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Mark Adams’s “The Hunger Games: Catching Fire” Gamely Applauds Lawrence

In response to Mark Adams’s 362‑word review of The Hunger Games: Catching Fire on Daily Mirror [UK]

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While this perhaps fittingly tight-lipped British sendup commences with uncharacteristic lack of wit--“Picking up where the first film left off… ….”  Mark Adams manages to build nicely, if modestly, to a crescendo of rightful worship of Jennifer Lawrence.

His key word in an otherwise taciturn deconstruction is powerfully evocative: ‘mesmeric’.

And this, I submit, is potent and portentous, as was Mssr. Mesmer, the early proponent of hypnotism in pre-Revolutionary France.  Able to literally transport his subjects (here, Adams readership, and the film’s audiences) to an inner yet vast space, perhaps even time, worthy of Joan of Arc, he lays at Lawrence’s feet this mantle which she convincingly wields as though entranced and, simultaneously, entrancing her audience.

With this succinct term, Adams has unlocked the subconscious, as it seems to promise, of both the filmmaker and his team and their audience so as to buy in to the hyperbolic material evinced by costume and pent-up energy of desperate youth engaged in its own revolutionary contest against a tyranny which is almost pornographic in its fantasies of distraction and distortion.

Thusly evoked, the players collective unconscious states may blithely conjure the extravagant trappings of so perverse a ‘whirled’ (James Joyce) in such a ‘wasteland’ of ‘hollow men’ (T. S. Eliot).

The net effect of Adams terse appraisal does honor to these notable poets of the real as surreal, and how it may be opposed.    

Quality of Writing Quality of Argument Spoiler Avoidance Presentation