Maggie Smith, beloved ‘Harry Potter’ and ‘Downton Abbey’ actor, dies at 89

As I reflect upon the life of Dame Maggie Smith, a remarkable journey unfolds before me, akin to flipping through the pages of a captivating novel. Her career spans over five decades, graced with an array of unforgettable performances that left indelible marks on the annals of cinema and theater.

89-year-old Maggie Smith, a two-time Academy Award winner renowned for her captivating stage performances in “The Prime of Miss Jean Brodie” and her luminous roles as the scene-stealing dowager countess in “Downton Abbey” and Professor McGonagall in the “Harry Potter” series, has passed away.

On Friday morning, Lady English passed away at a London hospital, as confirmed by her sons, Chris Larkin and Toby Stephens, to the Associated Press.

Two sons and five affectionate grandchildren, deeply saddened by the passing of such an exceptional woman, are left behind,” was stated in a communication shared via publicist Claire Dobbs. However, at the time of our inquiry on Friday, no response was received from Ms. Dobbs regarding our request for comment to The Times.

Smith had suffered from glaucoma, breast cancer and underwent hip-replacement surgery in her 80s.

Over the course of six decades, Smith garnered a significant fanbase on both sides of the Atlantic and joined an exclusive group who accomplished the triple feat in acting – winning an Oscar, Emmy, and Tony award. She was bestowed with her Oscars for portraying the unconventional schoolmarm in “The Prime of Miss Jean Brodie” and a fragile film star in “California Suite” during the 1970s. Additionally, she amassed four Primetime Emmys, three Golden Globes, a Tony, an Olivier Award, and numerous BAFTAs throughout her career.

The accomplished stage artist succinctly encapsulated her professional journey with this statement: “I attended school, I aspired to perform, I began performing, and I’m still performing.

Starting her career in theater at a young age, Smith portrayed Shakespeare’s characters Rosalind and Beatrice. She found her niche with dominant roles and characters who were elitist and class-conscious. Her on-stage presence was comparable to contemporaries such as Judi Dench and Vanessa Redgrave, earning her the title of Companion of Honor by Queen Elizabeth in 1990. In reality, Smith was known for her humor, modesty, and practicality.

She shared with The Times that she gets restless if she’s not active; it’s then that she truly feels alive.

She switched between stage plays and movies, earning Oscar nominations for “Othello” (1965), “Travels with My Aunt” (1972), “A Room with a View” (1985), and “Gosford Park” (2001). Alongside “Downton Abbey” and the eight-movie series of “Harry Potter,” Smith appeared in numerous projects brimming with well-known British acting talent, such as the “Best Exotic Marigold Hotel” films and “The Lady in the Van.

She jokingly commented, “As an actress, I’ve covered quite a broad spectrum. From playing Desdemona to Virginia, and even acting alongside a pig in the 1984 film ‘A Private Function.’

In my experience, one reason I gained favor among such diverse groups was my versatility. My sudden recognition as the dedicated deputy headmistress for Gryffindor House in the highly anticipated wizard series was only natural. To be honest, many young “Harry Potter” enthusiasts hadn’t encountered Smith before I joined the cast. However, my involvement in the franchise expanded my fan base and provided substantial income.

“Harry Potter is my pension,” she told the Telegraph.

I’ve delved into J.K. Rowling’s masterpieces and found joy in portraying a beloved professor on screen, yet my film acting experience was more like a surreal dream than a passionate pursuit. The movies didn’t entirely win me over, and there were moments when the attention associated with the role felt less than gratifying. As for Downton Abbey, the ITV sensation that revitalized PBS in America, I must confess that I never took the time to tune in.

She shared with The Times her reason for wanting to view it: “Since I’ve already got a deep understanding of its story, having the boxed set, I just don’t see the need to spend my entire life watching it.

She took great pleasure in her later projects, yet found herself regretting the pressures of “Downton” and “Harry Potter,” along with giving up acting on stage. This renowned British figure didn’t intentionally step away from the theater but gradually reduced her involvement following her breast cancer diagnosis. Nevertheless, the stage has always been her deepest passion.

In 2003, she told The Times that she feels more comfortable in a theater setting than in everyday life. What she finds remarkable about the theater is the direct interaction with the audience, having the entire crowd as her listeners and responders. There’s simply nothing comparable to that level of engagement.

