The Hunger Games: Mockingjay Part 1 (2014)
Taking place immediately after Katniss (Jennifer Lawrence) was rescued from the events of Catching Fire, we find ourselves locked away underground with the residents of District 13. Long believed annihilated by the Capital, and its tyrannical leader President Snow (Donald Sutherland), the people rebuilt their society as one large series of underground bunkers, preparing for a day of revolt. The leader of District 13, Coin (Julianne Moore, under a thick grey wig), is wary of Katniss as the symbol of the revolution. She would rather fight the Captiol without her, but the people love her, and it is the common people that Coin and her team must struggle to unite and inspire. Katniss is not exactly in the inspirational mood. Her family was saved from District 12 before it was bombed but the Capital holds Peeta (Josh Hutcherson) as a high-profile captive, ready to denounce the latest aggressive acts of the rebels as foolish and dangerous. Katniss desperately wants to rescue Peeta but before she can she has to accept her fate and become the Mockingjay, the figure to rally the districts in war.
The very title The Hunger Games: Mockingjay Part 1 both tells you everything and nothing. Firstly, there are no Hunger Games anymore. This is a full-on war film, and we’re finally getting to all the good stuff, the revolutions stirring all throughout Panem we heard about and caught glimpses of before the plot required a redo of the games, repeating the structure of the first film. It felt overly redundant, especially when the stuff outside of the games was far more interesting. That structure has been cast aside and Mockingjay is a completely different film than the ones before it, focusing much more on character and the politics of propaganda. In many ways, this is a quieter film that allows the characters to deal with the trauma of their experience in the deadly arena. Even though war is fermenting and people are being bombed into oblivion, there is considerably less urgency, especially less contrived urgency. This allows the characters and the plot to breathe, the calm before the storm. Much has changed and a measured amount of time to process this is a good move. This is no longer the Hunger Games. This is war. The subterranean District 13 is the major setting of our film, which gives Katniss time to reflect on how damaged she is and her guilt over what exactly the Capitol is doing to their promotional lapdog, Peeta. The movie opens with her muttering to herself, hiding from others due to a disturbing nightmare. The psychological well being of our heroine is a ripe topic. While the world is on fire, much is once again expected of Katniss, and we get to watch her transform, awkwardly, into the revolutionary figure others require of her. The political and media critiques add another level of entertainment, as each side spins and contorts to position themselves for the news cycle. This expose of media manipulation makes Mockingjay feel in part like a post-apocalyptic Wag the Dog. Credit co-screenwriter Danny Strong, he of HBO’s Recount and Game Change fame. This welcomed change of pace and structure allows the film to finally feel like the story we want to watch. And while I’m tip-toeing around spoilers, I’ll just say that the split occurs exactly where you think, book readers.
And secondly, the “Part 1” of the title is also what defines this 125-minute prelude to the concluding movie, a fact that becomes inescapable as it seems all the good stuff is being reserved for later. While the reflective plotting allows more space to breathe, it also becomes abundantly clear that this wasn’t exactly a story that needed to be told in two parts. From a financial standpoint, I can’t argue with the decision from Lionsgate. This is their once-in-a-lifetime franchise and elongating the final film in YA franchises has become de rigueur and a box-office no-brainer. Still, the overwhelming feeling is that this is all setup and the best stuff is just ahead, a tease that the franchise also toyed with during Catching Fire, as we were stuck in the games instead of the revolution. Mockingjay Part 1 is mostly buildup; it’s entertaining and more politically adroit than expected, but in the end it’s still a story stretched out. The intriguing supporting characters from Catching Fire are still mostly put on hold. The inclusion of Gale (Liam Hemsworth) still feels relatively pointless in the scheme of things, except for prolonging the love triangle, the weakest element of the story by far, and one that even author Suzanne Collins seems half-hearted about. When the world is falling apart, who cares which boy Katniss decides to kiss? Old favorites like Haymitch (Woody Harrelson) and Effie (Elizabeth Banks) get brief appearances but little else. There is a stark decrease in action with this movie, only two real sequences of suspense, and one of them proves to be false. Strangely enough, there’s a high-stakes nighttime raid that plays out unironically like a dystopian Zero Dark Thirty finale. I await others to make a similar comparison. It’s no surprise that Mockingjay becomes more suspenseful, engaging, and meaningful just as it’s ending, leaving less on a cliffhanger and more on a latent promise. Instead, this particular movie features a lot of speeches and hushed discussions in dank quarters (the photography is rather dimly lit and hard to decipher at times). It’s not exactly rollicking.
