Francis Urquhart, the unscrupulous but cunning Conservative Prime Minister, has his survival threatened by a liberal monarch and an upcoming General Election.

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Series cast summary:
 Francis Urquhart (4 episodes, 1993)
 The King (4 episodes, 1993)
Kitty Aldridge ...
 Sarah Harding (4 episodes, 1993)
 Tim Stamper (4 episodes, 1993)
Diane Fletcher ...
 Elizabeth Urquhart (4 episodes, 1993)
 David Mycroft (4 episodes, 1993)
 Chloe Carmichael (4 episodes, 1993)
Leonard Preston ...
 John Stroud (4 episodes, 1993)
Erika Hoffman ...
 The Lady (4 episodes, 1993)
Jack Fortune ...
 Ken Charterhouse (4 episodes, 1993)
 Corder (4 episodes, 1993)
 Princess Charlotte (3 episodes, 1993)
 Sir Bruce Bullerby (3 episodes, 1993)
 Andrew Harding (3 episodes, 1993)
Frederick Treves ...
 Lord Quillington (3 episodes, 1993)
Tom Beasley ...
 Young Prince / ... (3 episodes, 1993)
 Graham Gaunt (3 episodes, 1993)
Paula Tilbrook ...
 Speaker (3 episodes, 1993)
John Bird ...
 Bryan Brynford-Jones (2 episodes, 1993)
Kate Ricketts ...
 Current Affairs Lady (2 episodes, 1993)
Merelina Kendall ...
 Hilda Cordwainer (2 episodes, 1993)
Anthony Smee ...
 John Staines (2 episodes, 1993)
John Paul Connolly ...
 Sturdy Beggar (2 episodes, 1993)
Soo Drouet ...
 Big Woman (2 episodes, 1993)


Francis Urquhart, the unscrupulous but cunning Conservative Prime Minister, has his survival threatened by a liberal monarch and an upcoming General Election. Written by Dragan Antulov <>

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Release Date:

8 October 1996 (USA)  »

Also Known As:

Kongehuset  »

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(4 parts)

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Did You Know?


Emma Bunton (the future "Baby Spice") has a tiny speaking part as a prostitute in Episode 2. See more »


Francis Urquhart: You have a remarkable brain, and I should like to plunder it.
See more »

Crazy Credits

After the credits Ian Richardson is shown in close up saying "God save the King" See more »


Referenced in Drama Connections: House of Cards (2005) See more »

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User Reviews

Not Her Majesty's Humbert
26 January 2013 | by (Greece) – See all my reviews

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 protagonist—Francis Urquhart, now Prime Minister after the events of the first one—is 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.

4 of 7 people found this review helpful.  Was this review helpful to you?

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