This vacant blonde bombshell of several early John Waters films retired from acting in the mid-1970s. Pearce made her debut in Waters' synchronized-sound film "Mondo Trasho" (1970), starring as a toe-...
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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Last co-starring role, Waters' "Desperate Living," after which she retired from films (except for brief cameos)
This vacant blonde bombshell of several early John Waters films retired from acting in the mid-1970s. Pearce made her debut in Waters' synchronized-sound film "Mondo Trasho" (1970), starring as a toe-sucking victim who is run over by a motorist (Divine), brought back to life and winds up on a Baltimore street corner wearing monster feet and being bad-mouthed by passersby. None of it made much sense.<p>Pearce's first speaking role came with "Multiple Maniacs" (1971), playing a nymphomaniac who breaks up the romance of criminal couple Divine and David Lochary, only to be killed for her trouble. The cult hit "Pink Flamingos" (1972) gave Pearce a good showcase as Cotton, a voyeuristic bombshell who lives in a trailer with The Filthiest Person Alive (Divine), her hillbilly son (Danny Mills) and her demented mother (Edith Massey). Pearce was an enthusiastic and well-meaning actress, rather than a talented one, but she was also the only genuine beauty in the cast, showcased with revealing clothes, platinum hair and 1930s makeup.<p>In "Female Trouble" (1975), Pearce played Donna Dasher, the uptight and glamorous co-owner of a beauty salon, who plays Mephistopheles to Divine's Faust (choice dialog: "I don't like this neighborhood--I'm afraid a rat might jump out and bite my new nylons!"). Elegantly dressed--for a low-budget production--she was very funny and earned an even more eccentric role in her next, and last, film. As Princess Coo-Coo in Waters' "Desperate Living" (1977), Pearce was the unwilling heiress to the outlaw kingdom of Mortville, ruled by the evil Queen Carlotta (Edith Massey). In a very dark and rather sad ending, Pearce expired from rabies at the film's finale.<p>Never very ambitious for an acting career, Pearce retired from films after "Desperate Living." Always interested in horses, she got a job at a Baltimore-area racetrack. The loyal Waters gave her cameos in his later films, however. Now brunette and a bit heavier, Pearce can be spotted briefly as a nun in "Polyester" (1981), a picnicking mother in "Cry-Baby" (1990) and a book-buying fan in "Serial Mom" (1994).