and the priorities of Hollywood to alter her into a commodity rather than a true hero. She also has superhuman ability, first to alter outcomes (chaos theory) and second, to see into the future (snapshots). This also offers the viewer a chance to disassociate with her because she is unlike the viewer; though she seems real, is she? She is saving he. This is a main point because this allows the viewer to critique the "damsel in distress" role that females normally play. Lola takes control. This is prevalent especially when the exact translation of the German title is given "Lola Runs." This title more accurately portrays Lola in control-a genuine hero who is motivated to succeed so much so that she risks her life in three episodes/ tries. Lola remains a hero the whole way through the film, unlike most mainstream Hollywood heroines. Though she is unable to help Manny (because he ends up helping himself) she still gets there on time with the money retrieved (in a legitimate manner) in the last episode. She tried, tried again, and then succeeded-which makes her the hero of the story.
The cinematic effects of camera angle, cartooning, and electronic weaving all serve to disassociate the viewer from the film, in order to step back and critique it.Read more ›