The only solution
Jennifer Lawrence returns for another romp as Katniss Everdeen, but this time under the direction of Francis Lawrence, who has only directed formula films, but has both experience with character-centric sci-fi and the good sense to direct Catching Fire as more of a reserved drama than a Cloverfield-esque “found footage” battle epic.
J-Law is springboarding from a Best Actress win last year (undeserved over Jessica Chastain, but deserved in and of itself), and she shows no lack of seriousness as Katniss. In the story, which features our heroine living through the year after the original Hunger Games, Katniss experiences severe night terrors and still lives in general poverty despite the monetary reward for her victory. Perhaps worst of all, President Snow (Donald Sutherland), the autocratic ruler of Panem, has a personal vendetta against her for publicly embarrassing the Capitol and forcing their hand at the end of the Games. He approaches her at home and strong-arms her into participating in the Victory Tour, during which she and co-victor Peeta Mellark (Josh Hutcherson) are to publicly thank the Capitol for their generosity, and to convince the masses of their love for each other, which Katniss faked in the first story in order to increase the “reality TV” value of the Games broadcast and win the hearts of the viewers. Schmucks like TV host Caesar Flickerman (the ever-hilarious Stanley Tucci) eat this stuff up, but the people in the Districts are not fooled. Revolution is brewing, and unbeknownst to Katniss (but knownst to us!), she is their symbol.
Meanwhile, Gale (Liam Hemsworth) harbors real romantic feelings for Katniss, and after an impromptu kiss, claims that he “had to do that at least once.” What a wretched attitude. Even after knowing her since childhood, he can’t just be her friend? Regardless, the director wisely stays away from the romantic triangle that bogarted much of Katniss’s brain in the novel, because as readers know, it doesn’t really matter. Gale, alongside Katniss’s family (played by Paula Malcomson and Willow Shields) have their own problems: Snow brings the hammer down on District 12, threatening to raze everyone’s homes if Katniss doesn’t behave during the tour. He brings in Commander Thread (Patrick St. Esprit) to enforce martial law on the District, flogging people in the square for minor infractions, and shooting people on sight for breaking curfew. It’s all fairly silly, mustache-twirling villain material, but St. Esprit sells it, despite his short appearance, with one of the scariest performances I’ve recently seen.
The Victory Tour, of course, does not go as planned. It mustn’t. Katniss and Peeta ditch the speeches given to them by human peacock Effie Trinket (Elizabeth Banks) and instead speak to District 11 about the friends they lost in the Games. The scene is truly emotional and difficult; these are the kinds of scenes we need in YA. Scenes that remind the target audience (read: teenagers and impressionable people) that killing people isn’t fun and exciting, that military life is not made of glory and reward, regardless of what the heavy-metal TV propaganda says.
Through one thing and another, Snow realizes that the only way to shut Katniss up and turn the people against her is to put her back in the arena. Because this is the 75th year since the installation of the Hunger Games (an event meant to illustrate the Capitol’s power over the people), a special Games must be held. This time, the tributes are reaped from the existing pool of victors, and since Katniss is the only victor in the history of her district, hers is the only name in the bowl. Katniss’s grizzled, alcoholic mentor, Haymitch Abernathy (Woody Harrelson) is also chosen, but Peeta predictably volunteers in his place. Even Effie, the Capitol’s bright-eyed mouthpiece for the reaping in the first story, starts to feel the agony of this process, showing reservation in the live broadcast and weepily apologizing to Katniss in private.
Something isn’t right in these Games – half the tributes seem to be protecting Katniss from the other half. Katniss meets previous victors Johanna Mason (Jena Malone!), a fiercely intelligent and sarcastic axe-wielder who goes so far as to strip naked during a long and confined elevator ride simply to make Katniss uncomfortable; Finnick Odair (Sam Claflin), a vain musclehead with a big mouth; Beetee (Jeffrey Wright), an eloquent and rather enigmatic engineer who knows everything about manipulating electricity; Wiress (Amanda Plummer), Beetee’s partner, who seems unstuck in time; and Enobaria (Meta Golding), one of the “Career” tributes (people who train from birth to volunteer for the Hunger Games and usually win), who has had her teeth filed into fangs for purposes you can guess at. Moreover, Snow has brought in a new head Game Maker, the unfortunately-named Plutarch Heavensbee (Philip Seymour Hoffman), to ensure Katniss’s death by any means necessary. The star power is almost too much to handle, but amazingly, the characters all fit into their roles well. The issue with having so many great actors in supporting roles, however, is that each of them only get so many lines, and only so many of that small number are memorable – a shame when considering how little we’ve seen Amanda Plummer lately.
Thanks to Suzanne Collins’s original prose, Katniss is never a Boring Hero. Despite the action in which she participates, she never seems like a role meant for [insert popular male action star]. She’s layered. She’s feminine. She’s strong-willed, but she’s as scared as any of us would be. She’s determined, but still a kid in all respects; she’s never going to have the perfect plan. She must learn, she must toil, she must improvise. Since Collins was a producer on the film, the narrative sticks pretty closely to that of the novel, and the perspective never breaks away from Katniss (save minor breaks for evil dialogue between Sutherland and Hoffman), which means Lawrence has to carry the story on her back. She does. She just does.
Jena Malone, however, steals the show whenever she’s on. A multi-talented actress/musician playing a multi-layered character whose complexity does not match the amount of attention she gets in the film, Malone completely owns Johanna Mason (one of the best characters from the novels) at every corner. One second, she’s mercilessly taunting Katniss. Another, she’s laying down her life for her. But even in a film under two hours, this relationship is earned. Far more so than the “will they, won’t they” between Katniss and Peeta, leastways. What is her true allegiance? What will her fate be? There are some answers, and some big questions left to the next story. The filmmaker, in an uncharacteristic move for this kind of film, avoids shoehorning in character deaths for emotional impact or creating big boss battles to ensure audience satisfaction. No one gets any particular comeuppance here, and only with the absence of that do we see how much these formulas routinely distract us from real attention to character.
I have one fundamental issue with The Hunger Games: the fact that it was made into a movie at all. Here you have a story that essentially displays how reality TV and movies that people become addicted to are actually harmful tools used by the power structures to keep people complacent. This is a piece of text, a piece of writing, i.e. the freest and most liberal form of art, made to closely mirror our current culture and to demonstrate the court of public opinion’s destructive power, and now you have made it into a movie, into which people dump endless sums of money, and which you have advertised on network TV channels that also show reality TV shows and conservative news. So as stories, I like The Hunger Games, and as visual art, the films have something, but it’s a property that contains a vicious commentary on our power structures, and it has now been appropriated by our power structures, which is exactly what Big Brother does. This dystopian future is not a future: it’s where we are now. It was the present when Huxley and Orwell wrote it, and it is the present now.
The higher-ups see something that might start a fire (to use a metaphor from the book) – in this case, young people (namely women) starting to think that the government may not have their best interests in mind – and they say, “We must take possession of that. If it looks like we support it, the people remain on our side.” Sound familiar? I wonder who those involved in the films’ production think the “real enemy” is.
The Hunger Games: Catching Fire (2013); based upon the novel by Suzanne Collins; screenplay by Simon Beaufoy; directed by Francis Lawrence; starring Jennifer Lawrence, Jena Malone, Josh Hutcherson, and Woody Harrelson.