Dame Maggie Smith was one of Britain’s most celebrated actors, building an extraordinary career across stage, television, and film over more than seven decades. Born in 1934, she made her feature-film debut in Child in the House in 1956 before establishing herself as a versatile performer in British cinema. Her film career included acclaimed dramas, comedies, literary adaptations, family films, fantasy adventures, and major international productions. She won Academy Awards for The Prime of Miss Jean Brodie and California Suite, while later generations knew her especially well as Professor Minerva McGonagall in the Harry Potter films and Violet Crawley in Downton Abbey. Smith continued appearing in major films well into her eighties, with The Miracle Club in 2023 becoming her final released feature film. This complete guide to Maggie Smith movies by year follows her feature-film career chronologically, while identifying notable voice appearances separately.
1956 — Child in the House
Child in the House marked Maggie Smith’s feature-film debut in 1956. She appeared as a party guest in this British drama directed by Cy Endfield, based on the novel by M. G. Eberhart. Although her part was small, the film represents the beginning of Smith’s remarkable screen career. It is therefore an essential starting point in any list of Maggie Smith movies by year.
1958 — Nowhere to Go
In Nowhere to Go, Smith played Bridget Howard in a British crime drama directed by Seth Holt and Basil Dearden. The story follows a criminal whose carefully planned escape becomes increasingly complicated. The film gave Smith one of her earliest substantial screen roles after her debut. It remains an important early entry in her filmography.
1962 — Go to Blazes
Smith appeared as Chantal in Go to Blazes, a British comedy about three criminals who attempt to make money through an unusual scheme involving arson and insurance fraud. The film was directed by George Pollock and featured a comic ensemble cast. Smith’s performance came during the period when she was becoming increasingly recognized for her stage and screen work. The movie also demonstrated her ability to work effectively in comedy.
1963 — The V.I.P.s
The V.I.P.s was a lavish British drama directed by Anthony Asquith and featuring an ensemble cast led by Elizabeth Taylor and Richard Burton. Smith played Miss Mead in the film, which follows wealthy travelers stranded at London’s Heathrow Airport because of bad weather. The production became notable for its large international cast and glamorous setting. Smith’s appearance was another step toward the more prominent film roles that followed.
1964 — The Pumpkin Eater
In The Pumpkin Eater, Smith played Philpot in a psychological drama directed by Jack Clayton. The film starred Anne Bancroft and Peter Finch and explored the emotional pressures surrounding a troubled marriage and family life. Smith was part of a respected British ensemble in a film noted for its serious dramatic tone. It helped establish her as an actress capable of moving beyond comedy into complex dramatic material.
1965 — Young Cassidy
Smith portrayed Nora in Young Cassidy, a biographical drama directed by Jack Cardiff and John Ford. The movie dramatizes the early life of Irish playwright Sean O’Casey, with Rod Taylor playing the central character. Smith brought supporting dramatic weight to the period production. The film is notable as one of her early collaborations with major international filmmakers.
1965 — Othello
Smith played Desdemona in Othello, the film adaptation of Shakespeare’s tragedy directed by Stuart Burge. Laurence Olivier starred as Othello, with Smith opposite him in one of Shakespeare’s most demanding roles. Her performance earned her an Academy Award nomination for Best Supporting Actress. The film remains one of the most important early milestones in Smith’s distinguished screen career.
1967 — The Honey Pot
The Honey Pot was a sophisticated comedy-mystery directed by Joseph L. Mankiewicz. Smith played Sarah Watkins in a story involving an eccentric millionaire, his former lovers, and a complicated scheme surrounding his fortune. The film featured Rex Harrison, Susan Hayward, Cliff Robertson, and Smith in its ensemble cast. Its blend of mystery, satire, and comedy suited Smith’s sharp screen presence.
1968 — Hot Millions
In Hot Millions, Smith played Patty Terwilliger Smith in a British comedy directed by Eric Till. Peter Ustinov starred as a sophisticated computer programmer who uses his skills to commit an elaborate financial fraud. Smith’s performance added comic energy to the film’s caper storyline. The movie is another example of the witty, character-driven comedies that became part of her early film career.
1969 — Oh! What a Lovely War
Smith appeared as a music hall star in Oh! What a Lovely War, Richard Attenborough’s ambitious musical satire about the First World War. The film uses theatrical performances, songs, and dark humor to examine the conflict and the society that produced it. It featured a remarkable British ensemble cast and became one of Attenborough’s best-known early directorial projects. Smith’s contribution was brief but memorable within the large-scale production.
