Francis Urquhart, unscrupulous but cunning Conservative politician, managed to become the British prime minister and crush all significant opposition. But his survival on the top is ... See full summary »
Francis Urquhart is too experienced a politician not to know that everything must end, even his long career as British prime minister. In order to secure his retirement and establish ... See full summary »
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Tommy Lee Jones,
An elite firm of assassins must face their own mortality as they are hunted down one by one by a mysterious assailant. Caught up in the drama is a disgraced journalist who is more connected to the assassins' world than he could ever know.
Two young lovers are brought together by a seemingly innocent deck of cards. Their life together grows and flourish, but when tragedy strikes one of them, the other's faith is put to the ultimate test.
Francis Urquhart, unscrupulous but cunning Conservative politician, managed to become the British prime minister and crush all significant opposition. But his survival on the top is threatened by a liberal monarch and some skeletons in the closet. Written by
Dragan Antulov <firstname.lastname@example.org>
Stamper confronts Francis about having a job in higher office after the election, like Home Secretary, but Francis rejects him. In the first House of Cards, Francis was promised a higher post like Home Secretary from Collingridge, but was rejected. See more »
Compared to the first House of Cards, this is a retread of familiar ground, far-fetched in spots, and fizzles out in the 'explosive' finale. It is still fun to watch, and together with Cards, a great primary text.
The narrative tension arises from the fact that the protagonistFrancis Urquhart, now Prime Minister after the events of the first oneis both an actor inside the story and the capricious narrator who in telling it attempts to control that story and his environment, Lolita-wise. (which Ian Richardson has not only known, as anyone in his trade can be expected to, but actually played on the stage, in Albee's Broadway version as apparently Nabokov himself)
We are roped in the story, by Urquhart making the camera a co- conspirator on his side.
This could have been of more interest than the first. The issue of co- conspiratorial viewing more ambiguously rears its head here, because mixed with parliamentary intrigue, the great deceiver is beginning to show signs of doubt and remorse, but knowing him to be a demagogue, can we trust him? Is he lucidly toying with us? Do we open up? It all comes back to Lolita, the seduced younger woman, his mirrored nemesis the current Chief Whip. It is good material, a good text to work from.
Alas, the same problem persists as in Cards.
Urquhart's doubt grows from memories of the first film, the whole Mattie Storin affair. If you haven't seen Cards, he has done something horrible even by his standards, and tormenting visions begin to seep into and disrupt his control.
Now there are two types of film when dealing with cinematic memory, mostly distinct of each other.
Films where memory is a narrative device and the reminiscing self fetches the images as insight into some past story, a category of which this is a part of, and can be relied on for a good jigsaw but hardly much else. Hitchcock usually worked in this way.
And films, much fewer, where true to the function of memory, images steal into the story as insight of the narrating self, images not always in the right order or logical that partly create the self. All the great films (as well as Lolita) fall in this latter category.
So the narrative is clean and logical, which the British do better than anyone. The acting is fine, Richardson above all. But, there is no reason whatsoever for Urquhart to be truly confiding to the viewer, especially now that we see aspects of Urquhart he does not control. Everyone else is being lied to, uncertain and fumbling, but we are not. This is as if Lolita was just a chronicle of mischiefs, missing layers.
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