11 Essential Maggie Smith Movie Performances

As a longtime admirer of Dame Maggie Smith‘s illustrious career spanning over six decades, I find myself utterly captivated by her ability to breathe life into even the most seemingly ordinary characters. Her exceptional talent for portraying complex, multi-dimensional women has not only enriched countless films and television shows but also provided us with unforgettable moments of wit, drama, and humor.

Throughout an illustrious seven-decade career that encompassed stage, cinema, and television, Dame Maggie Smith consistently dazzled audiences with her expressive eyes and dry wit, earning her the title of a cherished national icon in her home country, Britain. With a diverse array of roles under her belt, from Shakespeare and Agatha Christie to Merchant-Ivory and Harry Potter, Smith effortlessly embodied a distinctly English charm on screen while never shying away from defying expectations. Her deep roots in the Royal Shakespeare Company and the Old Vic Theatre were evident, and few contemporary actors can boast of such an impressive pedigree. She shared the limelight with Bette Davis, Laurence Olivier, and Richard Burton, among others, yet remained humble about her accomplishments. “I’ve won two Oscars,” she once mused, “and I still don’t fully grasp film acting.

Maggie Smith, born in Essex during the 1930s, first stepped onto the stage in 1952, quickly establishing herself as a seasoned performer by the time she won her first Oscar at 35 for her role as the title character in The Prime of Miss Jean Brodie. To younger audiences, she may be remembered as the stern Professor McGonagall from the Harry Potter films or the sharp-tongued Violet Crawley from Downton Abbey (she famously stated she had never watched the show when asked). She continued working tirelessly and remained active until her death at 89, a figure who was often recognized on the street, sometimes to her discomfort, but always admired and respected for her extensive acting career.

Eleven standout performances graced Dame Maggie Smith’s extraordinary, unparalleled career.

The Prime of Miss Jean Brodie (1969)

In a fresh portrayal, Smith clinched her initial Academy Award for Best Actress by embodying an unusual, unconventional character in the 1930s – a schoolmistress named Jean Brodie who cares for four impressionable girls while exhibiting both beneficial and detrimental influences. She passionately advocates for womanhood, culture, art, music, and even fascism. The film, adapted from Muriel Spark’s novel, depicts the immorality and calamity caused by her actions. However, Smith imbues Jean Brodie with an unyielding spirit that stirs empathy, despite her controversial views on women and men. This complex character’s wild zest for life contrasts sharply with the strict teachings of a prestigious all-girls school, making it impossible not to develop affection for this fiery redhead.

Death on the Nile (1978)

In the sequel to Agatha Christie’s Hercule Poirot mystery “Murder on the Orient Express,” set in the 1930s, a fashion reminiscent of that era prevails. Smith portrays Miss Bowers, a glamorous character who wears a tuxedo much like Marlene Dietrich did in “Morocco.” She is paired with the esteemed actress Bette Davis, playing an elderly and sophisticated woman. It’s remarkable how Smith manages to stand her ground opposite such a legendary screen actor, yet she not only holds her own but excels. The two characters argue and grumble at each other as equals, and even with Bette Davis in the role of a stern superior, Smith’s quiet defiance and simmering frustration capture the audience’s attention.

California Suite (1978)

In a surprising turn of events, Smith clinched her second Academy Award, this time for Best Supporting Actress. The recognition was earned through her portrayal of an actress, much like herself, within a chaotic anthology film set in a lavish LA hotel. Interestingly, her character in the movie doubts her chances of winning the Oscar, while in reality, she took home the prize. In the movie, her character is filled with despair and anger at this perceived snub, which she expresses through heated arguments with her co-star, Michael Caine, prior to attending the Oscars. However, she avoided any overly dramatic performances, a common pitfall when actors play fellow actors. Her emotionally charged scenes, particularly where she argues with Caine before they head to the Academy Awards ceremony, were widely praised as the film’s best aspect. Her performance, a masterful blend of raw vulnerability and unchecked narcissism, was indeed worthy of an Oscar win.

The Missionary (1982)

In the 1980s, Smith found herself drawn to George Harrison’s independent film company, Handmade Films. She starred in a historical comedy titled “Lady Isabel Ames,” where she portrayed a wealthy and insatiable character, offering large sums for charitable causes if the recipient agreed to certain private arrangements with her. The plot, as you might imagine, is quite questionable, but Smith’s performance was side-splittingly funny. She delivered her lines with a knowing smirk, employing clever double entendres that were further accentuated by her posh British accent. This role demonstrates Smith’s ability to adapt and excel in various acting genres.