Smith adhered strongly to a rule of abstaining from reading her own reviews, and she refrained from using the internet entirely. Instead, she became aware of what was said about her through her husband Beverley Cross, the late playwright, who would casually mention it after he had read every single line.

In 1985, Smith expressed that when one takes the time to read reviews, they tend to focus on those critiques. If a critic singles out a specific aspect of your performance, it can consume you. To avoid this obsession, Smith chooses not to read them. Her husband often reassures her by saying, “They were alright. Don’t worry,” which helps ease her concerns.

Although she had a simple and down-to-earth image, she developed a controversial status on the film set, causing apprehension among directors and fellow actors. She explained that this behavior stemmed from fear and anxiety.

She mentioned that it’s troubling because she often recognizes when she’s behaving in a challenging way, yet she’s typically filled with fear. This realization, she added, feels humiliating at her current stage of life.

However, altering her approach towards the end of her professional journey wasn’t feasible, as she felt it might unnerve her colleagues if she became more amiable.

She expressed to the Telegraph that the situation had progressed to a point where reversal wasn’t feasible anymore. She added, “If I were to suddenly appear overly optimistic like Pollyanna, it wouldn’t be effective; instead, it would cause even greater unease. People might become frozen with fear, questioning my intentions. Yet, perhaps I should give it a try… ‘Hello! What a delight! We’re going to spend the entire day here and then film through the night too! How exciting!'” (Paraphrased)

In 1934, Margaret Natalie Smith entered the world. Later in 1956, when she joined the British actors’ union, Equity, she decided to change her name to Maggie Smith as Margaret Smith was already taken.

She hailed from the Essex suburb of Ilford, with an unassuming theatrical past. Her dad, Nat, worked as a medical technician, while her mother, Meg, was a stern Presbyterian Scot. Ian and Alistair, her elder twin brothers, were six years senior to her. At the age of 5, they relocated to Oxford, and it was then that she felt the acting bug bite her.

She shared with the Telegraph that she was completely captivated, leaving her parents bewildered. Interestingly, both of her siblings were architects, and they couldn’t fathom the source of this relentless determination in her.

Upon sharing her ambitious plans, Smith encountered minimal support; even her grandmother commented to her mother, “It’s just not possible for her. Not with that appearance.

Following her graduation from Oxford High School for Girls at age 16, her aspirations to attend the Royal Academy of Dramatic Art in London were put on hold by her parents, who insisted that if she wished to chase her dream, she must remain in Oxford instead.

She enrolled at the Oxford Playhouse Theatre School, making her first appearance on stage at 17, portraying Viola in Shakespeare’s “Twelfth Night.” Her skills, impeccable timing, and knack for comedy caught the eye of many, with an Observer writer commenting, “She is as refreshingly crisp as a celery stick and speaks like a young woman who thinks independently.

Leonard Sillman discovered her while producing shows in Oxford and at festivals, and that’s how their encounter took place, as Smith recounted to The Times in 2016. At just 21 years old, she made her mark starring in Sillman’s Broadway musical comedy revue, “New Faces of 1956,” swiftly rising to fame.

In 1958, she appeared in her initial film, the crime drama “Nowhere to Go” alongside George Nader. Upon her return to England, Laurence Olivier extended an invitation for her to join the Royal National Theatre of London. She then portrayed Desdemona opposite Olivier in the stage play and later the 1965 movie adaptation of “Othello.” This role, initially daunting, catapulted her career and earned her her first Oscar nomination.

In 2016, she shared with The Times that it was quite intimidating. She found herself far removed from Shakespeare because she had been involved in shows like ‘New Faces’ and revues. Jumping directly into Shakespeare would have made her anxious enough, but the level of difficulty was particularly high at that point.

Olivier additionally brought on board the captivating young actor Robert Stephens, who instantly caught Smith’s heart. The magnetic pair’s stage connection was noticeable in “Hay Fever” and “Much Ado About Nothing,” plays that were major hits at the box office.

In 1967, they got married and were blessed with two sons named Christopher and Toby Stephens. However, their marriage began to falter due to Stephens’ struggles with alcoholism and instability, as Smith found success in movies while his career floundered. They divorced in 1975, and just four months later, she rekindled her relationship with Cross. They remarried, and he adopted Christopher and Toby as his own sons.

