kevin whately trip trap

Trip Trap (Screen One BBC-1 1996, Kevin Whately, Stella Gonet)

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1996 Directed by Danny Hiller

The Armstrong Family - Ian (Whately), Kate (Gonet) and their children Tom and Molly live in a nice country house. But beneath this seemingly normal exterior, Maggie begins to suffer violent abuse at the hands of the normally placid Ian, with dreadful consequences for all the family.

Kevin Whately Stella Gonet Darren Plews Sophie Griffiths Sue Roderick Jean Heywood Frank Windsor Helen Griffin

Director Director

Danny Hiller

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Ruth Caleb Lucy Gannon

Writer Writer

Lucy Gannon

TV Movie Drama

Releases by Date

09 mar 1996, releases by country.

90 mins   More at IMDb TMDb Report this page

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Review by TB ★★★

Quite out-dated these days, but luckily the message is still there.

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Trip Trap (1996 TV Movie)

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Kevin Whately (Ian Armstrong) Stella Gonet (Kate Armstrong) Sue Roderick (Maggie) Darren Plews (Tom Armstrong) Sophie Griffiths (Molly Armstrong) Frank Windsor (Simon Armstrong) Jean Heywood (Penny Armstrong) Helen Griffin (WPC Amanda Ryan) Annie Hayes (Esther) William Thomas (Dr. Geoff Barclay)

Danny Hiller

The Armstrong Family - Ian (Whately), Kate (Gonet) and their children Tom and Molly live in a nice country house. But beneath this seemingly normal exterior, Maggie begins to suffer violent abuse at the hands of the normally placid Ian, with dreadful consequences for all the family.

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Produced by, trip trap (1996), directed by danny hiller.

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Trip Trap - Full Cast & Crew

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This disturbing tale chronicles the downward spiral of Ian Armstrong (Kevin Whately), a once placid headmaster who becomes verbally and physically abusive toward his wife (Stella Gonet) and children. Sue Roderick, Frank Windsor, Jean Heywood, Darren Plews, Sophie Griffiths, Sue Jones-Davies, Menna Trussler, Marged Esli, William Thomas, Sara Harris Davies, Annie Hayes and Shane Lloyd.

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A Bleak Practice; Behind closed doors, Kevin's a wife-beater.

• MLA style: "A Bleak Practice; Behind closed doors, Kevin's a wife-beater.." The Free Library . 1996 MGN LTD 24 Apr. 2024 https://www.thefreelibrary.com/A+Bleak+Practice%3b+Behind+closed+doors%2c+Kevin%27s+a+wife-beater.-a061333446
• Chicago style: The Free Library . S.v. A Bleak Practice; Behind closed doors, Kevin's a wife-beater.." Retrieved Apr 24 2024 from https://www.thefreelibrary.com/A+Bleak+Practice%3b+Behind+closed+doors%2c+Kevin%27s+a+wife-beater.-a061333446
• APA style: A Bleak Practice; Behind closed doors, Kevin's a wife-beater.. (n.d.) >The Free Library. (2014). Retrieved Apr 24 2024 from https://www.thefreelibrary.com/A+Bleak+Practice%3b+Behind+closed+doors%2c+Kevin%27s+a+wife-beater.-a061333446

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Angela Black review – domestic abuse drama teeters towards the exploitative

A tremendous performance from Joanne Froggatt saves ITV’s new six-part drama about a woman caught in a violent marriage from drifting into absurdity

T he best drama about domestic violence against women I’ve ever seen was Lucy Gannon’s Trip Trap in 1996. It starred Kevin Whately, normally seen as the soft and bumbling Lewis but cast brilliantly against type as the abusive husband, and Stella Gonet as his literally and metaphorically broken wife. By “best”, of course, I mean the most harrowing, the most relentlessly accurate and granular in its detail of the brutalisation such a relationship involves, the most effective at evoking the extent of the fear suffusing the victim’s world. A quarter of a century on, it’s still an inescapable touchstone when I brace myself for another fictional foray into this particular horror.

And the forays are numerous. Not as numerous as those that centre on the murder of a woman, but domestic (or intimate partner) violence (or spousal abuse, or battered wives – the terms change but they are always needed) remains a fertile field for investigation. Or exploitation, depending on the quality and intelligence of the product.

Angela Black, ITV’s new six-part drama about the cankered truth lying beneath the idyllic surface of a marriage, lies somewhere between the two extremes. The tale of Angela (Joanne Froggatt) suffering in silence at the hands of her husband Olivier (Michiel Huisman) is compassionate, not voyeuristic (the violence takes place almost entirely off screen, a bloodied tooth on the hallway floor telling us all we need to know) nor in search of cheap thrills at her expense or, indeed, the expense of real-life survivors and victims.

It benefits from a tremendous performance from Froggatt, who gives us a woman utterly drained yet jumping with nerves, hypervigilant yet weighed down by the burden of misery and dread she carries. She adds much needed emotional heft, especially once the thriller element is introduced, and nuance to a workaday script (“I can be better. I want to be better … We have so much that is worth fighting for”) that slips into outright unconvincing when it comes to most of Olivier’s lines. For some reason, a strikingly high proportion of them finish with tag questions (“Beautiful things can be flawed, can’t they?”) and make him sound deeply unnatural. Elsewhere, friends and neighbours make the standard inquiries about her bruised face and give her the traditional troubled look when she explains. Her son opened a door into her, she says, seemingly unaware that any variant on the “I walked into a door” excuse is unlikely to allay anyone’s concerns.

Everything is a little more on the nose than it might ideally be. Olivier’s control issues are first signalled by his rubbing at the ring left by a drink set down without a coaster by a guest at a dinner party. Angela volunteers at a dog shelter, looking after caged, unhappy creatures. One is a muzzled male her supervisor warns her not to trust but she unmuzzles it anyway and it bites her. After a thwarted second attempt to flee, when her child is worried about having nightmares she assures him, “You’ll wake up and it’ll all be over. And I’ll always be just down the hall.”

The thriller element comprises the revelation by a decidedly shady private investigator, Ed Harrison (Samuel Adewunmi), of even more shocking truths about her husband. Olivier has hired him to dig up dirt on Angela so that when he files for divorce, as he secretly plans, he will get full custody of their children. But Harrison has realised his client is an abuser and chooses to warn Angela instead. One set-piece later – Angela frantically searching Olivier’s phone in the sitting room before he returns from pouring the wine in their lavishly appointed kitchen – his bona fides are proved. This makes it all the more troubling when he turns up again to tell Angela that matters have escalated and Olivier is now planning a much worse fate for her.

More than ever at this point, it is Froggatt’s performance that stops the story drifting into absurdity or becoming a trivialising, exploitative endeavour. This, I suppose, is good enough. I hope it remains so for the rest of the run. Five hours of tightrope-walking is a big undertaking and although the will to succeed is undoubtedly there, we have seen promising starts descend into simple revenge thrillers or bog-standard ITV drama pits before. Fingers crossed.

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