"What is right, can never be impossible!"

Prior to heading for war in 1792, Captain Lindsay (Matthew Goode – A Single Man) drops off daughter Belle at his parents' country home. It caused something of a stir for Belle was not only illegitimate, but her mother was a poor, African migrant. Two things he'd omitted to tell them about. Yet in a sign of a world about to change, Lord Mansfield (Tom Wilkinson – The Best Exotic Marigold Hotel) and his wife (Emily Watson – The Book Thief) readily accepted the girl whom they raised as their own. Almost.

This is a fascinating view of 18th century British culture on the brink of revolution. While slavery funded an emerging Empire, the first ripples of a shifting tide were being felt. Progressives wanted to see an end to the trade, Conservatives feared it would cost them their economic and political certainty. And here in Misan Sagay's riveting adaptation of a true story, the fight would go to the very heart of the British establishment.

Skip forward ten years. Belle (Gugu Mbatha-Raw – TV's Dr Who) is a beautiful, cultivated and well educated young woman who, under normal circumstances, would be ready to join society. Yet her heritage precludes her presentation. She's not even allowed to dine with the family in public, it wouldn't be 'right'. Fortunately Lindsay had ensured Belle's financial independence, something her 'sister' Elizabeth (Sarah Gadon – A Dangerous Method) does not enjoy. It reverses their social desirability which neighbouring Lady Ashford (Miranda Richardson – Made In Dagenham) swiftly realises; the woman's bigoted values change to accommodate the needs of her sons (James Norton – Rush, and Tom Felton – Harry Potter). Scowling from the sidelines is Murray's mother, Lady Mary (Penelope Wilton – TV's Downton Abby, in a role usually occupied by Maggie Smith).

This sumptuous production is anchored by effortless performance. Wilkinson is typically charismatic, Watson is elegant as his forceful wife while Mbatha-Raw brings a quiet dignity to her role. Supporting characters are no less rewarding although Sam Reid (The Railway Man) in a key role as the voice of change, the vicar's son John Davinier, struggles to gain traction. It is unfortunate for his character becomes the story's engine room, one who corrals Murray to ensure right prevails in a Supreme Court case involving slavery. His judgement has the capacity to stop an evil trade, and change the future.

There's a certain repetition that takes over Belle in its third act which begins to worry much of the excellent work that went before. A desire to tie up loose ends is both unnecessary and unwarranted. But these are relatively minor quibbles in an otherwise provocative work that lays out a familiar story in a most unfamiliar way. Belle is an intriguing counterpoint to 12 Years A Slave that binds a hefty, ethical gut-wrencher to a handsome period drama from a woman's perspective. What's not to like?

// COLIN FRASER

Previewed at Dendy Cinemas, Newtown, Sydney, on 10 April 2014