From ‘Othello’ to ‘Downton Abbey’: Maggie Smith’s talent never dimmed across seven decades

As a lifelong admirer of Dame Maggie Smith, I find myself at a loss for words today, much like the characters she left speechless with her wit and charm. Her passing is indeed a seismic event, a bitter shock that has left an indelible void in the world of cinema and theater.

A day I have been dreading is now upon us: Dame Maggie Smith has died.

In simpler terms, this passage describes how an actress named Dame Maggie Smith, who is well known for her roles in various films, played characters that faced the end of their lives as they aged. In “Downton Abbey”, her character Violet Crawley reveals her illness and passes away in the sequel. In “The Best Exotic Marigold Hotel”, Muriel Donnelly, a reformed racist character played by Smith, says goodbye to the people she helped in the second film. In “The Lady in the Van”, the sad story of Mary Shepherd, an odorous squatter, is revealed posthumously after her unexpectedly heartwarming death. Lastly, in “The Miracle Club”, Lily Fox, another character played by Smith, survives but finds late-life reconciliation following a visit to Lourdes, marking the end of Smith’s film career.

Maggie Smith gracefully bid us all a prolonged farewell. Over seven decades, she navigated through two centuries, gracing stages, screens, and televisions. Her talent, from portraying Shakespearean characters to those in “Harry Potter,” never lost its luster. Regardless of the quality of the production she was involved in, Smith consistently brought illumination, awe, and amusement.

Upon finishing “The Miracle Club,” I checked her age – my line of work often develops an unwelcome tendency to compile advance obituaries – and it seemed as though I could almost hear her, with her characteristic dry and candid tone, muttering: “Time is running short.

Nevertheless, it’s an earthquake-like occurrence, a harsh surprise: One might have thought that Maggie Smith was invincible and immortal.

Who else but she would audaciously confess that despite owning the entire series, she has never seen “Downton Abbey”? In the documentary titled “Tea With the Dames,” who else would confront the renowned British treasure Judi Dench (and close friend) about taking all the best roles for women of their age? (“Don’t turn on me,” Dench says, chuckling. “I’m turning on you,” Smith replies with a sly look. “It’s all coming out now.”) Who else could express such audacious indignation towards a homeless woman living in a deplorable van as she does toward high society aristocrats and socialites, divas and elegant spinsters?

It was far too easy to imagine Smith confronting the specter of death with a raised eyebrow and, after pausing for a moment of outraged silence, announcing that the timing was far too inconvenient.

The loss of our idols, no matter their age, is always a form of heartbreak — the world was certainly a richer, livelier place with Maggie Smith in it and now she is not. In many ways, she helped redefine what it meant to grow old, particularly for women. The face and body may change, but the spirit need not falter, the desire and ability to do what you love need never abate.

I didn’t get a chance to watch her perform live, but on both big and small screens, she was undeniably versatile and captivating. From the luminous yet flawed character of Miss Jean Brodie in “The Prime of Miss Jean Brodie,” to the witty and sorrowful actress in “California Suite,” the indecisive tyrant in “A Room With a View,” the pretentious, impoverished relative in “Gosford Park” – she was exceptional in every role. Despite her complaints about being often cast in period pieces during her later years, her performances transcended any specific category, making each character uniquely hers and defining the essence of Maggie Smith’s acting career.

It’s often misconceived that the “Harry Potter” series and “Downton Abbey” were the primary factors behind Smith’s global recognition, despite the fact that for “Downton,” this might not be accurate.

It’s hard to envision that “Downton Abbey” would have reached its incredible success, despite its intricate period-drama setting, talented cast, and skillful writing, if it weren’t for Maggie Smith playing the role of the Dowager Countess of Grantham. She was the powerhouse of “Downton Abbey,” capable of making a room silent with a single glance, causing hearts to ache with a slight shoulder movement, and encapsulating the entire series’ theme with just four words – “What is a week-end?”. She was witty, she was commanding, and she kept both the audience and the family captivated, as if they were in the palm of her hand. The other main characters might have come and gone, but without Maggie Smith’s Violet, there would be no “Downton Abbey.

Toward the final stages of her acting career, Smith was known less for being cooperative and more for exuding an imposing demeanor while at work, although she was never outright labeled as challenging.

In “Tea With the Dames,” it’s clear that she isn’t afraid to speak her mind. For instance, she brushes off a photographer on set, grumbles about uncomfortable chairs, and recounts her strained relationship with Laurence Olivier at the National Theater. One time, he criticized her for delivering lines too slowly, saying it made him want to leave the stage. In response, she speeded up so much that he couldn’t tell if it was Wednesday or Christmas. She admitted that he scared her, but she also shared that she probably gave him a few frightening moments as well.

But there’s also a moment when she and Dench are asked if first days on set are still scary. “All days are scary,” Smith says immediately. “I don’t know why people assume that it is any other way. Filming is very scary because there are so many people involved. Everybody waiting with bated breath and if you get it wrong, there’s a lot of silent looking at each other and the eyes roll and there,” she sighs dramatically, “‘are we really going again?’”

It’s scarcely believable that anyone could respond with a roll of the eyes or a sigh if Maggie Smith made a mistake – almost as hard to conceive as the idea that she ever did. Such was her exceptional talent as an actor. Whatever she performed, she struck the ideal note with such conviction that it seems absurd to suggest that multiple takes might have been required.

So one can only assume that if death came for Maggie Smith, it was only because she allowed it.

In “The Lady in the Van,” homeless Mary Shepherd denies Alex Jennings’ character, Alan Bennett, who expresses concern over her wellbeing. She assures him, “I won’t be ‘dead’ until you know for sure.

Currently, we find ourselves in a state where many are grieving and paying their respects, while her accomplishments are being lauded, analyzed, and classified. As we grapple with the realization that we won’t witness any more of her future endeavors, this truth is undeniably clear.

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2024-09-28 00:01