Following their well-known disagreements, Smith and Olivier parted ways after her divorce. Subsequently, she and her family moved to Canada. For the subsequent four years, she was associated with the Shakespeare Company in Stratford, Ontario, under the guidance of Robin Phillips. During this period, she delved into classical roles that she hadn’t explored in London, including Cleopatra, Rosalind, and Lady Macbeth.

“It was wonderful,” she told the Telegraph, “like starting life all over again, really.”

In the vibrant 1960s London, when movies showcased young, fashionable actresses like Julie Christie and Redgrave in miniskirts, Smith distinguished herself. Filmmakers recognized her unique, affected persona, and what became known as “the Maggie Smith character” – a character defined by her snobbish, class-obsessed nature – emerged, which she masterfully portrayed.

“I think it’s just a question of people not knowing quite what to do with you,” she said.

In the 1970s, Smith made her Broadway debut in “Private Lives” (1975) and “Night and Day” (1979). Her film roles during this decade featured in movies like “Love and Pain and the Whole Damn Thing,” “Murder by Death,” “Death on the Nile.” She shared screen with a star-studded cast including Jane Fonda, Walter Matthau, Michael Caine, Bill Cosby, Richard Pryor, Alan Alda. In Neil Simon’s 1978 film “California Suite,” she won her second Academy Award for portraying Oscar-loser Diana Barrie, mingling with an assortment of guests at a Beverly Hills hotel.

Following that, a play titled “Virginia” about Virginia Woolf premiered in 1981. The production was such a hit it moved to London. She additionally appeared alongside Olivier and Harry Hamlin in Cross’ adaptation of the Greek epic “Clash of the Titans” and numerous film comedies before joining the 1985 Merchant Ivory production of E.M. Forster’s “A Room With a View.” This romantic drama was nominated for three Oscars, including best picture and supporting actress for Smith. It marked her initial collaboration with Dench, a friend who would later work with her in multiple productions such as David Hare’s “The Breath of Life” in 2002, Charles Dance’s “Ladies in Lavender” (2004), and the “Marigold Hotel” films.

However, it was the “Quartet” production that frequently appeared on her resume. She initially portrayed Lois Heidler in James Ivory’s 1981 film adaptation, and she reprised the role when the movie was remade in 2012 under Dustin Hoffman’s direction for his debut as a director. For her performance in the earlier version, she received a BAFTA nomination, while for the latter, she earned a nod for a Golden Globe award.

Every night, she took on the character of Lettice Douffet, an eccentric tour guide in Peter Shaffer’s comedy “Lettice and Lovage.” This role earned her a Tony Award for best actress when it debuted on Broadway in 1990. While film stars like Alan Bates, Glenda Jackson, and Redgrave were frequent faces on the West End, Smith was among the British actors such as Anthony Hopkins and Dame Judi Dench who performed at subsidized houses, despite their thriving careers in films.

In 1988, Smith stated that many actors, including himself, make movies because it provides the necessary income for theater work, which is subsidized. Previously, in America, one either pursued film or theater. However, we’re fortunate to live in an era where it’s possible to do both.

In the same year that “Harry Potter and the Sorcerer’s Stone” premiered in cinemas, Smith garnered widespread recognition in the mystery-comedy “Gosford Park,” directed by Robert Altman and Julian Fellowes. This 2001 film received seven Oscar nominations, among them best picture. Notably, Smith was nominated for her supporting actress role.

In 2001, she shared with The Times that she is often dressed in costumes and period attire, strolling about with wigs. If they’re looking for someone who embodies the stereotypical, snooty, or unpleasant English character, I fit right into that category.

In her later years, when Smith was older and less healthy, she missed several American award shows despite having won multiple times for “Downton Abbey.” At the 2016 Emmy Awards, host Jimmy Kimmel made a joke about her absence when he playfully took her supporting actress trophy, saying it wouldn’t be mailed to her but could be picked up at the lost and found instead.

On the Masterpiece PBS Twitter account, Smith expressed her surprise and delight at receiving the award, adding that she believes the Emmys has been excessively generous towards her. She also asked Jimmy Kimmel to direct her to the lost and found office so she can catch the next flight. She ended her post with a warm “Love, old Maggie.

Smith is survived by her sons and five grandchildren.

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2024-09-27 17:32