Film and TV

Mockingjay — Part 2 Transcends the Hollywood Blockbuster

With the spectacular The Hunger Games: Mockingjay — Part 2, the best in the series, Jennifer Lawrence closes out the franchise that made her the biggest star of her generation. Since the Hunger Games movies started, in 2012, she’s starred in four of them and only six of everything else. Luckily, those other films took her to the Academy Awards twice, which, added on to her first Oscar trip, for the grim indie Winter’s Bone, makes the 25-year-old the face of both of Hollywood’s two career tracks: blockbuster royalty and the prestige nominee.
Katniss Everdeen, the part that put Lawrence on billboards from Tribeca to Taiwan, is the role that’s most unlike her very public image. Lawrence’s doofy golden child is the inverse of Katniss, a severe, unsmiling brunette. The only thing Lawrence and Katniss have in common is a sense that, despite all their handlers and even their own retrained intentions, when the cameras come on, they’ll both blurt out whatever they want.

Impulsiveness has been Katniss’s key trait. Her every great act has been unplanned: threatening to commit suicide on TV, blowing up the Games arena, and, most pivotally, becoming a figurehead for the rebellion when she’d rather just be home making fun of her sister Primrose’s cat. Throughout the series, Lawrence’s stone face has been unreadable. We never know what Katniss will do until she does it, and one suspects she doesn’t, either.

Before the Hunger Games films launched, I bought the first book to understand why it mattered. I ended up marathoning the entire trilogy before sunrise. Suzanne Collins’s vision was gutting, gory and satisfyingly cynical about the purity of heroism. The first film, however, disappointed. The book’s grisly deaths proved no match for a PG-13 rating, and the kids-on-kids kill-frenzy of my imagination was just a whiffed punch. As the series continued, though, it got better, even as the carnage remained chaste. Now, in Mockingjay 2, which I’ve always mentally subtitled “The One Where Everyone Dies,” people are torn apart, exploded, strung up, shot. There’s not a drop of blood, but each murder still hurts, both because we’ve come to care about the characters and because, after so much death, more death tips over into existential futility. Hundreds die so that President Snow (Donald Sutherland) — an old man who wheezes like he only has one day left — can, for a few more feeble hours, preserve his posh lifestyle.

The series is no longer primarily interested in just one girl’s survival — and, thankfully, it’s barely engaged with the love triangle that Collins had to flog to keep fans interested until she reached her real goal: Mockingjay’s large, cynical questions about sacrifice and success. In the first Hunger Games film, we were simply meant to care whether Katniss won. Three movies later, as Katniss helps Coin defeat the Capitol and destroy Snow, the series has become about how horrible it can be to win. It sticks us in that brutal stretch of a war where everyone knows the imminent outcome, but half will have to die to accomplish it. In victory, Katniss’s friends aren’t much better than her foes. In her name, rebels cheer the Snow-ally District 2’s civilian dead just as TV audiences cheered the Hunger Games arena. “Sometimes killing isn’t personal,” advises heartthrob Gale (Liam Hemsworth). Katniss is aghast. Isn’t that even worse?

But Katniss isn’t innocent. Before, she just wanted to survive. Now she wants vengeance for Snow torturing her off-again boyfriend Peeta (Josh Hutcherson). And screenwriters Peter Craig and Danny Strong are smart enough to upend that revenge beat when Johanna (Jena Malone) grimly notes that she was also tortured alongside Peeta but that, because she’s not a media sweetheart, no one cares. Even among the good guys, some lives are worth more than others — especially if they make good propaganda. 
KEEP WESTWORD FREE... Since we started Westword, it has been defined as the free, independent voice of Denver, and we'd like to keep it that way. With local media under siege, it's more important than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" program, allowing us to keep offering readers access to our incisive coverage of local news, food and culture with no paywalls.
Amy Nicholson was chief film critic at LA Weekly from 2013 to 2016. Her work also appeared in the other Voice Media Group publications — the Village Voice, Denver Westword, Phoenix New Times, Miami New Times, Broward-Palm Beach New Times, Houston Press, Dallas Observer and OC Weekly. Nicholson’s criticism was recognized by the Los Angeles Press Club and the Association of Alternative Newsmedia. Her first book, Tom Cruise: Anatomy of an Actor, was published in 2014 by Cahiers du Cinema.