Jennifer Lawrence, “a commanding presence” as the no-nonsense Katniss Everdeen.
Splitting a book into multiple films seems to have become an increasingly common trend in Hollywood as of late. The final instalments of both the Harry Potter and the Twilight series were adapted into two movies; one successfully and one unsuccessfully. Divergent’s closer Allegiant will also be released in two chapters. Most controversial was Peter Jackson’s adaptation of J.R.R. Tolkien’s relatively slender ‘The Hobbit’, which stretched the text into a trilogy, to mixed results. This is indeed a questionable process, because while lengthier books artistically justify it, others simply appear to be an attempt to maximise box office returns. In fact, the only wholly satisfactory example of these is the aforementioned Harry Potter and the Deathly Hallows. However, those films’ crown looks to be seriously challenged if the quality of Mockingjay Part 1 is anything to go bye.
Having survived the 75th Annual Hunger Games and shattered the tournament forever, our reluctant heroine Katniss Everdeen (Jennifer Lawrence, great as always) finds herself deep inside the bunkered catacombs of District 13. Her home District 12 has been laid to waste by the Capitol and a revolution has begun. Unfortunately, Katniss’ closest ally, Peeta Mellark (Josh Hutcherson), has been seized by her enemies, causing to be racked with worry as she fears for his safety. Thus, she agrees with President Coin (Julianne Moore) and Plutarch Heavensbee (Philip Seymour Hoffman) to become the symbolic leader of the rebellion – the ‘Mockingjay’.
Josh Hutcherson as Peeta Mellark, arguably delivering his strongest work in the series thus far.
Above all else, Mockingjay Part 1 is a decidedly different beast to its predecessors. It successfully departs from the first two chapters’ focus on the eponymous games and emerges as a dystopian political drama, replete with compelling manoeuvres orchestrated like pieces on a chessboard. Aside from a pulse-pounding bombing setpiece and an outstanding sequence set to Jennifer Lawrence’s beautiful rendition of ‘The Hanging Tree’, there is little action to be found here. Most of the thrills are delivered in a comparatively quieter and subtler manner. A subplot sees Katniss collaborate with a team of filmmakers led by the tattooed Cressida (Game of Thrones’ Natalie Dormer) and shoot numerous propaganda videos. This offers interesting satire of propaganda, particularly through how the media manipulate the truth and world events. Dressed in black combat gear, Katniss is instructed to do her best flag-waving impression and is assured that, “Everyone is going to want to kiss, kill you, or be you.” It’s incredibly encouraging to see a teen-targeted, PG-13 blockbuster explore how propaganda can be used to politically stir a conflict. It also incorporates elements from war movies, through the sight of environments destroyed to rubble, strategic bombings and the impressively grim tone.
This is also a slower-paced affair than The Hunger Games or Catching Fire. As the stage is set for a cataclysmic conflict, director Francis Lawrence moves at a leisurely speed in a manner that greatly benefits the film. Taking a more personal approach, the characters are allowed greater room to breathe, with Plutarch Heavensbee leaving an even stronger impression than he did in Catching Fire, while second love interest Gale Hawthorne (Liam Hemsworth) is given significantly more screentime than ever before. Hemsworth may not be the greatest actor in the world, but this instalment allows us to become properly acquainted with him as a character. The longer time spent on character development helps to boost the emotional with greater weight.
Plutarch Heavensbee (Philip Seymour Hoffman) and President Coin (Julianne Moore) look on.
Moreover, the cast are reliably superb, from an understated Hoffman to a deliciously villainous Donald Sutherland as chief antagonist President Snow, both of whom bring gravitas. The increasingly good duo of Elizabeth Banks and Woody Harrelson are similarly excellent, imbuing the film with a sense of levity and wit, despite only appearing fleetingly. Also given little screentime is Hutcherson, but he excels in his role more than ever, delivering his most nuanced performance yet during his various television appearances. Unfortunately Moore, usually a formidable talent, is given relatively little to do and fails to leave a lasting mark. Though, at the film’s centre, it is Jennifer Lawrence who burns the brightest, continuing to impress as she improves with each chapter. A commanding presence, she effortlessly conveys the various complexities of her character and possesses a grounded quality that ensures she remains an empathic protagonist. It’s utterly believable that people would rally behind Katniss and so easy to see why Lawrence has become a huge star so fast.
Mockingjay Part 1 could have easily been a place-holder for events to come, akin to the penultimate episode of a television series. Fortunately, it is so much more. Intelligently written and well-crafted, it takes the franchise in an interesting direction. It is quieter and subtler than its predecessors, but absorbs just as firmly, simmering with underlying tension and featuring fascinating character development. Amazingly, it maintains an impressive level of unpredictability during its nail-biting closing scenes. As it expertly sets up what should be a riveting climax it becomes favourably reminiscent of the first half of The Lord of the Rings: The Return of the King. This film cements The Hunger Games status as one of the greatest movie series to grace cinema screens in recent years. Mockingjay Part 2 cannot arrive soon enough.
cinema from the basement 