An important but hardly perfect movie, The Hunger Games is however great enough to justify the fuss. The monster box office generated by this first installment of Suzanne Collins’ bestselling trilogy of YA novels is helping The Hunger Games and heroine Katniss Eberdeen become primary cultural influences on tens of millions of real young adults. In short, The Hunger Games is the American Harry Potter.
It does suffer from phoniness in how it depicts humanity operating under grotesquely insane situations. People don’t easily hunt people. Kids especially don’t. And if they did, they wouldn’t yuck it up like the cool kids at summer camp. Yet while killing is alien to the nature of teens, sexual attraction isn’t. Thus teen boys and girls would do The Deed if they found themselves alone in a luxo suite knowing that they were likely spending their last night on Earth.
Despite flouting the above, the story wields power because the “tributes” look and sound like All American kids, albeit they’re operating in a bizarre hybrid of ancient Greek mythology and 22nd century virtual-reality game show. How messed up is the game play? It makes the games in Gladiator look civilized and today’s reality shows look like silent movies. Savage and supernatural, IOW. Somehow it all works.
Bring on the sequels. We need more Katniss Everdeen. Grrrl power has never been like this before.
Enter the pantheon, Jennifer Lawrence, creator of the greatest Tough Girl yet, a new kind of action hero. Some critics have damned her with the faint praise of reprising her character from Winter’s Bone. More to the point is that her Ree Dolly and now her Katniss Everdeen are perhaps the most healthily strong female heroes the movies have ever seen, simultaneously post-feminist and neo-traditionalist. Katherine Hepburn must be looking down from Silver Screen Olympus realizing that she came along way too soon.
Highlights from the large supporting cast:
How big is this film? The credits included three dozen stunt players, along with three dozen grips and riggers, not to mention the sixty hairdressers. That last contingent was no doubt required to doll up the metropolitan sophisticates, who seem to take their fashion cues from Madame de Pompadour and the debauched court of Louis XV.
The killing of kids by other kids is handled tastefully, which seems an absurd sentence to write, but is true. Put it this way, the movie passed the no-need-to-cover-your-eyes test.
The Supernatural rFactor comes from the ability to convert virtual reality into actual reality, such as calling up fire-balls to hurtle through a forest, or wild animals to be created and unleashed out of thin air. Perhaps the book explains this away, but it appears supernatural in the movie.
Now let’s talk politics. Both Left & Right can feel vindicated by what the movie implies.
Regarding BrianSez’s Review
Strong endorsement Bri. Can’t wait to see it.