This isn't an action film, it’s a political film, a psychological film, and the best out of all three.
The Hunger Games has long since proven its worth as a young adult series (the last two films consecutively made my top 20 of the year), but with Mockingjay – Part 1 it transcends to the top of its genre, surpassing even the Harry Potter films. Alongside Interstellar, Mockingjay – Part 1 continues the recent trend of blockbusters with minimal combat, which may sound strange for a series that has significantly focused on combat. Yet while action has always been The Hunger Game’s selling point (even Mockingjay’s trailers deceptively focused on the few existing clashes), its success is due to a substantial amount of political and psychological aspects in conjunction with the action. While not a rare sight in series aimed towards teenagers, The Hunger Games stands out for utilizing it so effectively; fleshing out its plot and characters (heroes, villains, and everyone in-between) with a surprising, yet understanding, degree of mature themes/issues. The first two films pull off the mental-action combo successfully, using it to their full advantage; now the third has wisely moved on, taking a drastic and risky step by removing most action in exchange for a film focused not on armies doing battle, but on propaganda and psychological warfare. To say such a move won’t have detractors is foolish, but with the millions going to watch Mockingjay – Part 1, there will hopefully be plenty finding themselves equally or more engrossed as they were with the first two.
The Hunger Games has long since proven its worth as a young adult series (the last two films consecutively made my top 20 of the year), but with Mockingjay – Part 1 it transcends to the top of its genre, surpassing even the Harry Potter films. Alongside Interstellar, Mockingjay – Part 1 continues the recent trend of blockbusters with minimal combat, which may sound strange for a series that has significantly focused on combat. Yet while action has always been The Hunger Game’s selling point (even Mockingjay’s trailers deceptively focused on the few existing clashes), its success is due to a substantial amount of political and psychological aspects in conjunction with the action. While not a rare sight in series aimed towards teenagers, The Hunger Games stands out for utilizing it so effectively; fleshing out its plot and characters (heroes, villains, and everyone in-between) with a surprising, yet understanding, degree of mature themes/issues. The first two films pull off the mental-action combo successfully, using it to their full advantage; now the third has wisely moved on, taking a drastic and risky step by removing most action in exchange for a film focused not on armies doing battle, but on propaganda and psychological warfare. To say such a move won’t have detractors is foolish, but with the millions going to watch Mockingjay – Part 1, there will hopefully be plenty finding themselves equally or more engrossed as they were with the first two.
With Katniss’ (Jennifer Lawrence) destruction of the 75th Hunger Games, rebels use the impossible act as a means to start and fuel a revolution against the Capitol…but a revolution takes more than guns and bullets to win, it requires the people’s favor and support! Seven of the districts have already joined the rebellion, yet heavy bombing has damaged them both in numbers and morale. The revolution needs Katniss, not as a warrior, but as their “Mockingjay”, an image of propaganda to strengthen morale and convince the remaining districts of joining. Image is what fuels most scenes in the film, used on both sides to incite courage or inflict fear. The rebellion has their Mockingjay, but how to employ her is an issue. First they try a marketing tactic; having Katniss say a written speech of encouragement in front of a high-tech green-screen, similar to a “join the army” advertisement (she’s their Uncle Sam of recruitment). It doesn't work however, in a wonderful scene where Heavensbee (Philip Seymour Hoffman) tries in vain to get the naturally spontaneous Katniss to act (with the end result being a very wooden speech). The scene surprisingly reminded of another wonderful scene from recent film Birdman, where two of its characters (portrayed by Michael Keaton and Edward Norton) rehearse a play, while Norton gets increasingly frustrated by Keaton’s lack of emoting (only in Mockingjay’s case its Hoffman who gets entertainingly frustrated).
I actually forgot Philip Seymour Hoffman (rest his soul) was in this film. What’s interesting is it’s his second film of 2014 to deal with political aspects (the first being the much recommended A Most Wanted Man), and while his role here is far less impacting than in A Most Wanted Man, Hoffman succeeds in playing the man behind the scenes; consistently molding public image of friend and foe alike in favor of the rebellion. In fact the characters of highlight are not the front-line fighters, but the behind the scene strategists such as Heavensbee; the ones who would normally play second fiddle in past blockbusters. When the fake recording doesn't work, Katniss “volunteers” (haha Hunger Games joke!) to head to the front lines of District 8, in order to grasp the situation better. With her comes not soldiers, but a camera crew to capture her reaction towards the Capitol’s atrocities; which they succeed in doing when Katniss witnesses bombers destroying a makeshift hospital full of injured people. Katniss is horrified by such cruelty, which in many blockbusters would be the demoralizing scene of no hope; yet here it’s exactly what the squad wanted, using Katniss’s rage to film a passion fueled message against the Capitol. While war propaganda’s been depicted in film before (along with tons of propaganda films), I don’t recall viewing such a refreshing scene done before, at least not propaganda in a pro-war setting (Full Metal Jacket had filmmakers filming the soldiers, but the filming wasn’t pro-war and the soldiers were not there for propaganda).
President Snow (Donald Sutherland) is just as diabolical as he was in the first two films (with an added dose of disturbing to make it complete), playing mind games with the rebellion while psychologically torturing Katniss. To “compete” with the rebel’s Mockingjay, Snow utilizes the captured Peeta (Josh Hutcherson) as his own symbol, in one of the most disturbing events used so far in the series (which is saying a lot when compared to child on child murder). The Capitol begins releasing a series of videos where Peeta (interviewed by Flickerman aka Stanley Tucci) condemns the rebel activity and pleads with Katniss to surrender. While professional looking on the surface (practically resembles a morning news interview), its immediately clear Peeta’s not in his right mind; yet exactly “what” is being done to him is discomfortingly unclear. What’s clear however, is Snow’s aim; over the course of the videos Peeta appears to get thinner and scragglier, as his facial features become strained and distressed. While the hidden tortures become apparent, Peeta continues to wear the same elegant outfit and makeup; like a fancy puppet being carefully destroyed from the inside. By the end of the film Peeta is merely a shell of himself; having the frail looks of a hospitalized old man. The slow transformation is terrifyingly effective for both viewers and Katniss, who nearly breaks down from contemplation.
Even without Part 2 released, Mockingjay has already proven itself the finest of the three films. Even if Mockingjay – Part 2 turns out complete garbage, I’d still consider The Hunger Games the finest young adult series; though to be honest, titling it “young adult” undermines the franchises’ value. The Hunger Games is a great series in general, one which can be appreciated and enjoyed by adults and teens alike. Credit must also be given to Mockingjay – Part 1 for being one of the few films (not simply blockbusters) of 2014 to possess both ethnic and gender diversity in prominent roles; something which’s been disappointingly absent thus far. Its cinematography’s great, the pacing feels fluent (particularly for a Part 1), its shaky-cam’s gone (except for small scenes which make effective use of it) and there’s some effective comic relief (wisely bringing back Elizabeth Banks as Effie). Part 1 of franchises have become known as the “skip and watch at home” films, yet Mockingjay is not simply a Part 1 film, and I highly recommend seeing it in theaters.