Being a war film, atrocities are commonplace and examined openly, especially when Katniss visits the ruins of her home in District 12. Not once but twice does the camera slowly zoom out to allow the graveyard of charred skeletons to gets its thematic due. There’s only so far a mandated PG-13 rating can take you when it comes to illustrating the horrors of war, but I give Mockingjay credit for neither glossing over the loss of innocent life or glorify the leaders of this revolution, namely District 13. President Coin is shown to be a calculating and pragmatic leader who is concerned more about the big picture. She’s thankful for Katniss but just as ready to move onward and forget her. By the end of the movie, you don’t exactly have warm feelings for the people of District 13, who laid in wait, sowing seeds of rebellion with the other districts, all the while relying on their bunker for ultimate safety. The other districts are more vulnerable and more likely to feel the Capital’s wrath. Just ask the smoldering citizens of District 12.
Director Francis Lawrence (I Am Legend, Constantine) is the Hunger Games’ version of David Yates, the director who steered the concluding four Harry Potter films. Chris Columbus put that world together, but a better, more visually adept director saw Potter through to its end. Likewise, Lawrence has taken the world that the original Games director Gary Ross cultivated and given it the mood and visual heft needed for the franchise to feel properly and triumphantly cinematic. If it weren’t for this man’s visual talents, the many conversations in the dark would be even harder to watch. Lawrence has been a helpful addition to the franchise, especially as the world was starting to get more fleshed out. While I bemoan the overly gloomy cinematography (which was also an issue with Catching Fire), Lawrence has brought a necessary sense of gravitas to the series. The emotional pain and psychological torment registers, and his handling of his actors will often be overlooked thanks to the natural talent of his lead actress, but Lawrence has found a way to strike the right tone to make us care.
Speaking of the woman in question, Jennifer Lawrence (American Hustle) is already an Oscar-winning Hollywood star in her mid twenties, and she elevates these films even more. Her character is a reluctant figurehead, never having asked for such prominence, nor having asked to trigger a revolution with countless casualties. Without as much physical activity and arrow slinging, Lawrence gets greater opportunities to emote and show the fractured, conflicted feelings of the woman in the middle of the revolt. She’s not a natural when it comes to being on-camera, she cannot fake sincerity (even though she played up the whole “star-crossed lovers” angle in the first film as a means of survival, but whatever), and it’s somewhat funny watching skilled actors pretend to be bad actors. The emotions are on a hair trigger here, as rage boils over to fear and shock. Lawrence anchors the series with another surefooted, strong performance.
The real standout is Sutherland (The Italian Job). This is as much President Snow’s movie as it is Katniss Everdeen’s. Rather than plotting from the shadows, Snow gets to become the worthy villain the franchise has been waiting for. Sutherland relishes his retorts with Katniss and preying upon her. His broadcasting of an ever-increasingly frail Peeta is more meant as a crushing psychological blow, a reminder that his prized hostage will be punished for Katniss’s and the rebellion’s mounting successes. When they’re finally face-to-face once more, it’s the film’s most invigorating moment.
It’s also hard to watch the movie and not feel grief over the loss of actor Phillip Seymour Hoffman. Mockingjay Part 2 will officially be the actor’s last onscreen appearance. He’s good, though the part isn’t exactly challenging, but the real pang is the realization that we’ll never get another Hoffman performance. Once the final minute of Plutrarch Heavensbee is gone onscreen, so is the cinematic ghost of a ridiculously talented man who was taken from the world far too soon. In a nice gesture, Mockingjay Part 1 is dedicated to his memory.
Once more into the breach, dear friends, as Mockingjay Part 1 lays the way for the promise of an exciting and action-packed finale. The extra pause, the last breath before the melee, is both a blessing and a curse. It allows the film to break away from the plotting of the previous two entries and it provides a refreshingly reflective opportunity peppered with intelligent conversations about the political process and propaganda. It also stretches out a story that proves it did not have enough plot points to justify the expansion. No matter, the cash registers will ring loudly as the world’s hunger for the Hunger Games knows no limit. Lawrence and a team of great supporting actors help provide reasons to keep watching, as well as the increasingly dire circumstances of the war against the districts. This intermediary film serves as a bridge to the exciting conclusion, the assault on the Capitol. Let’s just hope that audiences don’t feel too stingy about paying to watch a two-hour trailer for another movie.
Nate’s Grade: B-
Posted on November 20, 2014, in 2014 Movies and tagged book, drama, dystopian, elizabeth banks, jennifer lawrence, josh hutcherson, julianne moore, phillip seymour hoffman, sci-fi, sequel, stanley tucci, strong heroine, war, woody harrelson. Bookmark the permalink. 4 Comments.