by Avishka Gunawardana
1. Introduction
In cinematic storytelling, the fusion of political themes with various genres serves as a powerful tool for dissecting societal issues and provoking critical reflection. Director Francis Lawrence’s The Hunger Games: The Ballad of Songbirds and Snakes [TBoSaS] stands as a compelling example of this convergence, employing the dystopian drama genre to explore the intricate dynamics of power, survival ethics, and ambition within the oppressive society of Panem. Through attention to cinematic elements such as camera work, mise-en-scène, and sound design, the film effectively conveys political messages, inviting viewers to engage deeply with the overarching themes of authoritarianism, social inequality, and moral complexity.
Set against the backdrop of a divided society characterized by stark class and geographical disparities and governmental control, “The Ballad of Songbirds and Snakes” immerses audiences in the origins of the titular Hunger Games and the transformative journey of protagonist Coriolanus Snow. Snow, a young mentor during the 10th Hunger Games, initially harbors ambitions of securing the prestigious Plinth prize to alleviate his family’s financial struggles, stemming from the loss of both parents. As he navigates the elite circles of the Capitol and mentors a tribute from District 12, Snow grapples with moral dilemmas, political ambition, and the harsh realities of a society built on surveillance, propaganda, and the brutal spectacle of the Hunger Games.
This essay contends that TBoSaS utilizes the dystopian drama genre as a potent medium for dissecting political matters, particularly those related to the corrupting influence of power and the complexities of navigating oppressive systems. By weaving together intricate narratives of personal ambition and societal control, the film invites audiences to critically engage with broader socio-political issues, fostering dialogue on the ethical implications of power dynamics and the pursuit of personal gain within authoritarian regimes. As Hirsch emphasizes, genres, “centrally include—even consist of—a set of expectations,” (Neale 20), and within the realm of dystopian fiction, these expectations shape our understanding of contemporary political dilemmas and societal anxieties. Furthermore, Stock underscores how the narrative conventions and tropes of dystopian fiction influence our grappling with real-world issues, including political strife, economic disparities, and social injustices (Stock 2). Through the lens of dystopian drama, TBoSaS effectively translates these thematic elements into a compelling narrative that resonates with audiences, prompting critical reflection on the nature of power and the consequences of unchecked ambition within oppressive regimes.
2. Corruptive Influence of Power
“Power is another frequent subject of movies, almost always treated negatively, usually by falling back on the old maxim that power corrupts, and absolute power corrupts absolutely.” (Haas et al. 18). Throughout the course of the film, the corruptive influence of power is a central theme intricately woven throughout its narrative. Director Francis Lawrence skillfully portrays the corruptive influence of power, particularly through the character development of Coriolanus Snow, and through the oppressive control exerted by the Capitol over its districts and citizens of Panem. The use of mise-en-scène and various style conventions enhances the storytelling, allowing the audience to grasp the extent of the corruptive influence of power in various scenes throughout the film.
In the film, repetition emerges as a powerful narrative device showcasing how power can corrupt. “Themes, however defined, are repeated in different ways and places in a story. Words—both as dialog and description—are invariably included among the ways that this repetition is manifested.” (Hunter and Smith 10). By this understanding, the use of repetition in TBoSaS is exemplified by phrases like “Snow lands on top” (00:05:05) and the question posed by Dr. Gaul, “What are the Hunger Games for?” (00:25:40) can be seen as potential vehicles for assessing the corruptive influence of power through the changes in Snow’s behaviour as well as the differences in his responses to Dr. Gaul’s question.
The repetition of the question posed by Dr. Gaul reflects Snow’s evolving perspective on the purpose of the Hunger Games, mirroring his descent into corruption. This is seen through the differences in Snow’s answers. At the start of the film, when Dr. Gaul first asks the question, she is filmed from below and framed by the camera to seem larger, while Snow is filmed and framed to make the viewer feel as if they are a classmate sitting next to an equal. In response to Dr. Gaul’s inquiry Snow believed, “They’re [the games] to punish the districts for their uprising. To commemorate the end of the war” (00:25:43). However, by the end of the film, his answer had changed stating, “I used to think that the hunger games were punishment for the districts…now I know the whole world is an arena and we need the Hunger Games, every year, to remind us all, who we truly are.” (02:21:36). The camera work also masterfully illustrates the difference in Snow’s answer by this time also framing him in the same manner as Dr. Gaul, from below and slowly panning closer to each of them giving more weight to their words and facial expressions.
Through this stark change in his response to this simple question as well as the difference in the way he is framed to the viewer, it is made evident to the audience that Snow has relinquished himself fully to the allure of political power and has decided to envision himself as a political gladiator, just as his father had. Which can be noted when in response to his question of how she thinks he looks, his cousin Tigris responds, “I think you look just like your father, Coriolanus.” (02:22:53) The use of repetition is used as a powerful and effective tool to demonstrate the difference between the character Snow was at the beginning and who he became after enduring his hardships, deciding ambition and power to be more beneficial than empathy.
