Mockingjay Part 1

Stranger things did happen here

MockingjayLet’s just start where we left off.  In the next section of the Hunger Games story, Katniss Everdeen (Jennifer Lawrence) heads to District 13, once thought destroyed by the Capitol (but actually putting a revolution in motion), along with Plutarch Heavensbee (Philip Seymour Hoffman), Haymitch Abernathy (Woody Harrelson), and others.  In 13’s cramped underground bunker (which made me feel like I was once again conscripted onboard the Matrix‘s Nebuchadnezzar), Katniss meets some new faces: President Alma Coin (Julianne Moore), the inscrutable-yet-not-ice-cold leader who plans on Fidel-Castro-ing her way to rulership of Panem; Cressida (Natalie Dormer), the shaven-headed-and-tattooed film director whose job is to feature Katniss in propaganda videos in order to rally support for the rebellion; Boggs (Mahershala Ali), Coin’s right-hand man, who might be more accurately described as “the guy who fetches Katniss when other people need her for something;” and Paylor (Patina Miller), the leader of the rebellion in District 8.  Most importantly (to Katniss, anyway), she is reunited with her sister, Prim (Willow Shields), such an ingénue that she’s named after the most delicate of flowers (and she even bears a resemblance to Mary Pickford).

Director Francis Lawrence navigates the slow-burning first half of the source novel through the eyes of Katniss (the lens through which the entire book series is told, and in present tense, no less), occasionally breaking away for Bad Guy Stuff between Donald Sutherland and whichever unlucky mooks happen to be within earshot of his garden-variety evil pontificating.  Otherwise, the main narrative is built of Katniss’s interactions with various others in 13, most importantly Coin, Prim, Plutarch, and the recently liberated Effie (Elizabeth Banks), seen for the first time in the series without buckets of makeup (yep; there’s a real person with real emotions under there!).  The main goal now is to rescue Peeta (Josh Hutcherson) and Johanna Mason (Jena Malone) from the clutches of the Capitol so that a full-on assault can happen without endangering the lives of those who made Katniss’s escape from the arena possible – in other words, there’s still the promise of actiony stuff for casual non-readers.  But the best parts of the film are the haunting reminders of what will come in any war story, especially one that wants to show younger folks a thing or two about the horrors of combat.  This is done not by melting people’s skin off onscreen (that’s next time), but by elegant flourishes like having Katniss sing an a capella version of “The Hanging Tree” (a made-up folk song that actually sounds like a folk song) as requested by a poor sap who’s had his tongue hacked out by the Capitol.  Moments later for us, weeks/months in-universe, a gang of citizens martyr themselves in order to destroy the Capitol’s power source, all the while singing Katniss’s song.

As Katniss must now keep track of everyone’s most minute movements, so must we.  What kind of leader will Coin be?  She wants to use Katniss as a symbol to fuel her own ambitions, but at least she’s honest about it.  Julianne Moore could have played the character as shifty-eyed and overtly duplicitous, but instead plays a character whom it’s very easy to feel close to, even though your brain is telling you to keep your distance.  Hoffman’s Plutarch reveals his sense of humor, as well as his stake in all of this, and his lone scenes with Moore’s Coin bring back fond memories of The Big Lebowski (memories that will unfortunately only be memories from here on).  Dormer’s Cressida more or less encapsulates District 13’s attitude in a single person: “We like you, Katniss, but not as much as we like the rebellion, and only as long as we can still use you.”  Miller’s Paylor is underused and underseen, especially considering upcoming events, but I’ll save that.  Almost completely MIA is Jena Malone’s Johanna Mason, who appears in a silent cameo after being rescued, yet (and this is to Malone’s unbelievable credit) we’re assured that her entire personality is still intact just by the look she gives Katniss after tearing an oxygen tube out of her nostrils.

The most important part of the Hunger Games films is the characterization of Katniss.  A film inherently cannot spend as much time inside the character as a written narrative can, but both Lawrences are intent on not reducing Katniss to a Boring Hero (that role goes to steadfast pragmatist Gale [Liam Hemsworth] – imagine if he were the main character?).  Mockingjay dedicates plenty of scenes to Katniss alone and brooding, but never whining or dejectedly sulking.  The serious PTSD has started to set in, ensuring that what’s to come in Katniss’s personal life will be neither pleasant nor a surprise.  Furthermore, attention is given to the minutiae, which affects characterization far more than any of the “deep” thematic stuff: Katniss’s adoration for her sister is illustrated through little mannerisms that they both recognize.  They sleep in a bed together like children do.  Katniss reacts the way a person is supposed to when they see a pile of human skulls in the middle of a street (hint: not with a badass one-liner about vengeance).  She’s not your straight/narrow Harry Potter type, regardless of how YA narratives may get lumped together.  But she’s not a femme fatale either, and even after three films, she refuses to be anything but human.

The final installment will be fast and violent, but if this film and Catching Fire were any indication, Katniss’s voice will be heard more clearly than the myriad explosions will.