A Room With a View (1985)

In another recognition from the Academy, Smith earned yet another nomination for her outstanding portrayal in the Merchant-Ivory production that delved into repressed love during the Edwardian era. Here, Smith played Charlotte, Lucy Honeychurch’s older relative who served as a chaperone to protect Lucy’s honor and reputation. While adhering to societal norms of the time, her character, Charlotte, was also battling internal restrictions. However, unlike Lucy, Smith skillfully portrayed Charlotte as someone who was stifled and yearning for freedom herself. Despite trying to shield Lucy from impudent men, she was aware when love would prevail; this awareness was evident in every expression on her face.

The Lonely Passion of Judith Hearne (1987)

In her second collaboration with Handmade Films, Smith takes on the role of the main character in this underestimated 1950s period drama. Named after the title, she portrays a solitary Irish woman struggling to survive by giving piano lessons. As her financial situation worsens, she moves into a boarding house in Dublin and encounters an attractive American man (played by Bob Hoskins, known for his charming demeanor). This gentleman appears to have romantic intentions, but his motives are unclear, and he seems to erroneously believe she is wealthy. Thus, Smith’s character embarks on a heart-wrenching journey that culminates in the intense anger of a woman who feels her life has been wasted by adhering to religious beliefs and being overly “good.

Sister Act (1992)

In the tale you probably recall, there’s Deloris (played by Whoopi Goldberg), a character who pretends to be a nun and seeks refuge in a convent to escape from gangsters who know she witnessed a crime. If that rings a bell, then you’re definitely familiar with Maggie Smith’s role too. What makes Smith stand out is her versatility in playing both high and low characters, without any airs about the roles she takes on, whether it’s Desdemona in Othello alongside Laurence Olivier or the indelible Reverend Mother in Sister Act. (She appears in both Sister Act films, which speaks volumes about her charm in the role.) On paper, her character seems straightforward: a stern and demanding mother superior who helps Deloris hide in the convent. However, the movie wouldn’t be nearly as entertaining without Smith’s skillfully disapproving — yet secretly amused — persona.

Gosford Park (2001)

In this film, Smith’s character bears a striking resemblance to her later Downton Abbey persona; Julian Fellowes, the writer of Gosford Park and creator of Downton Abbey, retained her aristocratic title for his production, which initially was intended as a spinoff from the movie but evolved into its own independent storyline. Renowned director Robert Altman, known for his work in Nashville, was praised for his skill at managing large ensembles and imbuing their intricate stories with a profound sense of human emotion, even when characters had minimal screen time. This black comedy whodunit set at a lavish country estate during a weekend shooting party showcases elements reminiscent of Agatha Christie and Jean Renoir, while offering a biting critique of the class-and-servant system prevalent in early 20th-century England. Among the hierarchy of characters from above and below stairs, Maggie Smith’s Dowager holds a significant position; she is an imposing figure, seemingly unconcerned about how little she compensates her maids, making her a formidable monster adorned in lace sleeves.

The Harry Potter movies

In a natural and easy-to-understand way: The strict yet fair Professor McGonagall from the Potter series was a role that Maggie Smith seemed perfectly suited for, almost as if it were tailor-made for her; she embodied the stern, traditional British woman who rigidly adheres to rules, yet possesses a hidden, mischievous sense of humor and knows exactly when to look the other way. While not all Hogwarts staff were on the side of good, Smith brought her extensive screen experience to a new generation of moviegoers through the series’ international success. Later, she joked about the many elaborate hats required for the role (“It was like the Albert Hall, it was so big and heavy,” she quipped), but the part ultimately left an indelible impression on the public.

The Best Exotic Marigold Hotel (2011), directed by John Madden

Originally a surprising British success, this film not only led to a follow-up but potentially sparked an entire genre of heartwarming, senior-centric films that appeal to AARP audiences. The movies, filled with warmth, humor, and romantic twists, found their starting point in this unexpected favorite. When a group of seniors stumble upon an apparently idyllic retirement home in Jaipur, they embark on a late-life journey and find much more than they bargained for. Veteran actress Maggie Smith excels in the role of Muriel, a former housekeeper who travels to India for a cheaper hip replacement. She also used to harbor racist views, which are explored in some of the film’s few complex scenes addressing aging and societal issues. Despite its light-hearted nature, Maggie Smith manages to bring depth to this bubbly storyline.

The Downton Abbey franchise

In a 2017 interview about her character as Dowager Countess Violet Crawley on Downton Abbey, Smith stated that her life was ordinary until she joined the popular TV series. She skillfully blended traditional Victorian decorum with playful sarcasm and a permanent scowl of disapproval, particularly when it came to contemporary gadgets such as swivel chairs or telephones, which she regarded with deep skepticism. True to her British noble heritage, she found the brashness of Americans distasteful. Her sharp-tongued remarks became legendary, and her biting wit often went viral, especially when delivered in the form of clever one-liners. Smith brought a sense of gravitas and power to the character, making her seem less ridiculous than she might appear in other portrayals of aristocracy. Despite the show’s political nuances, Smith was its shining star, and when she left, the series struggled without her.

2024-10-02 17:54