David Finchers House of Cards - Book Report/Review Example

David Fincher’s House of Cards Introduction The drama production House of Cards is about a fictional work about a politician’s quest for revenge. In this riveting political drama, there are sex scandals where positions were sold for sexual favor, manipulation, bribery and other not so honorable means to an end. It is also about his calculated move to become the Secretary of State in a barter trade agreement with an aspiring presidential candidate. The UK mini-series adaptation released in the 1990s was an antecedent of David Fincher’s 2013 adaptation of the book House of Cards authored by Michael Dobbs. In his own words, Dobbs stated that he began writing the book after an altercation with Margaret Thatcher, who at the time was UK’s Prime Minister: “ I had no idea that book would change my life…a quarter of a century later, it is still doing that, changing my life, never knowing what to expect”. Fincher’s US adaptation of the book, which is a favorite across different demographics, continues to prove what an incredible literal work the book is. The desire for political power and the quest for its acquisition is demonstrated in the life of the two main characters. .Although a work of fiction, Fincher’s US series starring actor Kevin Spacey who plays the role of Frank Underwood gives the audience a look at what really transpires in Congress and the White House. Spacey plays a disgruntled politician who decides to cheat and murder his way to the highest political office. The lives of those who are related to the politicians as well as those who work around them get pulled into the two politicians quest for power. Currently in its third season, Fincher and his colleagues have managed to widen the show’s audience base, as they tackle political issues surrounding the US electoral process. This is an issue currently at the heart of the US public, as they prepare for the 2016 presidential election. Explored below are aspects such as foreshadowing, plotting, and characterization, all of which reinforce the fact that House of Cards is indeed a successful work of fiction. Foreshadowing Foreshadowing is a technique that runs parallel in the book and its various screenplay adaptations. Fincher and his associate producers have used foreshadowing at the beginning of episodes. In such situations, the producers work their way back from a point in the future in an attempt to explain how the events unfolded. Season Two began with Zoe’s murder at the hands of Francis Underwood. Zoe’s death is foreshadowed from as early as the first episode of the first season. Fincher’s goal from the very beginning was to retain the author’s main storyline; however, make the project relatable to the American audience by setting the story in the US political context. As such, he had to be careful when introducing new characters or terminating roles of different characters. In both the book and the UK mini-series adaptation, Francis murdered Zoe’s character. Despite the two predicting Zoe’s obvious demise, Fincher used Frank’s character and imagery to foreshadow her death. For example, in the final episode of the first season, Frank alluded to his inclination to dispense of people once they served their purpose: “I dont use people unless I can throw them away afterwards” (Fincher Episode 1.13). In addition, Zoe and Frank had once visited the Metro station. Finally, Zoe used the line “Metro is Killing me” in the first episode of the first season. All these clues foreshadowed her death. Fincher also relies heavily on the use of direct addresses, as his preferred foreshadowing tool. Direct addresses are used throughout the book, which makes the concept the author’s original idea. Fincher opts to retain their use in his screenplay adaptation with the hope of keeping the story’s authenticity. In addition, direct addresses have afforded Fincher the opportunity to foreshadow the main character’s intentions, which also include his anticipated responses from the characters he is addressing. For example, Fincher uses direct addresses a couple of times in each episode especially when the main character Frank Underwood is plotting to manipulate other characters. In season one Underwood uses the Education Bill to manipulate his fellow Congressmen. As the Chief Whip, he wields a great deal of influence, which makes it easier for him to make empty promises he does not intend to fulfill while simultaneously making threats he intends to follow through. It is important to note that the directors do not overindulge in their use of direct addresses, as they tend to work as “spoiler alerts”. For example, if Underwood predicted that his fellow characters would react in a certain way, then the audience would slowly lose their interest, as they would have nothing to anticipate. Plotting Fincher retains Dobb’s initial plot whereby he centers his story on a politician’s greed and ambition, which drive his desire to occupying the highest political office in the country. The book’s plot sets a solid framework for Fincher and any other interested producers to expand on when creating their own