House of Cards: Framing the series in one scene

I want to take a look today at a scene from episode one of the fifth season of House of Cards directed by Daniel Minahan in which Claire Underwood meets with the mother of fictitious ICO murderer Joshua Masterson, Roseanne Masterson. Specifically, I want to understand how this short 4 minutes and 47 seconds scene frames the essence of the entire House of Cards world and what role do we as viewers play in the fictitious America under President Underwood.

I must mention that for those of you who have not seen the episode yet, this post will include some spoilers.

What attracted me to this particular scene is its colour palette, character movement, context, position within the episode as well as its place within the series. By focusing on the last point on the list, it is important to remember that season five arrives after a 13-month wait. However the words of President Frank Underwood are still ringing clear in our ears from the end of season four, 'They're like little children, we have to teach them right from wrong, tell them what to think and how to feel and what to want.' The scene appears in an episode which has to reinsert the viewer into the world of House of Cards, a twisted and ambiguous reality in which 'we', the viewers, have no power but that of foresight. However, what those four and a half minutes end up doing is transport us to a space in which Clair Underwood removes even our vision by predetermining our future in the show, what we should do and when we should do it.

The new season starts by building up Claire's image as a politician that can do whatever it takes to succeed and her climb towards becoming a force to be reconned with at the White House. Therefore the scene's placement at 30.51 minutes into the episode, mid-point, comes as no surprise as it represents the pinnacle for the introduction of Claire 'powerhouse' Underwood. She arranges the meeting with Mrs Masterson despite uncertainty from Frank and engages in a conversation which she knows will need to go her way. Located right in the middle of the episode, Mrs Underwood's pitch to Roseanne during the meeting is her pitch to 'us'/ 'the people'. Claire's aim is to determine Mrs Masterson to make a statement calling her son back, despite knowing that Frank already has Joshua, her son and the fictitious ICO terrorist, in captivity. However, the real aim of the scene is to take us back all the way to episode one of the first season where Frank opens up to the camera for the first time and speaks to 'us'. In Claire's case here, just as her tactics of persuasion, she is not talking directly to the camera, to us, but to Roseanne, which becomes an embodiment of the 'American people'/ 'us', telling her how things are and what her part will be.

The set for the scene is a large, windowless conference room, somewhere in Washington I can imagine. There are no details provided as to the location of the meeting. In a sense, this place exists in a vacuum. It is unaltered by the external world, and therefore nothing that happens inside can exist outside. I believe the director takes those extra steps, or better yet leaves out those details, to portray the tense atmosphere surrounding the events which will follow. Although in the presence of other people and security at the beginning, it is safe to say that the room becomes a cage for Roseanne and implicitly 'the people'. Within this narrow open yet enclosed space, the two women engage in a conversation the result of which will either damage or improve the way in which the Underwoods are seen by the voters in the running for the presidency.

Claire enters the room and finds Mrs Masterson accompanied by her lawyer and members of the president's security detail. She is followed into the chamber by more security but makes quick work of dismissing everyone to remaining only in the presence of Roseanne. At this point, the scene reinforces the idea of the series and what role 'we', as the audience, are playing. We, as well as the fictitious 'American people', are portrayed by Mrs Masterson in her apparent innocence and cluelessness. From episode one of season one all we do as viewers/ 'the people' is play a game of catch up with the Underwoods, and this scene is no different.

Claire's choreographed movement around the room is the key to her success, and she uses her patient approach to get closer and closer while imposing her will more and more. After a small wave of the hand from Mrs Underwood, Roseanne is abandoned by all those who she thinks can protect her. Before the scene breaks, the feeling is already of fear as Claire's eyes are staring Roseanne down with a calm yet powerful expression. Once the set returns into focus, I will talk about the break as well in one second, we find ourselves facing Mrs Underwood this time from a seated position, with the US flag behind her. The overall set now seems airier. As the conversation between the two begins, the camera moves in and out, from wider angles to close-ups, defining their attitude towards each other as well as themselves. In this relatively rapid exchange, Claire is constantly calm and composed, characterised by a power posture. Although she is seated 80% during the scene, her tone of voice, presence and wardrobe towers over the terrified and confused state of Roseanne, and implicitly over 'us'/ 'the people'.

As mentioned before, this scene is a well-defined dance between the characters in which Claire makes all the moves. She sits to offer calmness and relaxation, stands to make a point and emphasise the reason for the meeting and reaches to illustrate the nature of her request. By always moving closer to Mrs Masterson she is building up the pressure through a gentle and reasoned set of arguments, slowly leading to the submission of the latter. From her seated position, Claire delivers the final blow which determines Roseanne to 'do as she is told'. However, the blow is not with power but with a delicate touch, with a heart focused pitch and with a box of tissues. Mrs Underwood, in her vertical and horizontal movement, adds more power to her pitch. She asks while telling that although there is always an option, 'nobody is stopping you', that option is always Underwood.

Through the pastel skin colour palette of the context, interrupted only by a few black and white images, the lens is capturing the fragile nature of Roseanne's world which could change in an instance. The colour palette of Mrs Underwood's outfit is moderate, monochromatic, quite but still allows her to stand out from the background as opposed to Mrs Masterson's one that matches the tones of the room, allowing her to blend into the decor. I think this in a very careful coordination and use of colours due to its singularity. It is the only moment which adopts a monochromatic palette during this episode. The monotony of the colour breaks only at the intersection with a series of frames which depict modernist and brutalist structures. The staging of those architecture elements is carefully orchestrated to further emphasise the dominance of those in power. The photos aim to remark on the common association between state buildings and the ideas of fairness, honesty and morality. However, they are taken from a position of demise. The perspectives are from eye level or framed in such a way to depict singularity or dominance. In this manner, the director leaves nothing to chance in his effort to bring the essence of the conversation down to a single word, submission.

I think it is also important to focus on the break which takes place only seconds into the scene. After just 34 seconds the set changes to the Oval Office where Frank Underwood is imposing on Catherine Durant his vision for the travel ban. His power is reemphasized by the colours he is wearing as well as his movement within the room. By fitting a navy blue suit with a spatial approach which matches that of Clair's, Francis is constantly standing while Durant is sitting through the entire scene. Furthermore, the colour and pattern of Catherine's suit which perfectly blend in with the couch she is resting on is a further remark on her state of inability to oppose the wish of the president. However, Frank's approach is direct, from an existing position of power and uses intimidation to determine the submission of Durant.

I looked forward to the return of House of Cards as it is a show that delivered, for me at least, on numerous levels and this scene is another piece from its repertoire. In one scene, the director refocuses the eye of the spectator to remind him that his role in this series is only that of a spectator. In both conversations, the Underwoods start on the back foot with unreasonable requests which seem to make them look foolish just for asking. However, their dominance, posture and determination place them on top in the end. Also, the well-directed use of movement, colour and spatial representation creates a scene which has the trademark of House of Cards in the sense that dialogue would not even be required to understand the outcome. Through the portrayal of 'the people' as Mrs Masterson, the series also touches on elements which can be identified in the real world but frames them within the narrative of an extreme scenario dominated by the Underwood reign. I think this is why House of Cards is such a successful show.