1969 — The Prime of Miss Jean Brodie
Smith delivered the defining performance of her early film career in The Prime of Miss Jean Brodie. Directed by Ronald Neame, the drama follows an unconventional teacher whose political and personal influence over her students becomes increasingly troubling. Smith’s portrayal of Jean Brodie won her the Academy Award for Best Actress and established her as a major film star. The performance remains one of the most acclaimed achievements in her career.
1972 — Travels with My Aunt
In Travels with My Aunt, Smith played the eccentric Aunt Augusta Bertram, a woman who draws her reserved nephew into an unpredictable international adventure. George Cukor directed the comedy-drama, which was adapted from Graham Greene’s novel. Smith’s performance earned her an Academy Award nomination for Best Actress. The role showcased her talent for combining eccentric comedy with emotional depth.
1973 — Love and Pain and the Whole Damn Thing
Smith starred as Lila Fisher in Love and Pain and the Whole Damn Thing, a romantic comedy-drama directed by Alan J. Pakula. The story centers on an unlikely relationship that develops during a trip through Spain. Smith brought warmth and comic timing to the unconventional romance. The film is a less frequently discussed but important part of her 1970s movie work.
1976 — Murder by Death
Murder by Death was a star-filled comedy mystery directed by Robert Moore and written by Neil Simon. Smith played Dora Charleston, one of several eccentric characters gathered at a mysterious dinner hosted by an unusual millionaire. The film parodies famous fictional detectives and traditional murder mysteries. Smith’s comic performance fit naturally into the production’s deliberately exaggerated ensemble style.
1978 — Death on the Nile
Smith played Miss Bowers in Death on the Nile, John Guillermin’s adaptation of Agatha Christie’s famous Hercule Poirot mystery. The film assembled an impressive cast including Peter Ustinov, Bette Davis, Angela Lansbury, and David Niven. Set aboard a luxury Nile steamer, the story revolves around murder, jealousy, and hidden motives among the passengers. Smith’s role contributed to one of the most recognizable Christie adaptations of its era.
1978 — California Suite
In California Suite, Smith played Diana Barrie, an actress whose personal and professional frustrations unfold during a stay at a Beverly Hills hotel. Directed by Herbert Ross and adapted from Neil Simon’s play, the film uses several interconnected stories involving guests at the same hotel. Smith won the Academy Award for Best Supporting Actress for her performance. The role remains one of the most celebrated achievements among Maggie Smith movies by year.
1981 — Quartet
Quartet was a James Ivory-directed drama based on Jean Rhys’s novel. Smith played Lois Heidler in a story set among expatriates living in 1920s Paris. The film also starred Isabelle Adjani, Alan Bates, and Anthony Higgins. It demonstrated Smith’s ability to anchor sophisticated literary dramas with nuanced supporting performances.
1981 — Clash of the Titans
Smith portrayed Thetis, the goddess of the sea, in Clash of the Titans, the fantasy adventure directed by Desmond Davis. The film follows Perseus as he battles mythological creatures and attempts to save Princess Andromeda. Featuring Ray Harryhausen’s celebrated stop-motion effects, the movie became a popular fantasy classic. Smith’s commanding performance as a powerful deity added a dramatic dimension to the mythological story.
1982 — Evil Under the Sun
In Evil Under the Sun, Smith played Daphne Castle, the owner of an exclusive resort where a murder brings Hercule Poirot into action. Guy Hamilton directed this Agatha Christie adaptation, with Peter Ustinov playing Poirot. The film combines mystery, glamorous locations, and a large collection of suspicious characters. Smith’s role gave her another memorable opportunity to work within the Christie mystery tradition.
1982 — The Missionary
The Missionary was a British comedy starring Michael Palin as a missionary who becomes entangled in romantic and social complications after returning to England. Smith appeared as one of the film’s supporting performers. Directed by Richard Loncraine, the movie uses period settings and understated British humor. It is a smaller but legitimate feature-film entry in Smith’s 1980s career.
1983 — Better Late Than Never
Smith appeared in the comedy Better Late Than Never, playing Miss Anderson. The film was directed by Bryan Forbes and revolves around an unconventional relationship and the complications that develop around it. Smith’s role added to her run of British character-driven productions during the early 1980s. It is among the lesser-known theatrical films in her career but remains part of her feature-film record.