adaptations. Fincher had to make a couple of changes to the plot in order to best cater to the preferences of his American audience. He chose to set the screenplay adaptation in America whereby he focused on the US political context. It would have been quite difficult for the American audience to understand the complexities of the UK’s parliamentary system, which was the setting of the book and the UK mini-series adaptation of the book. Since it was a work of fiction, Fincher had the leeway to expand his plot whereby he chose to introduce new characters and tackle different controversial issues. In addition, he structured the plot to reflect the current political atmosphere in the real world. For example, the conundrum in season one was about the Education Bill, which was a major discussion in real-life whereas in the current season (Season three) politicians are preparing for elections by aligning themselves with candidates who might secure their re-election; the same is currently happening in real-life. Fincher has been able to build on the original plot, which has ensured the preservation of the author’s authentic storyline. In addition, he has been able to integrate his own creative vision with the original storyline. New episodes build on previous ones, which create continuity in the plot; therefore, Fincher is able to stay in control over the direction of the storyline. This also ensures that the audience remain intrigued, therefore, look forward to new episodes. Characterization Characters have the ability to make or break any work of fiction, be it a literal piece or screenplay adaptation; therefore, characterization is crucial. Fincher’s choice of characters has and continues to portray fictitious characters in a manner that is convincing to the audience. Some politicians find the movies highly offensive as they see it as portraying then in a negative light (POLITICO).Frank Underwood is the main character in Fincher’s screenplay adaptation, and is a role exemplary played by award-winning actor Kevin Spacey. Despite overt differences existing between Fincher’s and Dobb’s main characters, the two are inherently similar. For example, Dobb’s main character came from an affluent background whereas Fincher’s main character came from a deplorable background marred by poverty. Both characters were similar in that they both had political ambitions fueled by their superior’s swindling them out of a position promised to them after the latter assumed a higher political office. Spacey’s character is more ruthless, as his conscience is not perturbed by committing heinous acts such as murder (NEFLIX, 2015). His wife Elizabeth, a role played by actress Robin Wright, is a strong, independent woman with her own ambitions. Initially working in her own non-governmental start-up, she supports her husband’s political ambitions. For example, she encourages her husband to start an affair with a young, ambitious reporter (Zoe), a decision that will help Frank sway the public’s opinion to his advantage. Together, the two make a formidable team, which cannot be dismantled by their foes. For example, in season three, Elizabeth sets her mind on becoming the US’ ambassador to the UN, which is a position that has to be approved by the Senate. The latter rejects her appointment. To their dismay, she finds constitutional ground for her husband to override the Senate’s decision, which in turn leads to her appointment to the post (Fincher Episode 3.2-4). Fincher both introduces new fictitious supporting characters and retains supporting characters from the book. His decision to do so is informed by his need to expand the scope of his screenplay production. On its own, the book does not provide enough material to create a lengthy production. As such, Fincher’s introduction of new characters helps to fill the gap. The supporting characters serve one major function. They are able to highlight and complement traits specific to the main characters. For example, Doug and Remy’s duplicitous nature only help to highlight Frank’s inherent capacity to indulge in manipulative strategies, and deceitful endeavors to his own benefit. Conclusion In conclusion, Fincher’s House of Cards is indeed a successful work of fiction. As the US screen adaptation producer, he has been able to build onto the author’s original work without losing the latter is original ideas; for example, he continues to use direct addresses to foreshadow events in his screenplay adaptation of the book. Fincher also used lines, began episodes from an event in the future, and used setting to foreshadow different events. In addition, Fincher has managed to introduce new characters that were not in the original book, which was set in the UK. He does this, while still maintaining the main characters’ authenticity. Finally, Fincher’s work is entirely a work of fiction, which gives him the leeway to tackle controversial concepts in his plot without fear of lash back from the audience. Work Cited Fincher, D. (Director). (2012). House of Cards [Motion Picture]. www.netflix.com/WiMovie/70178217 www.politico.com/.../house-of-cards-money-politics-103801.htm     Read More