The Hunger Games has a somewhat integrated cast that includes African Americans: Katniss Everdeen, the protagonist of the Hunger Games, sure loves black people. And we love her too. I’m often critical of the relationships between African American and whites, along with stereotypes of African Americans in film, television, and literature. But The Hunger Games got it right. Cinna, an African American man and Katniss’ stylist, becomes the father she lost in the District 12 mines. Rue, the little African American wood elf, initiates an alliance with Katniss in the games-to-the-death. They find a sister in one another. Katniss in particular, embraces Rue much like the little sister Katniss left behind in District 12. There’s no patriarchy here where whites save African Americans. And the African Americans are not stereotyped as mammy’s or thugs. True relationships are established on film and experienced by the audience.
Without the relationships, the Orwellian dystopian themes typical of science fiction would not matter. The foundation of The Hunger Games is George Orwell’s 1984 (1949). He is the great granddaddy of dystopian science fiction in the form of the novel. 1984 is where we get the term Big Brother, the roving eye of technology that is always tracking us in the 21st century. We see much the same in The Hunger Games where even the trees have electronic eyes. And the world in The Hunger Games has gone to hell in a hand-basket, a post-war hand-basket in which the survivors live in a police state. If that isn’t Orwellian, I don’t know what is.
Oh, the first scenes in The Hunger Games are moving pictures that mirror the gritty still photos of rural people taken during the Great Depression. The pain, the seams in the faces of even the young remind me of Dorothea Lang’s “Migrant Mother.” In the film, the camera stops at a worn laced high-top shoe. It lingers on the wind in the trees. The people in District 12, Katniss’ little town, are a worn people, worn by mining. Those scenes, mirroring a Hunger Games Appalachia, are the most memorable in the film.
Katniss leaves home to fight as tribute in The Hunger Games. The trope of youth battling in games is not new going back to ancient Greece. There’s also a modern take which I believe is a nod to “The Most Dangerous Game,” a short story by Richard Connell. In the story, one man hunts another. Ultimately, the hunted creates intricate traps to capture the hunter. Both the human-hunt and traps are echoed in the Hunger Games. Katniss did something similar turning the game on the elite, her captors and humiliating them.
Taken together, what does the Hunger Games say about contemporary American society? The Great Recession of the 21st Century first comes to mind. Much like the children living in poverty in the 12 Districts and battling in the games, we are frightened at every turn by unemployment, high gas prices, and a depressed real estate market. The film reflects our national malaise. In addition, our children are consumed by technology and even in a virtual forest, the children in the games are moved around like puppets on strings among the trees and along the creek. As Americans, have we lost our rugged individualism, unquestioning puppets in the day-to-day drudgery of survival?
Hopefully, Catching Fire and Mockingjay, the next novels in the trilogy will translate well, meeting the high expectations already met by The Hunger Games, the first in the trilogy.