Read my writeup of Catching Fire here.

The Hunger Games: Mockingjay Part 1 (2014); based on the novel by Suzanne Collins; screenplay by Danny Strong and Peter Craig; directed by Francis Lawrence; starring Jennifer Lawrence, Natalie Dormer, Donald Sutherland, Julianne Moore, and Philip Seymour Hoffman.

Pompeii

A new way of looking at Carbonite

pompeii-movie-still-13There’s not much reason to write about Pompeii.  It’s a formula action movie, and its plot is a facsimile of Gladiator (which is itself derivative enough).  Its dialogue is laconic, unoriginal, and plot-driven, and the cast is an ensemble of stock characters.  But I’m interested in Mount Vesuvius, particularly the eruption that wiped out an entire population of people who had no idea what was happening, and whom we know almost nothing about.  I’m interested in the imagining of who those people could have been, an impetus for filmmaking that seems extremely genuine on director Paul W.S. Anderson’s part.

Milo (Kit Harington), also known as “the Celt,” is the sole survivor of a tribe of horsemen needlessly slaughtered by those damned Romans, led by Senator Corvus (Kiefer Sutherland).  Milo is now everyone’s favorite gladiator, which means that the politicians hate him.  He shares the main narrative with Cassia (Emily Browning), Pompeii’s equivalent of a princess, who is a bit more vocal about her contempt for Rome than her reticent parents (played by Carrie-Anne Moss and Jared Harris) are.  Corvus comes to Pompeii under the pretense of helping improve the conditions of the city, when he really wants to marry Cassia, even threatening to have her parents killed for treason when she refuses.  What must happen from here?  Cassia and Milo must become drawn to one another.  Corvus must antagonize Milo, but not recognize him until a pivotal moment.  Milo must cause a scene in the Amphitheater that gets everyone talking, and then lead the remaining gladiators (which includes champion Atticus, played by Adewale Akinnuoye-Agbaje) to freedom.  The slave must defeat the corrupt politician, and the forbidden love must be allowed to bloom.  You know the formula.  Hopefully you’re tired of it, and not as hopelessly addicted to it as are so many seekers of casual entertainment, who can barely stomach the thought of real characterization (read: they don’t know what it is).

But the most interesting character is Mount Vesuvius itself, a plot device that not all other action period pieces have.  It’s fascinating to see the reactions of Pompeii’s citizens, most of whom think their Gods are punishing them for violating one silly tenet or another.  This is where the film’s characters are really defined: how they behave when an active volcano is about to devour their entire world.  Cassia, Atticus, and Milo want to evacuate as many people as possible; Ariadne (Jessica Lucas), Cassia’s servant and friend, wants to stay by Cassia’s side instead of saving herself (which yields results you can guess at); Graecus the slaveowner (Joe Pingue) wants to get out of town without a second thought for anyone else; and best of all, Corvus, along with his right-hand man Proculus (Sasha Roiz), is just petty enough to stay in a doomed, collapsing city to settle a score with Milo, even though no one’s ever going to know about it.

I can’t help but like Kit Harington, with all of his pouty brooding.  What unfortunate situations his characters find themselves in.  What loss they experience.  Emily Browning is another find.  There’s a lead actress there, and one who’s able to play tender drama and badass heroism together.  I want these two to win, even when the film’s poster essentially shows them about to die.  On the other hand, Carrie-Anne Moss, once a leading action hero herself, hard-bodied and kicking butt and doing it with Matrix-era Keanu Reeves in an elevator, is relegated to the role of the ill-fated mother (her voice role as Aria T’Loak in the Mass Effect games is a revelation; why are filmmakers forgetting that she was Trinity?).  Akinnuoye-Agbaje still plays the aloof tough guy with a code, and does considerable justice to whom his character may have been.  Sutherland phones it in, and as monstrous as his character is supposed to be, he’s nothing compared to Eva Green’s deliciously evil warrior-woman in the otherwise mediocre 300 sequel earlier this year (a film whose anachronisms and embellishments make Pompeii look like a documentary).

The film is worthwhile if you know a little bit of the history.  Anderson’s stimulus is an image of two real-life people, discovered in the excavation of Pompeii, who were entombed in the mountain’s pyroclastic flows, creating casts of their exact body shapes when they died.  The casts were later filled with plaster to create the now-famous molds of people in their final poses.  It’s romantic to think that these two may have been heroic lovers and not simply citizens holding each other in shared terror, but these people (along with another cast of a man believed to be from North Africa) inform the film’s characters, and how fantastic it is to think that these people can be immortalized this way.  Even if we’re just making up stuff about them and using their made-up story to satisfy adolescent boys on a weekend, maybe more people will become interested in the historical narrative.

Pompeii (2014); written by Janet Scott Batchler, Lee Batchler, and Michael Robert Johnson; directed by Paul W.S. Anderson; starring Kit Harington, Emily Browning, Jessica Lucas, and Adewale Akinnuoye-Agbaje.