"Better a fallen rocket than never a burst of light."
~ Tom Stoppard, The Invention of Love
Showing posts with label House of Cards. Show all posts
Showing posts with label House of Cards. Show all posts

Thursday, September 4, 2014

Exploring House of Cards Through Richard III

 
Though I finished and reviewed Richard III not long ago, I didn’t get around to comparing it with House of Cards as I’d planned.  Until now!  Having read one and watched the other, the common threads between the two stories are clear, especially between the two main characters.
 
Both Richard and Frank have the whole “smartest, sneakiest guy in the room” thing going on, further accentuated by their frequent asides to elaborate on their plans or scorn the stupidity of others.  Obviously, both have their eye on the highest seat in the land and have no qualms about how they attain it.  Plus, it’s not a simple matter of taking out one person – there’s an entire series of hoops to jump through, which requires a complex, multifaceted plan of carefully-balanced wheels within wheels.
 
I had to stop and think for a moment about Richard; though he, like Frank, is certainly fond of intricate manipulations that usually end which his victim destroying themselves, that’s largely his weapon of choice in his own play.  Earlier in the tetrad, he’s much more overt in his takedown of his opponents.  He’s openly hostile, relishing in battle and personally killing a number of his enemies.  I realize, though, that someone needs different tactics for destroying their own family from within than for crushing an acknowledged foe.  There’s no real call for Richard to play nice with the Lancasters, but he’s part of the house of York.  He lives among the people who are in his way – brothers, nephews, and so on – and can’t afford to just commence with the bloodshed.  So, he gets clever and underhanded, instead playing them all like chess.
 
In a way, I suppose Frank is the same.  He can be more openly combative against the Republicans because they’re the opposing party (though he still has to conceal his less legal activities,) and the Democrats enjoy reaping the benefits of his mercenary methods.  However, when he’s gunning for the people above him in his own party, he has to do it subtly.  He has to nurture their trust, isolate them from all voices but his, and gradually undermine them until they’re backed into a corner and can’t escape.
 
Not that the two characters are entirely the same.  There’s Frank’s wife Claire, a partner in Frank’s aims as he is in hers, and the sense of warped vindication that plays a role in Frank’s desire, not just to supplant President Walker, but to eviscerate him.  The biggest difference to me, though, is Richard’s much-talked-of physical deformity.  Throughout his play and the ones preceding it, other characters mock his “monstrous” appearance and cite it as proof of his internal blackness.  Frank, on the other hand, looks every bit the politician.  There’s nothing readily apparent about him that people sneer at.  I almost wonder if future episodes will use his bi-(or possibly homo-)sexuality to touch on this angle.  It’s not visible or evident, but that’s more the political game of today, isn’t it:  secret scandals coming to light and eroding a public figure’s foundation.  It might be an interesting way to go, especially since the show really doesn’t vilify Frank’s sexuality (which definitely relieves me) – there are plenty of other reasons to vilify him.  If anything, his scenes of same-sex attraction seem more honest and less opportunistic than his scenes of opposite-sex attraction and take tiny steps toward humanizing him.  For someone to try and use it against him would be much like people disparaging Richard for physical conditions over which he has no control.  I can’t decide if it’d be obvious, irritating, or intriguing, but I’m curious about the idea.  Sigh… how many months until season 3?

Saturday, June 21, 2014

House of Cards (2013-Present)


*Disclaimer: I wrote this review in 2014, before the allegations against Kevin Spacey came out. I remember it was a hard one for me to process initially, because I’d been a big fan of Spacey, and I had a kneejerk reaction to half-want to make excuses. It was a short-lived reaction, but that doesn’t make it better. Since then, I’ve taken more care to interrogate my responses to allegations against people I’ve liked. As for Spacey, he’s one that I’ve really been unable to watch at all since I came to terms with the allegations; I can’t see his face without thinking about what he did to Anthony Rapp and the others.*
 
 I took a bit of time off for Orange is the New Black’s second season, but I’m finally caught up on this other Netflix original series.  A dark, slick drama from the Breaking Bad or Mad Men school of antiheroism, House of Cards weaves a complicated tale of political scheming and Machiavellian ambition.  It’s a show that plants the seeds of overarching plots and draws them out slowly over multiple episode, but it also has Big! Shocking! Moments! that leave you staring goggle-eyed at the screen, wondering if you actually saw what you just saw (episode 1 of season 2, just sayin’.)
Frank Underwood has spent years in Congress as the Democratic Whip, but when the new president passes him over for the expected position of Secretary of State, he decides that enough is enough.  He undertakes a brutal long game in a quest for power and retribution, setting myriad fires through crafty manipulation.  He wages covert wars on numerous fronts – he drives legislation, woos journalists, blackmails colleagues, and, ultimately, casts a large and impressive shadow.   
I’ve heard comparisons to Richard III.  I’m planning on reading it later this summer – working my way through the Henry VI trilogy first – so I’ll probably have more to say on the matter then, but even now, “Shakespearean” is the word that often comes to mind when I think of this series.  The relationship between Frank and his wife Claire has shades of the Macbeths, though the comparison is imperfect; while Claire is ruthlessly determined and resourceful, she’s not the unscrupulous seducer whispering in the reluctant Frank’s ear.  Rather, they’re birds of a conniving feather, working together to see their aims come to fruition.
Othello is another play that bears mentioning.  Frank’s machinations are positively Iago-esque; it’s not enough for him to simply best, outwit, or even defeat someone.  He greatly prefers to lay clever traps that they wind up springing themselves, forever playing the spider as he lulls them into a false sense of security.  Just as Iago resents Othello for making Cassio a lieutenant over him, Frank is motivated in part by the slight he feels at the hands of the president.  Again, it’s not an exact parallel, because Iago doesn’t seem to have any particular goals beyond his revenge.  As much as Frank wants to scorch the earth beneath the president, he also has larger aspirations, and every movement is calculated to simultaneously drag someone down and pull himself up.
As Frank, Kevin Spacey delivers a masterful performance.  He’s commanding, sly, and chameleonic, one minute a chivalrous good-old Southern boy, the next a steely-eyed cutthroat.  He regularly addresses the viewer in asides to the camera – it’s especially effective when he merely gives us a look, offering a glimpse of his true intentions in the midst of a charade.  There are a number of other excellent performances in the show, including Robin Wright Penn’s icy Claire (Buttercup herself!)  It’s a fantastic, engrossing show that’s very good at leaving me wanting more:  the final shot of season 2 left me ruing the months-long wait for new episodes.
Warnings
Swearing, sexual content (including nudity and sex scenes,) drug use, drinking, smoking, scenes of violence, strong thematic elements, and incredibly shady behavior.  This isn’t one for the kids.