He Knew He Was Right

"He Knew He Was Right" (2004) is a BBC TV mini-series directed by Tom Vaughan. It's an accurate transition to film of a novel by Anthony Trollope.

Louis Trevelyan (Oliver Dimsdale) marries Emily Rowley (Laura Fraser) and takes her to London. They are extraordinarily happy until Colonel Osborne, Emily's godfather, (Bill Nighy) begins daily visits to Emily. Her husband is jealous, which is reasonable enough in the context of the film. However, he makes the serious mistake of forbidding her to see Osborne.

Emily is high-spirited, and refuses this demand, and matters spiral down from there. Scholars have written that the plot is a reflection of Shakespeare's "Othello." Of course, the central theme of "Othello" is jealousy, but, to me, that's where the resemblance ends. Remember that the character Othello is an outsider. Louis Trevelyan is wealthy, and he moves smoothly in London society. I think the closer parallel is to Shakespeare's "The Winter's Tale." In "The Winter's Tale," King Leontes has a beautiful, loving, virtuous wife, but he becomes suspicious of her fidelity. There's no Iago to ferment suspicion--it just arises. In both Shakespeare and Trollope, the unfounded suspicion brings about terrible consequences.

The major plot of "He Knew He Was Right" is, indeed, tragic. However, Trollope has brought us four sub-plots, all involving true love that is initially thwarted. (Well, I'm not sure about how true the love is in one of the sub-plots, but there's plenty of thwarting involved.)

As always, the BBC has given us fine production values, and an excellent supporting cast. Oliver Dimsdale does a fine job as Louis Trevelyan. Laura Fraser is brilliant as Emily Trevelyan. The plot depends on her to be loving, virtuous, stubborn, and forgiving, and she manages to portray all these qualities perfectly. The camera loves her, and it's obvious that director Vaughan is aware of this. He has chosen to let her beautiful dark eyes convey to us what she is thinking and feeling. It was a superb casting choice. It's worth seeing "He Knew He Was Right" just to watch a talented actor play the part that's perfect for her.

Because this BBC mini-series was made for TV, it works well on the small screen. Find a way to see it. You'll be glad you did.

P.S. At certain key moments in the movie, characters turn to us and tell us what they are thinking. It's an interesting device at first, but ultimately I found it annoying. Luckily, these moments of direct communication from the character to the audience become less frequent as the film progresses.

Let me say before I go any further that I have not read the book, but I shall. As with all adaptations, Gone with the Wind aside, there will be butchery to fit into time constraints and productions needs. Having said that, the acting was flawless; what brilliant casting. I start to think of Geoffrey Palmer as the bewildered Victorian parent whose daughters, and almost wife too, ignore his rulings, and then I think of the two French daughters in their pursuit of the naughty vicar and then I am distracted by Aunt Stanbury.... it goes on and on. Trollope's skill for me was in the drawing of his characters and the BBC have captured this perfectly. The only fault I could find, although I didn't look too hard, was that Dorothy seemed to wear the same frock throughout, and I did wonder about the smell. The main story became almost irrelevant at times.

Love Trollope - loved this. If I had read the book first would I still? Hard to say, but this is quality TV mate, and it's a rare bird.

Decent production values. Unlikely scenario: stubbornness to the nth degree. Nicely acted in most parts.

There is a concept of 'the fourth wall' which separates the drama from the viewer. This is smashed regularly for no apparent reason, when one of the characters, suddenly turns to the camera and delivers some form of rationalization. This will add nothing to the exposition, but leaving the viewer, newly disconnected from the world in which he/she was immersed, wondering what on earth the director intended to achieve. Depending on how engrossed you were this is either amusing or infuriating. Really one of the worst (best) examples of why this is not normally a good idea.

Brilliant adapatation of Trollope's long novel. The actress playing Dorothy is particularly luminous, although all the cast perform well (especially Palmer and James as parents of poor Emily). The social norms and rules may seem strange to a modern audience, but this sort of thing kept Victorian readers on the edge of the seats. The setting was moved from Exeter to Wells for the serial as Wells is more unspoilt (a beautiful Cathedral City in Somerset for those unfamiliar with the UK). Vicars' Close, unchanged since Victorian times, and the Cathedral Close are used particularly well by the production crew.

Trollope wrote some 49 novels, although few would adapt as well as this to the small screen. Hopefully the DVD release will follow soon.

This latest period drama, written by Andrew Davies, takes a minor and rather unusual Trollope novel and applies the full Davies/BBC costume drama treatment. The sets are sumptuous, whether in a London still with fields and footpaths, the cathedral city of Wells or Italy. The acting is excellent, with outstanding performances by some of the older generation of British actors - notably Anna Massey, Geoffrey Palmer, Bill Nighy and Geraldine James.

But the novel itself is not the usual Trollope of politicians and clergymen (although both are featured). It is rather a psychological study of a man consumed by jealousy, and its effects on all around him. The problem in the 21st century is that the bases for the jealousy, the responses and the social mores which shape them, are so deeply rooted in Victorian England's peculiar class structure that they are hard to comprehend, and even harder to sympathise with. So that this viewer is irritated rather than involved, wanting to ask "what is all the fuss about?" But the director, writer and cast keep the action moving briskly through the four hours of the mini-series, and it is only in the final hour, when melodrama turns farcical, that the irritation overcomes the involvement.