金融时报:纸牌屋里阴谋多

纸牌屋里阴谋多

当红美剧《纸牌屋》受到好评如潮。奥斯卡影帝凯文·史派西塑造了一个为争夺权力无节操无底线的国会议员。FT影评作家Martin Hoyle认为，这部作品颇有莎士比亚四大悲剧的风骨。

测试中可能遇到的词汇和知识：

impeccably[im'pekəblɪ] 无瑕疵地

Richard III and his skeleton 2013年2月，在英国莱斯特市一停车场内发现的遗骨被证实是著名的暴君理查三世。史派西扮演过理查三世。

machination [,mæʃɪ'neɪʃn] 阴谋诡计

unscrupulous [ʌn'skruːpjʊləs] 寡廉鲜耻的

pliancy ['plaiənsi] 柔软，适应性

ramification [,ræmɪfɪ'keɪʃ(ə)n] 衍生物；分枝；支流

tacit ['tæsɪt] 缄默的，心照不宣的

elephant in the room 房间里的大象，指众人心知肚明却避而不谈的问题

aside [ə'saɪd] 旁白

Macbeth, Edmund, Iago 麦克白，《李尔王》中的埃德蒙，《奥瑟罗》中的埃古，都是莎士比亚悲剧中以阴谋诡计和为争权夺利不择手段著称的经典角色。

antecedent [,æntɪ'siːd(ə)nt] 经历；祖先；前身

plodding['plɔdiŋ] 单调乏味的

Review: Netflix's House of Cards（636 words）

By Martin Hoyle

They may have found his skeleton in a Leicester car park but Richard III is alive and scheming in House of Cards – not the 1990 British thriller serial but the new American version streamed to subscribers on Netflix. The original authors, Andrew Davies and Michael Dobbs, are among the producers overseeing the transfer of the devious machinations of an unscrupulous chief whip from Westminster to Washington. All 13 episodes are available, to be gulped down in a marathon of conspiracy, betrayal and cynical amorality.

I experimented by watching the drama in three slabs. The first 3 episodes made a neutral impact: too much politicking of a sort we've seen on TV. A middle section of 6 episodes gradually took hold, but only the final 4 instalments really made me want to keep watching, thanks chiefly to Corey Stoll(as “US Congressman Peter Russo from Pennsylvania”)'s portrayal of self-destruction, a real tragedy, followed by growing tension in the plotting. Impeccably cast, professional at every level. If I hadn't been obliged to watch the whole thing, I think I might have left after three episodes.

The serial follows the rise to power of a Congressman of steely unstoppability and moral pliancy, and the tortuous ramifications involving his helpers and rivals. Tricks grow dirtier, strategies more unscrupulous; careers are ruined, families destroyed. A mutually helpful relationship between politics and media turns poisonous, exemplified by an ambitious young woman journalist (Zoe Barnes), emotionally involved and predictably hurt. Corruption and venality are common currency.

The American remake can be judged on its own terms, though, like the BBC original, it is overshadowed by a giant, manipulative presence. Both cultures take certain givens for granted – the tacit values and assumptions shaping attitudes even when not actively moving the plot. In Britain the elephant in the room is class. In Washington it is corporatism, and much more openness about money – although, as Congressional whip Francis Underwood assures us in one of his confidential asides to camera, “power, not money, is what counts.”

Underwood dominates the story, lying, bluffing, double-bluffing, ensnaring nature's weaklings and dupes as he aims for the ultimate prize. His tendency to Shakespearean asides, confiding, self-congratulatory or – rarely – angry, underlines the character's classical antecedents: Richard III, a dash of Macbeth, Edmund in Lear, Iago – “such smiling rogues” who prove that a man may smile and smile and be a villain.

Unfortunately Kevin Spacey goes easy on the smiles. He has none of Richard's glee or Edmund's fatalistic relish of his dark side. Having paid his classical theatre dues, Spacey can freeze into dead-eyed dislike to chilling effect.

He makes the most of the mocking self-deprecation with which Underwood undercuts his secrets. “I'm not going to lie. I despise children… There! I've said it.” Or “I will march forward even if I have to do so alone… See? I told ya!”

Spacey can elevate a guilty monologue to something near the real thing, as when remembering, in church, the man he has murdered: “Is that you, Peter? Stop hiding in my thoughts and come out. There is no solace above or below us, only small, solitary striving, battling one another… I pray to myself, for myself.” The actor's dark nihilism evokes Iago.

British viewers may find the US political manoeuvring plodding, even though the first episodes are directed by David Fincher (The Social Network). The serial really ignites when it turns into a detective thriller as Underwood's evil begins to unravel – the last four episodes. The large cast is without weakness, notably Robin Wright as Underwood's wife, here a much larger role than the English original. And Stoll, a revelation as a Congressman Peter Russo whose personal Calvary – drink, drugs, whores; redemption, temptation and fall – is both epic and intimately human. These characters have the advantage of changing in the course of the action, unlike Underwood.

请根据你所读到的文章内容，完成以下自测题目：

1.What do we know about House of Cards?

A.It is a thriller serial about Richard III.

B.There is an original BBC version.

C.It is directed by Kevin Spacey.

D.The “House” refers to the White House.

答案(1)

2.What is not true about Francis Underwood?

A.He serves as party whip in the House.

B.He dominates the story.

C.He has murdered someone.

D.He likes children.

答案(2)

3.What is(are) the difference(s) between UK and US politics, revealed by the two versions of House of Cards?

A.In US, class plays an important role.

B.Corporatism is more influential in Washington.

C.British viewers are more picky.

D.All of above.

答案(3)

4.“Drink, drugs, whores; redemption, temptation and fall – is both epic and intimately human.”

--Who is the writer talking about?

A.Francis Underwood, the protagonist.

B.Peter Russo, a Congressman.

C.Claire, Underwood's wife.

D.Zoe Barnes, an ambitious young woman journalist.

答案(4)

* * *

(1)答案：B.There is an original BBC version.

解释：文章开头提到理查三世显然是说，莎翁戏剧中经常出现的那种权力斗争和阴谋仍然活在美剧《纸牌屋》中。文中还说了，原作者Davies和Dobbs亲自监督了这部剧从1990年BBC版改编为Netflix版。不难看出，House指的是美国会众议院House of Representatives，而非白宫，显然这是个双关用法。《社交网络》的导演大卫·芬奇指导了这部剧，他与主演史派西还有一个合作是《七宗罪》。

(2)答案：D.He likes children.

解释：ABC都是正确的。安德伍德时常在自嘲中披露自己的秘密，比如讨厌孩子。有次在教堂里，他想起了被自己谋杀的人，自言自语说“Is that you, Peter? Stop hiding in my thoughts and come out……”。

(3)答案：B.Corporatism is more influential in Washington.

解释：作者说，阶级和出身显然在英国更加重要，而社团主义在美国影响巨大。（社团主义是指产业集团控制立法权的一种政经体制，法西斯意大利和今天的东亚和拉美较为典型）

C并非两国政治的区别。

(4)答案：B.Peter Russo, a Congressman.

解释：作者两次表达了对Stoll扮演的Peter Russo这个角色的喜爱。第一次是在第二段，说如果不是这个角色他就看不下去了。第二次是在最后一段说Russo的救赎、受诱惑和堕落既是史诗般的，也是有血有肉的。