Critic’s Appreciation: Maggie Smith, Mistress of Scintillating Wit and Withering Disdain

by

Critic’s Appreciation: Maggie Smith, Mistress of Scintillating Wit and Withering Disdain

As I delve deeper into the captivating chronicles of Dame Maggie Smith, it becomes abundantly clear that we are dealing with a veritable titaness of the stage and screen, a grande dame whose luminous career has spanned the breadth of time and space like a comet streaking through the cosmos.

Many individuals born during the past three decades recognize Maggie Smith from her portrayal of Minerva McGonagall, a stern yet caring professor of Transfiguration and deputy headmistress at Hogwarts School of Witchcraft and Wizardry in the Harry Potter films. This character, who issued both authoritative orders and tender advice with her sharp Scottish accent, was often seen under her pointed black hat.

People may have encountered her as Violet Crawley, the sharp-witted Dowager Countess of Grantham from Downton Abbey, whose elderly demeanor and growing health issues didn’t lessen her traditional power — “I wouldn’t know, I’m not acquainted with the feeling,” she once said, in response to the strange idea of being mistaken — or her skill at delivering a sharp retort.

Today, Smith passed away in London at the age of 89. While her two iconic movie roles might be all some people know her by, it’s worth exploring the numerous gems scattered throughout her impressive seven-decade career on screen.

For many of us who had enjoyed Smith’s invaluable supply of dry wit and delightful one-liners for years, it was satisfying to see that a wider 21st century audience was discovering her powerful screen presence through her characters, which meant the younger generation was now also appreciating her talent.

Smith had left a mark in the ’60s with appearances in “The V.I.P.s”, “The Pumpkin Eater” and the film adaptation of the National Theatre’s “Othello”, which starred alongside Laurence Olivier and earned her her first Oscar nomination as Desdemona. However, it was the 1969 launch of “The Prime of Miss Jean Brodie” that truly established her prominence, eventually leading to an Academy Award for Best Actress.

The lead character – a progressive educator at an all-girls school in Edinburgh, who openly favored her select students by shaping them through her influences in social, cultural, and political realms – became a defining factor for the actress, yet it did not limit her versatility.

When a student boasts about her Girl Scout accomplishments, Miss Brodie interrupts: “That’s the kind of thing those who enjoy it appreciate.” Meanwhile, the sight of another student with rolled-up sleeves disrupts the teacher during an impassioned speech about love and war, causing her to exclaim irritably, “Are you planning on doing laundry today?

Smith skillfully blended arrogance, intellect, a love for romantic daydreams, and a touch of theatricality to create an intriguing character. This character adds a surprising dose of humor to the film, despite it being a dramatic exploration of a teacher whose dedication to her craft is challenged when her favorite student betrays her, revealing her as a potentially harmful influence on young, vulnerable females.

Smith’s exceptional mastery of sharp dialogue endeared her to many gay men, and her legendary status was solidified when she portrayed the eccentric Augusta Bertram in George Cukor’s film adaptation of Graham Greene’s novel, “Travels With My Aunt.” Gliding through Europe in a continuous succession of stunning outfits designed by costume designer Anthony Powell, she transformed into the glamorous relative we all dreamed of having, much like Rosalind Russell in “Auntie Mame.

I found Augusta to be a character far beyond her years, much like the ageless grace of Angela Lansbury in her time. Despite being around twice as old as Smith, she exuded an air of sophistication and wisdom that belied her youthful appearance.

Smith’s well-timed performances proved valuable in two outstanding adaptations of Agatha Christie novels: “Death on the Nile,” where she engaged in sharp wit with Bette Davis, who played a wealthy American socialite’s nurse and traveling companion; and “Evil Under the Sun,” where she portrayed a former actress managing an Adriatic island hotel, exchanging barbs with a former stage colleague, played by Diana Rigg.

The first film Smith collaborated on with the witty scriptwriter Neil Simon was “Murder by Death,” a humorous take on the classic whodunit genre. This movie features caricatures of well-known detective characters, who gather for a murder mystery weekend at an isolated mansion.

Smith teamed up with David Niven to portray the refined characters Dick and Dora Charleson, modeled after Nick and Nora Charles from Dashiell Hammett’s Thin Man novels. When Dickie hinted to his wife about potential inappropriate uses for a missing nude body, Dora’s disapproval was barely able to hide her excitement: “Oh, that’s distasteful. That’s really distasteful.” This blend of propriety and mischief was quintessential Smith.

In another role by Simon, she took on the character from the comedy collection titled “California Suite“. As a skilled British actress with a long career, she was aiming for her first Oscar. She leaned on her flamboyantly outspoken husband, portrayed by Michael Caine, to console her and ease her dismay when, as expected, she didn’t win the award.

Diana remarks during the flight from London, ‘It’s quite surprising,’ she says. ‘After eight years with the National Theatre, two Pinter plays, nine Shakespeare roles, and three Shaw performances, I’ve been nominated for a seemingly trivial comedy.’ Yet, her exceptional performance led to Smith receiving her second Oscar, this time in the category of Best Supporting Actress, despite her slim chances of winning.

