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Posts Tagged ‘Josh Hutcherson’

TrainLikeTribute-595For part one, click here.

So we’ve established the Hunger Games as symbolic of the totalitarian regime that runs them (Panem) in that people are pitted against one another for survival within a controlled environment, or “small world,” and thereby kept unaware of the true enemy.

But in both of the “Hunger Games” movies that have been released, we have protagonists who fight back by refusing to play the game by Panem’s rules.

Hunger Games KissIn the first film, “The Hunger Games,” you have Katniss Everdeen and Peeta Mellark feigning a romantic relationship, showing willingness to die rather than kill each other, and capturing the hearts of spectators.

In “Catching Fire,” we see the effect of this unique, dual victory on the people.  Katniss and Peeta become symbols of hope.  They embolden the populace and, for that very reason, are perceived by President Snow and the Panem Capital as a threat.

catchingfirefinnickkatnisspeetaAnd what is the Capital’s response?  Katniss, Peeta, and 22 others are put in an arena for the “Quarter Quell,” an event that occurs every 25 years and draws from the pool of past Hunger Games victors.

Once in the arena, several of the tributes strive to work together rather than against one another, recognizing that they share a common enemy.  But the bond they form is pretty vague, and they are operating within the enclosed “world” of the game.

Lightning-tree

*** SPOILER ALERT ***

But this time, Katniss takes her subversion even further by serving as a Christ-figure. This she does at the “lightning tree,” which is always struck by an artificially contrived lightning bolt at midnight (if I remember correctly).  At a decisive moment, she stands by the tree, bow aimed toward the sky, and then lets an arrow fly the moment lightning strikes.

In so doing, she redirects the lightning bolt toward the force field that holds the arena together.  This brings down the metallic ceiling of this contrived, artificial environment and disables all screens by which the Panem employees who control the games can see what’s going on.

We could look at this as a symbolic gesture: Katniss is bringing down not only the Quarter Quell arena, but also — and by extension — the false “world” created by the Capital, thereby inviting the people to see that their fundamental freedom is not, in fact, in Panem’s possession.

Hence, the rebellion is quickened.

She also shows her fellow tributes that victory cannot be achieved by playing the “game” they have been put into, even if they play through cooperation rather than competition.  If they are to achieve true victory, then there’s no way around it…they have to bring the game down.

We’ll explore the spiritual significance of this scenario in part three.  Thanks for reading.

Images obtained through a Google image search.

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Catching-Fire_poster

Francis Lawrence’s adaptation of Suzanne Collins’ “Catching Fire” is clearly dominating the box office — and with good reason.  It’s a great film, filled with emotion, depth, artistry, and impressive visuals.

I want to begin my reflections by noting a coincidence.  This post happens to coincide with some interesting and relevant liturgical readings from the Catholic Calendar.  I’ll just share today’s first reading, in which the prophet Daniel interprets the Babylonian king’s dream of a statue with a golden head, silver chest and arms, bronze stomach and thighs, and iron legs being struck and destroyed by “a stone which was hewn from a mountain without a hand,” which stone then grew to become a mountain that would fill the whole world:

Another kingdom (silver) shall take your place, inferior to yours (gold), then a third kingdom, of bronze, which shall rule over the whole earth. There shall be a fourth kingdom, strong as iron; it shall break in pieces and subdue all these others (…) In the lifetime of those kings the God of heaven will set up a kingdom that shall never be destroyed or delivered up to another people; rather, it shall break in pieces all these kingdoms and put an end to them, and it shall stand forever. That is the meaning of the stone you saw hewn from the mountain without a hand being put to it, which broke in pieces the tile, iron, bronze, silver, and gold. The great God has revealed to the king what shall be in the future; this is exactly what you dreamed, and its meaning is sure.

(Daniel 2: 39-45) (parentheses mine)

President SnowThe reality of the transitory nature of human governments  and their total dependence on God’s permissive will accounts for both the brutality and the urgent sense of self-preservation we see in totalitarian regimes, which seek to transgress their bounds and “play God.”

Panem, the oppressive government in the post-apocalyptic “Hunger Games” series, is no exception here.  As President Snow (Donal Sutherland) basically admits in “Catching Fire,” it is a fragile system that must assert itself desperately through the use of force.

How do such governments manage to hide their vulnerability and keep people in check?  Well, an excellent tool — one used very effectively in the “Hunger Games” series — is to keep the masses trapped within a superficially tiny world, one small enough that a dictatorship could exercise complete authority in it.  What they must do, in other words, is keep people blind to the transcendent, to the larger world and/or larger reality.

catching fire arenaThe Hunger Games are wonderfully symbolic of this whole situation.  Think about it: The Panem Capital takes a group of people — “tributes” — puts them into an artificial and controlled environment, deprives them of necessities, makes them have to fight for survival every minute, and has them compete against one another for this survival.

What then happens is that they get so busy fighting each other that they lose sight of who the real enemy is.

But, of course, you have the hero figures Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) who strive to stand against the status quo.  I’ll get more into this in part two.

“Catching Fire” poster from Wikipedia; remaining images obtained through a Google image search.

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