The use of dance music and the synergy of narrative vehicles in Run Lola Run

Run Lola Run (Tom Tykwer, 1998) is unconventional on many levels. Its narrative structure, editing style and use of mixed media are highly ambitious. Director, writer and composer Tom Tykwer had a strong creative vision for the film and wanted to captivate and fully engage the viewer. The underscore consists of prominently featured through-composed dance music. The chosen musical idiom is a pastiche of contemporary dance music, rock and pop, combining hypnotic techno beats with mainstream rock appeal. The cue Running One is analysed with regards to the correlation of music and (non-)diegetic sound, as well as music and visuals. The article considers the effect of dance music on the listener, the chosen musical idiom is described as an ideal choice to have a high level of impact on the target audience. The synergetic relationship of the narrative vehicles in Run Lola Run proves effective in attaining the dramatic expressiveness Tywker envisioned.