The Hunger Games was a delight in 2012, merging elements of Winter’s Bone, Battle Royale, The Running Man, Blade Runner, Never Let Me Go and quite a few others to create a grim and compelling vision of the future. The only thing that bugged me about Gary Ross’ film was the excessive use of shaky cam, which distracted from the sense of oppression and fear intrinsic to the setting. Happily, the cinematography of The Hunger Games: Catching Fire is, as one satisfied viewer put it, as steady as the bow of Katniss Everdeen (Jennifer Lawrence), allowing greater appreciation of the wide vistas of the various districts, as well as the malevolent jungle of the arena in which the Quarter Quell Games take place. A stark colour palate conveys the sombre situation of District Twelve, where Katniss along with fellow victors Peeta Malark (Josh Hutcherson) and Haymitch Abernathy (Woody Harrelson) prepare for their victory tour. Meanwhile, Katniss must balance her growing feelings for Gale Hawthorne (Liam Hemsworth) with the need to protect her family, especially as President Snow (Donald Sutherland) responds to the stirrings of rebellion.
In an early scene, Snow asks Katniss if she would like to be in a real war, indicating the wider ramifications of this instalment. We see more of Panem this time around, including the other districts and the oppression they suffer, as well as the decadence of the Capitol, where a far more garish mise-en-scene emphasises the excess and over-indulgence of the inhabitants who take purging agents to make themselves sick enabling them to eat more, while people in the districts are starving. This sociological dimension is one of the strongest elements of The Hunger Games franchise, as its dystopia is based upon class divisions held in place by an iron fist. As the seeds of rebellion begin, the ironically named Peacekeepers crack down on dissenters, whipping people in the streets and, at one point, threatening to shoot Katniss where she stands until Haymitch points out the negative publicity.
The media presence of the Hunger Games victors, and indeed the media as a tool in Panem, is for me the other key elements of the franchise, explored in greater detail on screen than on the page. I read Suzanne Collins’ The Hunger Games after seeing the first film, and am reading Catching Fire at the moment (I’m funny with books). Being a first person, present tense narrative, Collins’ prose never wavers from Katniss’ perspective, and while a lot of detail can be included in Katniss’ internal monologue, the films take a wider perspective and show events beyond her experience. In particular, scenes of the control room and interactions between Snow and his advisors, especially the new head game-maker Plutarch Heavensbee (the late, great Philip Seymour Hoffman), demonstrate the mechanics and predictions of propaganda, such as Plutarch’s chilling line: ‘I agree that she should die but in the right way’ – i.e. on television. While The Hunger Games emphasises the malevolent ideology of having children fight to the death, Catching Fire demonstrates the power of the media to both the state and the populace, a power that is all too apparent in contemporary society.
Catching Fire, therefore, builds upon the premise of its predecessor, doing what all good sequels do – expand the world, give us what is familiar but also what is different. The legacy of the first film appears as trauma, as Katniss wakes from a nightmare and, when it is announced that the tributes for the 75th Hunger Games will be drawn from the pool of winners, makes a desperate, futile flee into the woods, the scene palpably expressing her panic and horror. To have been through hell and then be informed that you’ll be doing it all over again (she is, after all, the only living female victor in District 12) would be horrendous, and the film conveys the fear and dread of such an ultimatum, with the added understanding that this is an act of political oppression conceived by Snow and Plutarch. Here is the greater scope of Catching Fire, the development of the initial premise to allow a fuller understanding of the fictional world.
Some interesting features, that were not evident in The Hunger Games, become apparent in Catching Fire. In the first film’s reaping scene, a video is shown that recounts the historical Uprising, including footage of nuclear blasts. When I saw this, I took it to be stock footage or simply special effects put into the propaganda film by the Capitol’s producers. But when Snow threatens Katniss, he reminds her of District 13, which was reduced to a radioactive ruin during the Uprising, and remains a potent symbol of the Capitol’s power. Furthermore, once the Games begin, Catching Fire does not simply repeat the survival drama of the first film, with Katniss battling the various perils and other tributes as they come at her. Catching Fire has plenty of action set pieces during the Games, including ferocious baboons (much like the ghastly After Earth), poisonous mist, forcefields and gigantic waves, but also an element of mystery as the other tributes assist her and each other to a surprising extent. Having not read the book, the final revelation and its resultant cliff-hanger came as a genuine shock, opening the tale even wider. Fans of the books report that Mockingjay is the weakest of the trilogy, but I eagerly anticipate where the story will go from here.