A review of The Hunger Games: Mockingjay–Part 1
Several critics have noted that although Mockingjay–Part 1 was largely exposition, lacking the action of the first two Hunger Games movies, they liked it anyway. It may be a satisfying art form for an age that often understands itself as poised in a pre-apocalyptic moment, dangling between the trouble we have known and a greater trouble that has to be coming. A film about the calm before a storm feels right.
But there’s more, I think. The real struggle we are engaged in will not be settled, this time, by missiles and bombs. Our disagreements are ontological and epistemological, so language is the arena in which this generation’s epic battle is being engaged. The Hunger Games gives that struggle accessible form by casting it as a war between Katniss’s impulse to love and Snow’s compulsion to control. The battle goes beyond physics–bullets and bombs–into the realm of spirit, and all outcomes at lower levels will fail to be decisive.
So some in the audience may want a story that moves beyond fighter jets and lasers. This third film centers on that contest between the President and the Mockingjay, and this penultimate chapter of their epic contest is waged in words and images. We stranded in a propaganda war for the hearts and minds of the Capitol’s subjects. To be sure, we see that we are fated to move quite beyond words into a bloodier realm of earthquake and thunder–there are constant skirmishes that leave fields strewn with corpses–but compared to earlier episodes the war is now waged in rhetoric. For the moment, antagonists struggle to give form, words and images, to our understanding of what is at stake, the meaning of good and evil.
The moral tone of the story has grown darker. Snow is clearly evil. Snow’s hypocrisy is vivid. The Capitol’s rhetoric about the common good and human flourishing is mere stratagem to perpetuate an oligarchy of masters who control a vast system of subjugation and poverty, where the suffering of individuals means nothing. Snow’s nihilism is total. Just before switching off the telescreen and pivoting to air strikes, he tells Katniss that “it is the things we love most that destroy us.” Love makes us vulnerable.
Yet hope abides, and Katniss bears hope’s burden. Her beauty inspires hope even after great disillusionment. Abernathy claims we need to see her without makeup, we need to go past appearance and manipulation. Her unfeigned moments of emotional candor keep the rebellion going. Her trainer, Haymitch Abernathy, makes explicit that contrived images lack the force of Katniss’s raw responses to horrors perpetrated by Snow’s military. He gets her out of the studio and to the front, where her image can be projected by capturing unstaged moments where her hatred of the Capitol is caught on camera in unscripted emotional outbursts. Authentic passion, not contrived images, are the keys to better propaganda. But, of course, it remains contrived propaganda.
How can we fight evil without imitating it? This story has been wildly popular with today’s youth, who sense that they are entangled in orchestrated contests with each other for advancement in a dark and hollow world void of ultimate meanings. The consequences of the games they must play are real enough, but winning is only a temporary reprieve in a larger game which no one wins.
The Hunger Games story takes place in the godless world of modern imagination–our world–a place in which human power is constrained mainly by the opposition of other human power. The Capitol’s tyranny is enforced by technology and propaganda, and the revolution can imagine no opposition but its own technology and its own propaganda. The film approaches transcendence only in moments when Katniss inspires hope that she represents another way. She resists the flat-souled utilitarianism of the advisers who would turn away from the plight of individuals to focus on the big battles. She demands that Peeta be pardoned and that a cat be tolerated, and she ignores attempts to discuss propaganda strategy in those moments when she is filled with sorrow for what has happened to the particular people she loves. She suggests a larger game, a different world. Eddy asks, “Are you here to fight with us?” “I am,” says Katniss. “I will.” And so we have hope.
Are love and authenticity enough? Or are they too vulnerable? When we learn that Peeta has been conditioned to hate Katniss, it seems that personal love has roots too shallow to survive the manipulations of evil. How can goodness win against a sadistic ruler who seeks ever more cruel modes of action, capable of feeling only the harshest and most primitive passions, a being nearly dead to all that makes life wonderful, committed to destroying whatever does not wither before his numb gaze, breeding deathless roses to mask the stench.
Does Katniss’s love draw on a power sufficient to restore a good order? Is the people’s faith in Katniss enough? Is there more?
A lot is at stake.