From Smith’s ’80s collection, the film “Clash of the Titans,” where she portrayed the sea deity Thetis, has endured as an unintentionally cheesy yet enjoyable indulgence. However, she garnered a fresh fanbase as Charlotte Bartlett, the conservative and caring guardian to Helena Bonham Carter’s Lucy Honeychurch in “A Room With a View,” James Ivory’s film adaptation of E.M. Forster’s novel. This art-house hit sparked a trend of movies featuring reserved British individuals loosening up in Tuscany.

Among the selections from that era, my preferred choice is Malcolm Mowbray’s amusing dark comedy titled “A Private Function“. This film features Joyce Chilvers, a small-town aspirer striving for acceptance within the upper crust of postwar Northern England. Her efforts to fit in are hindered by her eccentric mother and her lackluster podiatrist spouse Gilbert, portrayed by Michael Palin. When Joyce’s cunning tactics, including stealing a pig for a dinner celebrating the Royal Wedding, succeed, she declares decisively, “Well, Gilbert, I believe it’s time for some intimacy.

Smith made her initial partnership with playwright and screenwriter Alan Bennett through this project, who later penned roles for her in “Talking Heads,” an exceptional 1988 collection of television monologues where she portrayed a vicar’s wife struggling with alcoholism; and “The Lady in the Van,” a play from 1999 inspired by his real-life encounters with an elderly woman residing in a broken-down vehicle on his driveway for 15 years. The character, marked by Smith’s distinctive flair, was both irritable and unsanitary, yet she skillfully conveyed the character’s vulnerability without overpowering it when the production was adapted into a film.

Growing up in London during the ’80s and early ’90s, I got to witness Smith perform a few times. The first was as Millament, a character navigating a challenging journey towards marriage in William Congreve’s Restoration comedy, “The Way of the World.” As a gamer, it felt like stepping into an immersive role-playing game, watching her bring the character to life on stage.

Following this, there was Peter Shaffer’s humorous English play titled “Lettice and Lovage“. In it, Smith portrayed a guide of British grand estates, known for her imaginative yet inaccurate anecdotes, paired with Margaret Tyzack as a Preservation Trust worker. Their characters eventually united in a shared fight against unattractive contemporary architecture. The play was later adapted for Broadway, earning Smith a Tony Award for Best Actress.

On my third occasion, I found myself in Oscar Wilde’s critique of Victorian society titled “The Importance of Being Earnest“. In this role, Smith deviated from the customary sharp rebuke, instead softly exclaiming “A handbag?” with astonishment as Lady Bracknell.

Significant milestones in Smith’s ’90s career feature roles such as the stern Mother Superior in ‘Sister Act’, who surprisingly befriends Whoopi Goldberg’s character, a lounge singer, while she seeks refuge in a convent to evade her mobster lover.

In a minor role within the movie “The First Wives Club,” Smith skillfully played Gunilla Garson Goldberg, a rich, multiple-divorced New Yorker with a flashy name. She plotted against Sarah Jessica Parker’s character, Shelly, to hinder her social rise. Smith’s talent for making significant impact through subtle delivery is evident in the scene where she meets Goldie Hawn’s Elise, an actress recovering from plastic surgery at a funeral of a mutual friend. “What a pity… And your lips!” was how she greeted her.

Smith effortlessly displayed her ability to evoke warmth as well as sharpness, making her a delight in Agnieszka Holland’s captivating adaptation of “The Secret Garden.” Furthermore, she added radiance alongside her esteemed co-stars Joan Plowright, Judi Dench, and Cher, enlivening Franco Zeffirelli’s classic drama set among expats before World War II, titled “Tea With Mussolini.

In the 2000s, Smith’s most notable screen performances, including those in the Harry Potter series, were highlighted by Robert Altman’s intricate upstairs-downstairs murder mystery set in an English country house, titled Gosford Park. In this film, she portrayed Constance, a dowager countess, who famously comforted a concerned American movie director about his new film, saying, “Don’t worry, none of us will get to watch it.

The movie served as the inspiration for screenwriter Julian Fellowes to create Downton Abbey, offering Smith a prominent part that significantly boosted her visibility, making her a well-known figure in public circles following years of anonymity. Additionally, it earned her three Emmy awards.

In 2011, Smith achieved another significant success with “The Best Exotic Marigold Hotel,” a film that featured Judi Dench, Penelope Wilton, Bill Nighy, Tom Wilkinson, and Dev Patel. This movie led to a less impressive sequel that still managed to be financially successful. Coincidentally, I spoke with my parents as they were preparing for a cinema visit to watch the original, and when I inquired about their chosen film, my forgetful father replied, “I can’t recall the title, but it has Judi Dench and Maggie Smith, so it doesn’t matter.” Their presence served as an endorsement that many people sought.

Among the movies listed here, Roger Michell’s “Tea With the Dames” is my top recommendation if you want to truly admire Smith at her best.

In the enchanting 2018 documentary, I found myself among the esteemed company of Dame Judi Dench, Eileen Atkins, and the incomparable Dame Maggie Smith during one of their annual visits to Dame Peggy Ashcroft’s cottage near Brighton. As four old friends reminisced about their lives, careers, and former partners—with the late Sir Laurence Olivier, a guiding spirit who had mentored us all during his time as artistic director at the National Theatre, subtly present in our conversations—I couldn’t help but feel captivated. Sharing laughter, stories, and tears over champagne and, of course, tea, was an unforgettable experience. It’s bittersweet to realize that Smith’s departure now leaves us with a trio, rather than the quartet we once were.

Read More

2024-09-28 02:25