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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Ah, politics. The darkest, dirtiest, most dangerous game ever played. The sort of game that can turn good, honest men into shifty, cannibalistic cretins for the mere taste of glory. Politics: murky. cutthroat, explosive… and hilarious.
That’s what a visit to New Orleans for a The Campaign set visit taught me. My first trip to either an active movie set or the American South was thrust upon me quite suddenly in February of 2012. Less than forty-eight hours after I was told I’d be heading down to the set of The Campaign, there I was, watching take after take of a toupee-topped Will Ferrell make ferocious love to Zach Galifianakis’ onscreen wife.
And believe it or not, even that scene was all about the politics. As the duo blasted obscene exclamations into one another’s faces — a routine the lot of us treated to the set visit would be watching for the better part of a half hour — it was explained that to this scene, and to every other scene in director Jay Roach’s film, the dirty game of politics was at play.
Ferrell plays Cam Brady: a polished incumbent with “strong hair” and a penchant for double-talk. His opponent is Galifianakis’ new-to-the-game challenger, Marty Huggins. Marty… he likes pugs.
And as ridiculous as these two fellows might sound, and as comically as the these two actors might be playing them, director Roach and his stars will assure you that just about everything in this movie comes from the real world of politics, in some form or another.
“All of us are 100 percent coming from seeing politics,” Roach explained to the group over lunch, “seeing how politics has become much more about … win-at-all-costs, take-down-your-opponent. And less and less about statesmanship.”
It’s a sad case, but definitely one that is conducive to comedy. In fact, as dark, demented, and utterly shameless as the antics of The Campaign’s central duo get, they never seem to compare to the madness of the real world. And therein lies the comic genius.
Galifianakis, whom we got to speak to in between takes, illustrates this point by revealing one of his characters’ political ploys that fans will see in the film: “I do a hidden camera ad with [Ferrell’s] son in a park. Which, probably, will come across as really creepy. With the hidden camera, I try to get him to call me dad,” in an effort to shatter his opponents home life, and make him look weak. “If you read the script, it’s like, ‘God, this is a little bit over-the-top.’ But then you read the news, and you go, ‘God, it’s really not that over-the-top.’”
Ferrell feels the same way: “The only think we're worried about now is, ‘Is our movie crazy enough?’ We’ve seen … Herman Cain. The Rick Perrys of the world. All these things that keep coming out. Gingrich's ex-wife suggesting that he wanted an open marriage. We're just right in that line.”
All this considered, somewhere around the fifth run-through of Ferrell and actress Sarah Baker engaging in the throes of infidelity, it became clear that the film was not above having fun with its sincere themes. A tour through the set of Marty’s family house proved this: the eccentric décor boasted too many owl figurines to count, and family portraits that seemed straight out of toothpaste commercials. Some heavily improvised takes of Galifianakis and Baker massaging each other’s feet proved that the movie didn’t even mind veering from the political for a scene or two, just for laughs. As Galifianakis told us, “I’m all about jokes. I just like jokes. As long as it goes along with the character.”
The inherency of the themes did reappear during a faux political ad we got to watch Galifianakis tape at the end of the day. The once humble Marty Huggins had come to flamboyant acts of showmanship to win supporters. In this scene, he teamed with an evangelical preacher to attract the “religious vote.”
“We’re not a very preachy movie,” Roach explained. “But we’re definitely going after those kinds of candidates, that kind of race that is all about, ‘Smear your opponent before he smears you, and then, if he does smear you, smear him back as hard as you can.’ It’s that continual character assassination, and so called ‘opposition research.’ That’s where we got inspired to take on some real life.”
Even Ferrell’s hair, which Roach admitted, “came from Rick Perry, John Edwards.”
“Marty’s character is inspired by the out-there candidates that ... come out of nowhere and just become suddenly significant,” the director said.
Although this movie might be taking a few jabs at the campaign game, the director doesn’t quite have animosity for the world in question: “I always had a respect and an admiration for people who got into politics. I certainly have always been interested in law and political science and I’ve been an amateur student, you know just a dilettante really in connection to politics my whole life.” This is evident by his past projects — films like Recount and Game Change.
Ultimately, what we’re dealing with here isn’t a beat down of the game, but just a means of pointing out the flaws therein. Galifianakis broke his jokey demeanor to tell us, “As cheesy as it sounds, I think comedy is a really good tool for trying to say something. I think, especially — to be serious for a second — after this last war our country was in, the folk singers — you really didn’t hear a lot of people singing about stuff. The comedians started. Because there’s a bullshit detector with comedians. Chris Rock, Bill Maher, Janeane Garofalo, Patton Oswalt started questioning things. Jon Stewart to a huge extent, and Stephen Colbert. So I think comedy does have that powerful thing that doesn’t seem too preachy, because you’re also making people laugh. It’s a really good tool for messaging.”
There is a lot to be learned from comedy, and a lot of comedy inherent in the idea of campaigning for public office. Everything exhibited on the New Orleans set seemed to broadcast a dedication both to the laughter and to the messages. With a team including the highly educated, politically fascinated Jay Roach and the dynamic comic forces of Will Ferrell and Zach Galifianakis, The Campaign stands a chance to deliver wholeheartedly on both fronts.
[Photo Credits: Warner Bros.]
'The Campaign': Will Ferrell and Zach Galifianakis Head-to-Head Interview
Will Ferrell and Zach Galifianakis Win By a Nose in 'The Campaign' Poster
'The Campaign': Will Ferrell's Eagles Vs. Zach Galifianakis' Pugs — POSTERS
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.