He Knew He Was Right

Chopped up Trollope is worse than no Trollope at all in my view. There is barely enough exposition for a complex set of characters but there are plenty of climaxes and assorted running gags which are hard to get unless you've read the book. It's basically is a series of punch-lines with no lead-ins.

This isn't even directed on decent soap opera level, which might have satisfied the time constraints. Why oh why must so many of the characters mug as they address the camera. With the exception of Anna Massey, the acting is dreadful, particularly the leading men, who look like they long to be in a rock opera or at least an early Disney Opus. A spoonful of medicine isn't enough for this travesty, I'm afraid.

As usual for Masterpiece Theater, the settings are lovely & the music is very loud.

"He Knew He Was Right" is a 4x55 minute TV miniseries adaptation which is very much like the usual Victorian melodrama fare from such notables at the Brontes and Austen. The backbone of the story is about a young man of property who marries and then becomes obsessively jealous of attentions paid his wife by her Godfather. Crisscrossing the main plot are several subplots involving the societal clockworks of middle and upper class Victorian society with all the usual scheming for peerage and property, premarital posturing, courtship and affairs of the heart, and busybody bickering among the staid and stuffy pomp of the times. Although "He Knew He Was Right" has a darkish central theme, it never takes itself too seriously and manages a very subtle and wry sense of humor as it cavorts among the many characters with charm, wit, grace, and beauty. A worthwhile watch for anyone into Victorian melodrama. (B)

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.

This is about the danger of malicious gossip. We have the naive young wife, played by Laura Fraser (Lydia in "Breaking Bad") who has just moved to London with her husband. A friend of her father, played by the ever mischievous Bill Nighy, comes to visit–daily. Her husband overhears gossip about the relationship and sinks into paranoid despair, made worse by a cynical private detective played by Ron Cook (Mr Crabb in "Mr Selfridge"). One of the side stories is about the hapless vicar "in want of a wife" played by David Tennant, whose facial expressions alone are worth the price of admission, so to speak. This mini-series was adapted by Welsh screenwriter Andrew Davies from the Anthony Trollope novel. I haven't read the book so don't know how closely Mr Davies kept to it. I enjoyed the mini-series.

The BBC have done it yet again; they have taken us back in time in a marvellously convincing manner. It is difficult to find fault with any aspect of this production; settings, locations, costumes and casting are all near perfect and the acting is admirable throughout. From the beginning to the end my attention never flagged for a moment; it is so jam-packed with human interest that I couldn't have enough of it. This is not a melodrama as some have said; taking into account the mores of the time it is totally realistic, with nothing over-played. Yes, it was annoying that the central character should allow his happy marriage to be destroyed by unfounded jealousy and a bit difficult to accept, until you you remember that that wasn't his only source of complaint; he was also annoyed that his spirited wife refused to submit to his unreasonable demands, something which as a Victorian husband he felt he had a right to expect. And she was not entirely blameless; she didn't have to behave in such a flirtatiouus way as to excite her husand's jealousy or to appear to enjoy so much the attentions of her philandering God-father. However, the anger and strife of the two central characters was offset by two other very happy relationships. With so many characters so well realised, well acted and convincing, I was left wanting more - much more.