Jennifer Lawrence and Natalie Dormer share cheeky kiss on red carpet at Hunger …

6 Nov 2015 | Author: | No comments yet »

Hunger Games director defends his decision to include violent scenes in final film.

Lawrence and Dormer were participating in separate red carpet interviews, and when Lawrence’s finished first, she used the brief moment of free time to say hello to her costar.The Hunger Games: Mockingjay – Part 2 shows the bombing of young children, a public execution, and an attack by human-sized mutated “lizard mutts” with flesh-tearing jaws – which ends in the death of a character. Everyone has to start somewhere, and Jennifer Lawrence started here, in a tiny role, in a botched indie melodrama that was shot and shelved in 2007, then opportunistically released when she hit the big-time. But thanks to the magic of awkward human interaction, Dormer turned her face at the exact moment Lawrence was going in for a kiss on the cheek, and the two actresses partially locked lips. “Oh my God,” Lawrence shouted, before laughing and apologizing to Dormer.

The director said: “In the visual interpretation of the stories, I wanted to make sure that we were again focusing on the emotional consequence of it, not the carnage, not the blood… you’ll notice there’s very, very little blood. Dormer’s interview continued, but the reporter couldn’t resist telling the Game of Thrones star that she had a bit of Lawrence’s lipstick on her face. “I’ll get Jennifer Lawrence off my face,” Dormer joked, before walking away. Given the actors in major roles (Willa Holland, Tierra Abbott, Vinessa Shaw?) and an exceptionally limited release, this LA-set drama is unlikely to be remembered for much, save perhaps Lawrence’s ill-advised perm in the insignificant supporting role of Tiff. “The critics have been very kind to me thus far in my career,” Lawrence wrote to the New York Film Critics Circle on receipt of one of her American Hustle trophies. “But I guess I’m not receiving this for The House at the End of theStreet, so you guys must have missed that one, right?”. On his decision about how much violence to include, the director said at a press conference in London: “That was probably the biggest challenge I had in the making of this movie specifically.

This entirely derelict suburban psychothriller (think Nancy Drew meets Psycho), directed by a former Radio 1 DJ, is easily Lawrence’s ropiest vehicle since she made it big. I think each of the movies has been violent in its own way, but this was going to be the toughest.” He added: “Suzanne wrote these books with the intention of writing about the consequence of war for teenagers. The directorial debut of Tank Girl star Lori Petty hardly seems like fertile ground for any novice actress to thrive in, and the garish overacting of Selma Blair as a strung-out prostitute, not to mention Chloë Grace Moretz as heryoungest daughter, are grim warnings indeed. But Lawrence managed to get across some subtle anguish here in her first dramatically testing part, as well as projecting an underage sexual curiosity not unlike Juliette Lewis’s in Cape Fear. An initial report by the British Board of Film Classification said the film contained “moderate violence and threat, and infrequent strong language”.

Lawrence has directed the final three of the four films in the franchise, which star Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Elizabeth Banks, Woody Harrelson, Julianne Moore and Donald Sutherland. She’s carrying herself with already impressive confidence opposite the biggest co-stars she’d yet experienced – particularly a puppet-toting Mel Gibson. You wonder what tips Jodie Foster had to impart from behind the camera, given the intrepid acting career she’d already carved out for herself as she rounded 20.

Paired for a second time with Yelchin, Lawrence here played The Other Girl – the colleague Yelchin’s Jacob falls in with romantically when visa issues keep him an ocean apart from his real soulmate. Lawrence’s Mystique, a shape-shifting mutant fatale in head-to-toe blue body paint, is such an arresting, provocative and boldly sexy characterisation you wish she’d had more to do in both these films. She’s somewhere between angry and ravenous at all times, a surprisingly relatable villainness-to-be who’s caught in a love triangle between Michael Fassbender’s Magneto and Nicholas Hoult’s Beast.

She succeeds pretty niftily in giving Mystique an aura of instability that registers emotionally, not just in her chameleonic cycling through other guises. This odd-duck historical tragedy can’t possibly live up to the pitch – J.Law as a ruthless, Lady Macbeth-like lumber baron in jodhpurs and silk gowns! It proves she can carry off a period look as a kind of Barbara Stanwyck siren of the Depression-era North Carolina mountainside: an odd test to put her through, perhaps, but one she passes with flying colours.

Lawrence got her first serious critical attention, and even a Venice Film Festival award, for her crucial part in this neglected, off-puttingly self-serious melodrama from the writer of Babel and Amores Perros. As Kim Basinger’s morose daughter, who grows up to become a fiercely miserable Charlize Theron, she has a sullen verve, and keeps some mystery in play before the hideous mistake that’s about to blight her life. Katniss Everdeen was the big one: the part that propelled Lawrence on to magazine covers everywhere, inside teenage bedrooms and right to the top of every casting director’s wish list. Being this tough and resilient at the service of a massive global franchise has never seemed like her trickiest acting gig – sometimes, it feels like handling the boost in profile has been the harder part. The Hunger Games is not quite a Sigourney-Weaver-in-Aliens-level triumph, but she’s unquestionably the rule-breaking, quick-thinking action heroine de nos jours here.

It’s her most unplugged performance, and wild fun to behold, even when she’s being hugely indulged by a director who’d clearly watch her do anything. Her wig-out to Live and Let Die, bafflement over a microwave, and bathroom bitch-off with Amy Adams are greatest-hits moments which nearly got her a second Oscar. This one was the trophy role – a gold statuette for just Being Jennifer Lawrence, as much as for her impressively lively, prickly, damaged and flushed portrait of widowed dance competitor Tiffany Maxwell. Somehow, she was the front-runner from season’s start, and not even Emmanuelle Riva’s sensational work in Amour thwarted Hollywood’s desire to crown her as its new darling.

It was Ree, more than Tiffany, Rosalyn, Katniss or the rest, who proved Lawrence had the chops to get inside a young woman’s headspace and intuitively figure out the fight she had to win.

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