The Hunger Games: Catching Fire
Hunger Games: Catching Fire, The (2013)
★★★★ / ★★★★
Though she has triumphed over the 74th Hunger Games, an annual ritual in which a male and a female are randomly chosen to represent their district of residence and fight against other Tributes—as well as one another—to the death, Katniss Everdeen (Jennifer Lawrence) finds herself in a post-traumatic dirge, seeing faces and hearing voices of those who did not survive. Meanwhile, President Snow (Donald Sutherland) has begun to worry about a possible uprising because Katniss has inadvertently become a symbol of hope—toxic to the totalitarian regime.
The point of the yearly custom is to instill fear among the twelve districts but since Katniss’ victory, more are willing to step forward and express their disdain for the status quo. Snow wishes to eliminate Katniss as soon as possible, but a new gamemaker (Philip Seymour Hoffman) explains that if she is killed, people will surely overthrow the government. Instead, he proposes that Katniss, along with her friend and co-winner, Peeta (Josh Hutcherson), be pitted against past—and deadly—winners for the 75th Hunger Games.
“The Hunger Games: Catching Fire” is a strong sequel because the main goal of Simon Beaufoy and Michael Arndt’s screenplay is to expand its dystopian universe while the thrilling action sequences are allowed to fall into place. Upon closer inspection, this approach shares the same genome as superior second chapters, from Christopher Nolan’s “The Dark Knight” to Bryan Singer’s “X2.” Though we are familiar with the central characters, there is a freshness in what we come to experience because there is a consistent and defined point of view. Through Katniss’ anger, guilt, and fear, we learn to appreciate not only who she is as a protagonist but also the type of world she lives in. The filmmakers make an active decision not to simply rely on the good-guy-versus-bad-guy template and assume that just because someone “good” is up against a “big bad” does not mean he or she is worthy of our time. They work for it. Those in charge of the material are willing to go into specifics and so the final product is transportive.
Lawrence has so much range and she is the reason why Katniss is worth knowing—lightyears more interesting than the likes of Bella Swan or Melanie Stryder. For instance, part of the essence of the picture is the characters’ relationship with the media. Katniss and Peeta must pretend to be a couple when the districts and the all-seeing Capitol are watching. Katniss is instructed to smile, be happy, and act in love. Lawrence makes interesting choices on how to present Katniss during interviews. While we see the character following instructions she has been given, there are split-second moments—subtle body movements—when Lawrence allows Katniss to appear uncomfortable and communicate how much she hates participating in the charade. In other words, the actor is completely pulling the strings while her character attempts to put on a show. There is a difference and it is a challenge to accomplish with grace.
It is most interesting that the picture spends well over an hour to expand the circumstances and build what is at stake. When we get to the tournament—which, admittedly, I looked most forward to—it is almost less engaging compared to the machinations and politics in Panem. I found this appropriate. Because the first half gives us a chance to appreciate the film’s universe, the game itself has gone stale, almost shallow. What I wanted to see more is the growing rebellion. President Snow expresses great concern—building up to silent panic—about the government being overthrown but we are not yet provided distinct factions to allow the threat to be personified. The next chapter should prove most fruitful.
I do not mean to suggest that the challenges that the Tributes face in the strange tropical island are not exciting. On the contrary, it offers some moments of real suspense. For instance, it features the most menacing white cloud of terror since Frank Darabont’s “The Mist.” I also enjoyed being suspicious of Katniss and Peeta’s competitors. I never trusted any of them (Jeffrey Wright, Amanda Plummer, Sam Claflin, Lynn Cohen, Alan Ritchson, Jena Malone)—even if a few have proven several times that they are allies. I caught myself looking for the smallest hints—to anticipate the acts of betrayal. A good movie dares to keep you on your toes. I knew then that I was engaged.
Based on Suzanne Collins’ novel, “Catching Fire,” directed by Francis Lawrence, is great entertainment because it cares about details not only when it comes to what is seen on screen but also what is felt by the characters and how we feel toward them. Notice the significant contrast between Katniss’ drab grayish-blue world—one that she covets nonetheless because of her family and community—and the pavonine, lush celebrations in the Capitol—a world that does not earn an iota of her respect due to what it represents.