Talent: Gary Ross (Dir.), Suzanne Collins (Writer), Jennifer Lawrence, Josh Hutcherson, Woody Harrelson, Elizabeth Banks, Lenny Kravitz
Tagline: “The World will be watching”.
Worldwide box-office: $155,000,000 (25/03/12)
‘A perverse evolution of the X-Factor during which, as opposed to murdering classic songs, young hopefuls compete to murder each other, complete with exhaustive commentary, in-depth analysis and lurid live action replays’.
PLOT
In the not too distant future, a morally anaemic shadow of its former self, the United States is now a nightmarish vision of totalitarian terror known as Panem. After a brutal civil uprising the ruling classes live a life of decadence and excess amid the nauseating pastels of ‘the Capitol’.
Beyond ‘the Capitol’ in the 12 outlying districts of Panem, life is a stark and colourless existence of poverty and hardships. Each year a young man and woman from each of the 12 districts has the dubious honour of being chosen by lottery as ‘tribute’, whisked off to the Capitol to be preened and pampered, before taking part in a televised death match known as ‘The Hunger Games’.
A perverse evolution of the X-Factor during which, as opposed to murdering classic songs, young hopefuls compete to murder each other, complete with exhaustive commentary, in-depth analysis and lurid live action replays.
The Games serve as a reminder to the masses of the futility of rebellion and act as a penance on behalf of the districts for rebelling against the government, while providing for each of the ‘tributes’ an opportunity to escape the hopelessness of the districts for the fortune and glory of the Capitol.
Volunteering in place of her younger sister Primrose, a fearful but determined Katniss Everdeen (Jennifer Lawrence), along with fellow tribute Peeta Mellark (Josh Hutcherson), must journey to the Capitol under the watchful eye of mentor and former Games victor Haymitch Abernathy (Woody Harrelson).
As the Games draw nearer the two young tributes are left with the feeble hope that ‘the odds will be ever their favour’ and the stark reality that they may have to kill each other to survive. For there can be only one victor.
‘The Hunger Games is that rarest of films in which substance and talent combine in a story which is as moving as it is challenging’.
REVIEW
The Hunger Games is that rarest of films in which substance and talent combine in a story which is as moving as it is challenging. In a world where the default reaction to those around us is one of self-interest, Suzanne Collins’ novel dares to offer a contrary world view in which we are moved to recognize a desire essential to each of us: the desire to sacrifice ourselves for others.
This central theme of self-sacrifice which runs throughout the novel, faithfully adapted in Gary Ross’ film, challenges us to respond generously to this desire. The film asks the question: ‘If you were in this situation, what would you do? Would you volunteer yourself in the place of a loved one as Katniss does? Would you have the courage of your convictions and follow them through to whatever end?
The film’s effectiveness in conveying clearly its uncompromising message and its eagerness in asking difficult questions is founded on Ross’ ability to allow the film’s form and content to complement each other, as opposed to having them compete for priority.
The method serves the message, rather than drowning it out, and the message is this: There can be no glory without self-sacrifice, no victory without obedience. An exhilarating if unsettling thought to be sure, from a film that exhilarates and unsettles like nothing else we’ve seen from the genre.
In contrast to the Harry Potter and Twilight films, The Hunger Games displays an appetite for more than mere entertainment or cheap thrills. Not satisfied with appeasing its target audience, the film aims to set a new standard in Young Adult fiction which offers a glimpse at the bigger picture. How often are we able to say that about a Hollywood movie that has been, undeniably, a critical and commercial smash?
In Katniss Everdeen we have a heroine who is actually heroic; not only in extraordinary circumstances but in the ordinary business of doing her duty towards her family, out of the love she has for them. Katniss’ willingness to sacrifice herself for those dear to her by volunteering for the Games in her sister’s place gives the film its focus and sets the tone for the events to follow. In this respect, the film’s convictions hang on the strength of its young lead’s performance and Jennifer Lawrence exceeds all expectations.
‘In contrast to the Harry Potter and Twilight films, The Hunger Games displays an appetite for more than mere entertainment or cheap thrills’.
Comparing her performance in The Hunger Games with the thrill of seeing World Footballer of the Year Lionel Messi play, director Gary Ross described Lawrence as “a once in a lifetime talent”. If The Hunger Games is remembered for one thing it will be the prodigious talent of Jennifer Lawrence as Katniss Everdeen, a true role model for the Young Adult genre now given a new lease of life.
The look and feel of the film was crucial in establishing the intensity of the narrative. Ross uses hand-held cameras exclusively; the action has an immediacy which gives us a sense of the drama of the Games, and allows us to empathise more readily with Katniss and the other tributes throughout.
Critics of the film have expressed issue with the over use of the hand-held camera which, despite giving the film its own distinct visual style, does at times distract from the more emotionally involving scenes.
The film has its flaws like any other but the immediacy of the action prevents us from detaching ourselves from the brutality which characterises the story, a jerky and nauseating reminder perhaps, that the violent reality of the Games cannot be divorced from the entertainment they provide.
It seems providential that The Hunger Games should have been released within touching distance of Easter. As Christians contemplate the drama of the Passion, united to Christ crucified, the similarities between the narrative of the first of The Hunger Games trilogy and that of the Easter Triduum are striking.
The character of Katniss Everdeen chooses to suffer in place of those she loves, as Christ does on Holy Thursday. The cost and the value of loving and willing sacrifice is centre stage throughout the Christian community as it should be during this holy season but also, surprisingly, it is centre stage in Hollywood and forefront in the minds of movie-goers everywhere.
‘Katniss Everdeen [is] a true role model for the Young Adult genre now given a new lease of life’.
VERDICT 4 out of 5 stars
Striking a difficult balance between challenging its young audience and living up to the fan-fuelled expectation created by Suzanne Collins’ bestselling novel, without pandering to it, The Hunger Games reconnects Young Adult fiction in the wake of the Twilight phenomenon (a kind of fanged, hormonal hunger games in its own right) with the redemptive reality of self-sacrifice.
