A little while ago, the editor of Videovista approached me to review the film adaptation of Suzanne Collins’ second Hunger Games novel Catching Fire. I had read the first two books in the Hunger Games series and reviewed the first one in a mood of profound ambivalence that carried me through into the first film. In short, I liked the way the book captured Katniss’s reactions to the world but I found both the world itself and everything that happened in said world to be somewhat tedious… hence my decision to interpret the books as a sort of psychological fantasia in which the emotional touchstones of teenaged life are recreated using the language of dystopian science fiction. The problem with this interpretation is that it doesn’t really survive the decision to adapt the books but drop the internal monologues. However, rather than simply being honest and describing Francis Lawrence’s The Hunger Games: Catching Fire as a typically dull and expensive-looking Hollywood epic, I decided to work through some of my feelings about The Hunger Games, Young Adult Fiction and Hollywood Blockbusters in an essay that runs to over 4,000 words.
On psychological fantasias:
This is why President Snow is little more than a vaguely threatening beard: Collins is drawing on a particular set of cultural images to create an image of patriarchal authority that will be comprehensible to her intended audience. Though not a particularly common approach to writing, this transition from psychological realism to metaphorical fantasy is fairly common in psychological thrillers as well as T.H. White’s children’s novel The Sword And The Stone (1938), where Arthurian knights sit around drinking port and discussing Eton because even though neither of those things actually exist in the world of the novel, the words ‘port’ and ‘Eton’ serve as placeholders for a drink, and a training establishment, with a comparable set of emotional and cultural resonances.
On the incompetence of the film’s direction:
As with the opening act, a savvy director might have played up the paranoia underpinning these scenes and turned them into simmering pots of tension that occasionally explode into violence, but Lawrence follows Ross in choosing to focus on the melodrama thereby depriving the film of any sense of lingering danger or tension so that, when the angry baboons and poisonous clouds do turn up, they appear more comical than harrowing. There is one particularly wonderful scene where Katniss’ group meets up with some other tributes and decides to make peace. Noting that they appear to be covered in sticky brown liquid, Katniss asks what happened and one of the female tribute rolls her eyes and talks about blood falling from the sky in the same tone of voice that one might talk about a ruined wedding reception or barbecue; a damp squib indeed.
On adults reading books aimed at children:
The reason that people respond to works like The Hunger Games is the same reason they cower in the shadow of their parents and feel empowered by mass-market therapy sessions written for a teen demographic: we are subject to a culture that encourages us to view ourselves as creatures that are as passive and as powerless as children. Works like The Hunger Games, Harry Potter, and Twilight benefit from this cultural mood as much as they contribute to it.
An interesting corollary to some of the ideas I explore in the essay is something written by Adam “Great Sage, Equal of Heaven” Roberts who ponders the question of why Young Adult fiction has become obsessed with Victorian imagery. I think that Adam reaches some of the same conclusions that I do but expresses them in a manner that is both more erudite and sympathetic to the materials in question. Another interesting corollary is Julianne Ross’s piece in the Atlantic which asks “Must Every YA Action Heroine Be Petite?” in which she ambles down objectivisation avenue and stumbles across a far more interesting truth:
But this is the same double standard that we’ve been subjected to again and again; just as women are expected to be sexual but not slutty, pure but not prudish, heroines should be strong but not buff. Powerful, yet still delicate enough to be cradled by their male love interests. Mature enough to lead those around them, yet so small that people confuse them with innocent little girls.
I don’t think this aesthetic has as much to do with sexual objectification as it does with the fact that Young Adult fiction is partly about allowing grown-up readers to escape into worlds dominated by melodramatic treatments of banal coming-of-age stories. Indeed, as I explain in the review, The Hunger Games is all about Katniss gaining access to the rooms in which grown-ups have grown-up conversations. Her rebellion against President Snow has less to do with real-world politics than it does with standing up to Daddy. I am not a fan of escapist fiction but I have a particular contempt for escapist fiction that presents banal teenage rebellion as something worthy of book, film and song. Stories like The Hunger Games shrink the horizons of our minds to the point where the banal seems heroic and the heroic seems impossible. Give it another ten years and adults will be reading books that make them feel empowered about the fact that they are potty trained.