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Note
#1: I would like to warn you or set everyone reading at ease, I have not read “The
Hunger Games”. I am on about line 100 on
my Kindle. From conversations I have had
with those that have, I understand that a majority of my criticism is for the
movie only and not specifically for the novel.
Note
#2: I go in graphic detail about the final 15-20 minutes of the movie so…SPOILER
ALERT!!! If you haven’t seen it, stop
reading, buy a ticket, watch it, then come back. Then after reading, go see 21 Jump
Street. Seriously.
Before I begin my lashing of Gary
Ross’ adaptation of Suzanne Collins’ “The Hunger Games”, I just want to say
that the first hour and a half or so are fantastic. Ross, using Collins’ own script, is able to
show a world and characters full of inequality but not total despair. Jennifer Lawrence is her usual fantastic self
as the heroine Katniss. Ross showed
wonderful attention to detail in his previous live-action films Pleasantville
& Seabiscuit and he doesn’t fail here.
The total and complete opposite color schemes of the two completely different
yet connected worlds are striking.
Best of all, though, is Ross’ subtle but
completely effective and powerful sequence in the immediate prelude and
beginning to the Games. The scoreless
sequence allows the audience to reflect on what has happened up to this point
and allow the audience to make their own decision as to how to go about these
Games and the dire consequences of bad decisions. Unfortunately, that is where the relating to
the characters ends.
From that point on, “The Hunger Games”
slowly falters until it ends with a resounding thud. A thud so loud I think to the bored people in
the American Reunion showing heard loud and clear. How Gary Ross, who helped us love spoiled
kids thrown into a 1950’s TV show and three different Depression-era people
& a horse, was unable to allow the audience care about a starving teenager
and her secret admirer in a game played to the death is relatively simple.
The first problem is the inability to
convey that the Games are nothing more than a twisted punishment by the Capitol
on the twelve Districts instead of the television extravaganza that the second
act perceives it to be. Think about
every time during the Games a scene takes place outside the arena. There are three types of scenes: the
President & the director talking, the director in the control room and
Woody Harrelson negotiating with “sponsors”.
What is missing are shots of the audience. All that is needed are a few scenes of
recurring characters, just regular people like the bar patrons or security
guards or the guy in the tub like in The Truman Show, just watching the Games
and commenting or complaining about the lack of action.
The second problem is the rules to the
Games. I see that the Games over time
have become the annual event for the Capitol and its uniquely dressed citizens
and the government runs the whole operation.
But, why the rush to end the Games?
Who wants the Games to end a quickly as possible? The audience?
Since we don’t see them whining and complaining at all, just let the
Games continue. You don’t need to create
a super-panther, who kills the “4th place finisher” off-screen (who
has one extraordinarily important role in one critical scene but is never seen
in the flesh in almost every other shot of the movie) and can survive an arrow
through the neck at point blank range.
And worse yet, they end the Games.
Which leads to my final issue: who is
the true enemy of the story? Is it the
Capitol, who oppresses the Districts and commands them to sacrifice two young
lives each for entertainment? Or is it
the kids from Districts 1, 2 or 4, who train for the Games and are the most
formidable opponents? Well, it appears
to be the latter. But then why are they
not developed? At all? We see the final adversary early scowl or
something at Peeta but then is given nothing to do until the end when he
appears to beg for mercy before being fed to the super-panthers. He is trained to win or at least survive but
he wants out at the end? This is where I
feel character development is most severely lacking: the other 22 competitors
are rarely heard from, except Rue of course.
In the end, The Hunger Games succeeds in
giving girls someone who they can look up to without having to be stone-faced
and emotionless and pathetic. But what
it also does is show what is wrong with Hollywood: bring out the big potential
franchises, show a few moments of greatness or perceived greatness then phone
the rest of it in. But, at least with
The Hunger Games, there are plenty of things to love, if you can remember them
an hour or so later.