Furthermore, the use of personalization, defined as, “Movies with political subject matter [that] frequently focus on the individual drama of politically active roles, which tends to make them more palatable to mass audiences,” (Haas et al. 33) underscores the depersonalization of the tributes for propaganda purposes. The host’s callous disregard for the tributes’ lives, evident in his casual remarks about their deaths as mere statistics, demonstrates how power can desensitize individuals to the suffering of others deemed beneath them. Furthermore, his seamless transition between discussing tribute deaths and weather reports, “six tributes gone in minutes… now these record high temperatures…” (00:57:30), underscores the normalization of cruelty within the Capitol’s society. This normalization perpetuates the corrupting influence of power by desensitizing both the Capitol citizens and the audience to the brutality of the Hunger Games, further solidifying the Capitol’s control over Panem.
Propaganda, defined as, “material disseminated by the advocates or opponents of a doctrine or cause.” (Haas et al. 81), is also employed to further the Capitol’s agenda and manipulate both mentors and tributes. In response to Dean Highbottom’s request for the mentors to “persuade them, to perform for the cameras.” (00:10:26), this manipulation is evident in one of the mentor’s conversations with his assigned tribute, “I’m gonna win, and for that to happen, we need to make you more… marketable.” (00:34:57) Here, the corruptive influence of power is starkly portrayed as mentors prioritize victory and power over the well-being of their tributes. Through these narrative techniques and thematic explorations, the film compellingly illustrates the insidious nature of power and its capacity to corrupt individuals and societies alike.
3. The Ethics of Survival
In “TBoSaS, the ethics of survival are prominently explored through the characters’ actions and moral dilemmas. As Fassin explains, survival embodies an “unconditional affirmation” of life, often leading individuals to make difficult decisions to ensure their continued existence (Fassin 83). This theme is exemplified through Snow’s harrowing experience in the scene where he is forced to confront his moral boundaries in the arena. Despite initially fleeing in fear from a threatening tribute, Snow ultimately resorts to violence, illustrating the stark reality of survival instincts (01:06:45 – 01:07:10). While being chased, the camera made Snow and Sejanus appear to be small, like prey, running away from a predator (the tribute). Once Snow obtained a weapon and began fighting the tribute, eventually hitting him in the head, the camera showed Snow, framed from below, looming over the tribute with a look of incredulity as if to ask, “how dare YOU attack ME”. The final killing blow is delivered by Snow while still framed in this way, highlighting the transition of prey to predator.
Gaul’s response to Snow’s actions when she says, “What happened in there, that’s humanity undressed. fueled with the terror of becoming prey, see how quickly we become predator. see how quickly civilization disappears,” (01:08:48) underscores the complexities of ethical decision-making in extreme circumstances, highlighting the blurred line between civilization and savagery in the pursuit of survival.
Similarly, Lucy’s ethical struggle is epitomized when she faces the dilemma of using rat poison to secure her survival. Initially hesitant to engage in combat, Lucy is compelled to make a life-or-death decision when her own safety is threatened. The scene where she inadvertently kills an innocent tribute with the poison demonstrates the moral ambiguity inherent in survival situations (01:19:30 – 01:20:20). Lucy’s subsequent reflection on her actions demonstrates the profound impact of survival instincts on one’s sense of morality, as she grapples with the consequences of her actions, despite snows affirmation of her innocence as a murderer, claiming, “Yes I am! Both of us are now.” (01:46:38)
Moreover, the character of Reaper serves as a poignant reminder of the ethical complexities faced by tributes in the arena. Initially portrayed as a ruthless killer, Reaper’s actions ultimately reveal a deeper humanity as he honours fallen tributes with dignity and respect by covering their corpses with the flag of the Capitol (01:20:31 – 01:22:18). This portrayal highlights the transformative effect of survival pressures on individuals, challenging simplistic or naive notions of good and evil.
Ultimately, Lucy’s poignant reflection on human nature encapsulates the film’s exploration of the ethics of survival. Her assertion that “people aren’t so bad. Not really. It’s what the world does to them” (02:08:42)., underscores the profound impact of external circumstances on moral decision-making as well as hints to larger more vague arguments of nature vs nurture Through Lucy’s words, the audience is reminded of the inherent goodness within individuals and the relentless struggle to navigate ethical dilemmas in the pursuit of survival in a harsh and unforgiving world.
