Maggie Smith, the renowned double Oscar-winning actress whose remarkable journey spanned from the works of Shakespeare to the “Harry Potter” franchise, has left an unforgettable imprint on the acting world. As we honor her legacy, we’ve gathered insights from critics like Michael Billington, Peter Bradshaw, and Mark Lawson, along with personal reflections from Michael Palin, Mike Newell, and Nicholas Hytner.
At 89, Smith’s legacy stands alone in its brilliance. Few actors have reached such heights; she captivated audiences from the review stage, delivered iconic performances in Shakespearean and Ibsen plays, earned two Oscars, and consistently drew in box office crowds for over sixty years. Her acting was a unique combination of high-style Restoration comedy and the poignant suburban tales crafted by Alan Bennett, often marked by her signature sharp, sometimes biting, humor. The comedy she presented emerged from a place of anxiety, showcasing her remarkable talent for the perfect gesture.
Her first Oscar came for her unforgettable performance in “The Prime of Miss Jean Brodie” (1969). The character’s line — “Give me a girl at an impressionable age, and she is mine for life” — highlighted the complex relationships she fostered with her students, the “crème de la crème,” as she shaped them in her image while introducing them to figures she admired, such as Mussolini and Franco.
Smith gained international acclaim in her later career, most notably for her role as Professor Minerva McGonagall in the “Harry Potter” films, which she humorously likened to being Miss Brodie in a wizard’s hat, spanning with the franchise from 2001 to 2011. Additionally, from 2010 to 2015, she brought to life the sharp-witted Dowager Countess of Grantham, Lady Violet, in “Downton Abbey.” This role showcased a multifaceted character, one whose stern exterior masked a genuine moral sensibility and a strong sense of propriety.
Early in her career, a critic described Smith’s “witty elbows,” while the esteemed U.S. director Harold Clurman noted that she “thinks funny.” When Robin Phillips directed her as Rosalind in “As You Like It” in 1977, he admired her extraordinary comedic instincts, capturing subtleties that only the most discerning could perceive. Bernard Levin brilliantly described her portrayal of Rosalind, stating, “She spoke the epilogue like a chime of golden bells.”
Despite her extraordinary talent, Smith preferred to remain out of the spotlight, shunning television talk shows and the celebrity culture of the time. Her rare appearance on Graham Norton’s BBC show in 2015 marked her first television interview in over forty years. Reflecting on her career, she succinctly said, “One went to school, one wanted to act, one started to act and one’s still acting.”
Smith was born in Ilford, Essex, and pursued acting from a young age, joining the Oxford Playhouse School in 1951. Her Broadway debut in 1956 propelled her into international stardom. By 1969, she was an established household name thanks to her role in “The Prime of Miss Jean Brodie,” having already worked with icons like Laurence Olivier, Orson Welles, and Noël Coward.
Before stepping into her legendary Hogwarts role, audiences resonated with her portrayal of Susan in Bennett’s “Talking Heads,” a character struggling with unfulfilled desires, encapsulated in her striking opening line: “Geoffrey’s bad enough, but I’m glad I wasn’t married to Jesus.”
Throughout her career, Smith’s versatility shined through in famed performances, including her delightfully acerbic role in “Gosford Park” (2001), where a brief quip about a singer showcased her masterful wit. In “Hay Fever” (1964), she charmed audiences with the outrageously funny line, “This haddock is disgusting.”
Smith consistently transformed her characters, from the vibrant Myra Arundel in “Hay Fever” to acclaimed roles like Lady Macbeth and Cleopatra. Her accolades culminated in a second Oscar for Neil Simon’s “California Suite” (1978), where she masterfully embodied Diana Barrie.
Her work often intertwined humor with deep sadness, as seen in “The Lonely Passion of Judith Hearne” (1987), where themes of isolation and self-exploration were poignantly explored. Her stage performances continued to reflect this complexity, particularly in “The Lady in the Van” (1999) and Edward Albee’s “Three Tall Women” (1994), both of which garnered widespread acclaim.
Despite facing personal challenges, including her divorce from actor Robert Stephens, Smith thrived professionally. She adeptly navigated her post-divorce career, even relocating to Canada, yet always retained her distinction as one of the most cherished actors of her generation.
In her later years, she continued to shine in works like “The Best Exotic Marigold Hotel” films and the “Downton Abbey” movies, reaffirming her beloved status. Her final performance in “The Miracle Club” (2023) served as a testament to her enduring talent.
Recognized with multiple honors, including a CBE in 1970 and a damehood in 1990, Maggie Smith’s contributions to the arts will always be remembered. As we reflect on her extraordinary life, her passing creates an unmistakable void in the entertainment world, one that will never quite be filled. She is survived by her two sons, Chris and Toby, and five grandchildren.
