THE HUNGER GAMES: CATCHING FIRE IMDB Synopsis
Katniss Everdeen and Peeta Mellark become targets of the Capitol after their victory in the 74th Hunger Games sparks a rebellion in the Districts of Panem.
The first Hunger Games was a competent, yet unspectacular effort. It was a solid production that lacked real depth, and still still managed to gross over $400 million. The huge worldwide fan-base for Susan Collins’ books has guaranteed a built in audience and an easy chance to turn out a run-of-the mill sequel. This is not that. Instead, Lionsgate and new director Francis Lawrence (I Am Legend, Constantine), not only up their game, but they improve on the previous effort in every way.
Catching Fire picks up nearly a year after the events of the first movie, the perceived defiance of Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson) at the end of the 74th Hunger Games has started a rebellion amongst the impoverished districts against the Capitol, leading to an aggressive response by the militia to crack down on the uprising. The victors embark on a tour of the districts, which only serves to inflame things further with President Snow (Donald Sutherland) threatening Katniss with the safety of her family should the two fail to convince the public of the authenticity of their love and their dedication to the Capitol. With those efforts failing, Snow and his new Head Gamemaker, Plutarch Heavensbee (Philip Seymour Hoffman, Magnolia, Capote) introduce a “Quarter Quell” to celebrate the 75th Hunger Games. Tributes are selected from the pool of former victors, ensuring the disruptive presence of Katniss and Peeta, as figureheads of the rebellion, is eliminated.
The difference in this film to its predecessor is similar to the change-up in the Harry Potter films from Chamber of Secrets to Prisoner of Azkaban, (thanks to the vision of Alfonso Cuarón). Here, we see a better realized and tangible portrayal of Panem, the future society that emerges from a collapsed United States where the Capitol rules and exploits the twelve districts, each barely scraping by in fear while the dictatorship wallows in luxury and excess. The differences between the ‘haves’ and ‘have nots’ is better defined. Visually and socially the Capitol seems to resemble Rome more than in the previous effort. A more mature and serious atmosphere only serves to really underline the threat Katniss is exposed to. It is far more dangerous outside the arena than in it. Equally, F. Lawrence should be further commended for avoiding a sequel that reeks of repetition, there are a number of parallels between both movies, but the new characters and deeper emotional and political themes keep things fresh and engaging.
Jennifer Lawrence made an incredible debut in Winter’s Bone and continues her captivating body of work here. Starting with her head down, trying to remain apart from the rebellion to protect her family, but when it becomes clear there is little she can do and the stakes are higher she steps up. As she does, the film itself goes up a few gears, as if feeding on her energy. She, alone, is responsible for two of the most memorable scenes in the film, each boiled down to a mere expression, one a comical encounter in an elevator, the other, in the closing moments where she delivers a portent of what is to come in the following chapter. As an actor and here in the role of Katniss, she is a great role model, strong, forging her own path and not subject to selfish or superficial whims. She is a tremendous talent.
Hutcherson (Peeta) came across a little passive in the first film, but here he’s more proactive and engaged with proceedings, a character who shares the traumatic fallout after surviving the games with Katniss. Liam Hemsworth (Gale) again gets a small amount of screen time but uses it to show the solace he offers her as well as his own honor and integrity. From this development of characters, Catching Fire schools Twilight on how to handle a love triangle. Each of Katniss, Peeta and Gale act and make choices largely with others in mind or led by their moral convictions. These are relationships grown out of respect, admiration, and shared pain. The three are more developed and likeable characters than the selfish and shallow specimens found in the Twilight saga. Catching Fire shows effectively how to portray a more substantial and complicated relationship with a strong, admirable, conflicted and flawed woman.
In support to the main cast, Haymitch and Cinna are again well represented by Woody Harrelson and Lenny Kravitz, while Elizabeth Banks delivers a great turn in her role as Effie, breaking through the glamorous exterior to hint at her fears and the reality of the society she lives in. Donald Sutherland also continues his great work as President Snow. While the world presented is a darker, more threatening place, this is enhanced due to new additions to the cast. Previous victors returning to the arena include Finnick (Sam Claflin), Wiress (Amanda Plummer) Beetee (Jeffrey Wright) and the terrifying and thrilling wild-card, Johanna (impressively portrayed by Jena Malone). Their experience and knowledge of the games, both arena and political, really elevate the ensemble above the younger cast of the first film. We also have Philip Seymour Hoffman as the new Head Gamemaker putting in a cool and calculated performance, laying down roots for his role in the Mockingjay chapters of the saga.
There are still flaws, Stanley Tucci is still a little over the top for my liking as Games host, Caesar Flickerman, even bearing the excess of the Capitol in mind. The main grievance would probably be that the film feels a little long. The development of the rebellion and district tour was very well done and a far more interesting part of the film. It is after the transition to the area that things lose a little steam. It’s possible this was due to the familiarity of that portion of the film with the previous Hunger Games, even with the new introductions and greater investment with the characters.
Catching Fire presents a polished, modern take on the dystopic classics of old. It’s reminiscent of Logans’s Run and Rollerball. It lacks the subtlety of those films, and necessarily so with its younger target audience, and if it strikes a cord amongst the younger generation, that’s something to applaud. For an older audience, there is plenty to engage with, this is a ‘young adult’ novel adaptation, but it is more a story about young adults. It relates to their place in society, growing up, taking on responsibility and doing what is necessary and what is right. Hopefully the final chapters will maintain this upward trajectory and close out an entertaining, engaging and emotional series.