4. Consequences of Unchecked Ambition
In TBoSaS, the consequences of unchecked ambition are vividly portrayed through the character of Coriolanus Snow, whose relentless pursuit of power leads to devastating outcomes. As defined in scholarly discourse, ambition encompasses a persistent striving for success and attainment, often at the expense of ethical considerations (Judge and Kammeyer-Mueller 759). Throughout the film, Snow is confronted with pivotal decisions where he must choose between his relationships and his ambition for power. For instance, when he records Sejanus and exposes his plans to the Capitol, Snow prioritizes his own advancement over loyalty to his friend, ultimately leading to Sejanus’s demise (01:56:15-01:57:15). The scene of Sejanus’s hanging, poignantly illustrates Snow’s internal conflict and the irreversible consequences of his actions. Similarly, Snow’s betrayal erodes his relationship with Lucy, as he gradually breaks her trust with lies and deceit. This is evident in the scene where snow is caught in one of his lies and Lucy confronts him saying, “You killed three? You said you killed three people and I only know about two. Do not lie to me” (02:09:30).” This gradual destruction of trust exhibits the toll of unchecked ambition on personal relationships.
In a poignant moment of introspection towards the film’s conclusion, Snow reflects on the consequences of his unchecked ambitions as he sits alone in the forest (02:14:40 – 02:16:00). Here, Snow grapples with the realization that his actions have led to Sejanus’s death and the loss of Lucy’s trust, epitomizing the personal cost of his unbridled ambition.
The camera shows Snow kneeling on the ground, seemingly at rock bottom. Then the camera jump cuts to below Snow, framing him as a powerful subject the viewer must pay attention to. While framed in this manner, the soundtrack breaks into a chorus of haunting vocals. The camera jump cuts again, this time to a position sitting next to Snow, as a friend or equal would, he reaches for his mother’s shawl, a gift he gave to Lucy. The music begins to build from a single note to a grander melancholy collection of stringed instruments as he smells the shawl. The camera cuts again, this time mere inches from his face as he relives all these memories while holding his mother’s shawl lovingly to his face. The camera moves in and around Snow always framing him as something larger than the viewer, something that must be paid attention to. Ominous drums enter in the soundtrack. Snow’s demeanor changes as he looks up from the ground into the surrounding forest with anger and determination in his eyes, like a predator on the hunt. Lawrence’s use of camera angles and soundtrack to influence the viewer perspective and perception of Snow in this moment brilliantly emphasizes the consequences of unchecked ambition.
Moreover, the broader societal implications of Snow’s actions are underscored by the perpetuation of the oppressive Games, ensuring that future generations of Panem will endure the consequences of his ambition confirmed by Dr. Gaul who said to Snow, “The president has agreed to another year of the games. People watched and I have you to thank for that.”(02:20:20) The acceptance and approval of figures like Dr. Gaul only serve to highlight the corrupting influence of unchecked ambition on both individuals and institutions.
The film’s denouement encapsulates Snow’s recognition of the destructive power of unchecked ambition, as he ruefully observes, “It’s the things we love the most, that destroy us” (02:27:05). In this poignant realization, Snow acknowledges the tragic irony of his own descent into corruption during his rise to the top, recognizing that his insatiable hunger for power ultimately led to his moral undoing. Through Snow’s journey, TBoSaS serves as a cautionary tale about the perils of unchecked ambition, illustrating the profound personal and societal consequences that arise from the relentless pursuit of power.
5. Conclusion
In conclusion, TBoSaS adeptly merges political themes with dystopian drama to scrutinize societal complexities. Under Francis Lawrence’s direction, the film navigates power dynamics, survival ethics, and unchecked ambition within Panem’s oppressive regime. Coriolanus Snow’s journey serves as a cautionary tale, revealing the corrosive effects of ambition on morality.
The film’s exploration of survival ethics prompts reflection on the struggle between civility and savagery, encapsulated in Lucy’s introspective musings. As audiences engage with these themes, they become active participants in a dialogue on broader socio-political issues, challenging them to confront uncomfortable truths.
Ultimately, TBoSaS reaffirms cinema’s role as a powerful medium for social commentary. It urges us to ponder the consequences of our actions and underscores the enduring relevance of storytelling in shaping our understanding of the human condition.
Works Cited
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Haas, Elizabeth et al. Projecting Politics: Political Messages in American Films. Routledge, 2015.
Hunter, Starling, and Susan Smith. “Thematic and Lexical Repetition in a Contemporary Screenplay.” Open Journal of Modern Linguistics, vol. 03, no. 01, 2013, pp. 9–19, www.scirp.org/journal/PaperInformation.aspx?PaperID=29512, https://doi.org/10.4236/ojml.2013.31002.
Judge, Timothy A., and John D. Kammeyer-Mueller. “On the Value of Aiming High: The Causes and Consequences of Ambition.” Journal of Applied Psychology, vol. 97, no. 4, 2012, pp. 758–775, https://doi.org/10.1037/a0028084.
Neale, Steve. Genre and Hollywood. Routledge, 2005.
Stock, Adam. Modern Dystopian Fiction and Political Thought: Narratives of World Politics, Routledge, 2018, https://doi.org/10.4324/9781315657066. Accessed 5 July 2023.
The Hunger Games: The Ballad of Songbirds and Snakes. Directed by Francis Lawrence, Lionsgate Films, 2023.