1984 — A Private Function
In A Private Function, Smith played Joyce Chilvers, a determined woman living in postwar Britain who becomes involved in an illegal effort to obtain meat for a private celebration. Malcolm Mowbray directed the British black comedy, which starred Michael Palin and Smith. The film mixes social satire, eccentric humor, and postwar class tensions. Smith’s performance is widely remembered as one of her strongest comic roles of the period.
1984 — Lily in Love
Smith starred as Lily Wynn in Lily in Love, a romantic comedy featuring Christopher Plummer and Maximilian Schell. The story follows actors and filmmakers caught up in a complicated production in Hungary. The film gave Smith another opportunity to explore romantic and comic material. It remains a relatively obscure title compared with the major films that came later in her career.
1985 — A Room with a View
Smith played Charlotte Bartlett in A Room with a View, Merchant Ivory’s acclaimed adaptation of E. M. Forster’s novel. Directed by James Ivory, the film follows a young English woman whose experiences in Italy challenge the restrictions placed upon her by Edwardian society. Smith’s tightly controlled performance earned her an Academy Award nomination for Best Supporting Actress. The movie became one of the most celebrated literary adaptations of the 1980s.
1987 — The Lonely Passion of Judith Hearne
In The Lonely Passion of Judith Hearne, Smith played a lonely Irish woman struggling with isolation, financial insecurity, and religious expectations. Jack Clayton directed the drama, adapted from Brian Moore’s novel. The performance allowed Smith to explore a deeply tragic character rather than relying primarily on the comedy for which she was also known. The film remains an important showcase for her dramatic range.
1991 — Hook
Smith played the older Wendy Darling in Steven Spielberg’s Hook, a fantasy adventure that imagines what happens when Peter Pan has grown up and forgotten his childhood. Robin Williams played Peter Banning, while Dustin Hoffman portrayed Captain Hook and Julia Roberts played Tinker Bell. Smith’s role connected the film to the original Peter Pan story through Wendy’s character. The movie became a major family-film title of the early 1990s.
1992 — Sister Act
In Sister Act, Smith played Mother Superior, the stern but ultimately caring leader of a convent. Directed by Emile Ardolino and starring Whoopi Goldberg, the comedy follows a singer placed into protective custody inside a convent after witnessing a crime. Smith’s dry humor provided an effective contrast to Goldberg’s energetic performance. The film became a commercial success and one of the most recognizable comedies of the decade.
1993 — Sister Act 2: Back in the Habit
Smith returned as Mother Superior in Sister Act 2: Back in the Habit. The sequel again paired her with Whoopi Goldberg, this time as the characters work with a troubled group of students through music. Bill Duke directed the musical comedy. Smith’s understated authority helped maintain the chemistry established in the first film.
1993 — The Secret Garden
In The Secret Garden, Smith portrayed Mrs. Medlock, the stern housekeeper at Misselthwaite Manor. Agnieszka Holland directed the adaptation of Frances Hodgson Burnett’s classic children’s novel. The story follows an orphaned girl who discovers a hidden garden and gradually brings change to the isolated household. Smith’s performance earned a BAFTA nomination for Best Supporting Actress and remains one of the film’s memorable elements.
1995 — Richard III
Smith played the Duchess of York in Richard III, Richard Loncraine’s inventive adaptation of Shakespeare’s historical tragedy. Ian McKellen starred as Richard, with the story relocated to a fictionalized 1930s Britain influenced by fascist imagery. The ensemble included Annette Bening, Jim Broadbent, Robert Downey Jr., and Kristin Scott Thomas. Smith’s performance added emotional and political weight to the Shakespearean drama.
1996 — The First Wives Club
In The First Wives Club, Smith played Gunilla Garson Goldberg, a wealthy social figure caught up in the film’s world of divorce, status, and revenge. Hugh Wilson directed the comedy, which starred Goldie Hawn, Bette Midler, and Diane Keaton. The movie became a popular celebration of female friendship and reinvention. Smith’s supporting appearance added another layer of sophisticated British comic timing to the ensemble.
1997 — Washington Square
Smith portrayed Aunt Lavinia Penniman in Washington Square, Agnieszka Holland’s adaptation of Henry James’s novel. The period drama stars Jennifer Jason Leigh as Catherine Sloper, a wealthy young woman caught between family expectations and romantic interests. Smith’s Lavinia is an eccentric and meddlesome figure whose actions influence the central conflict. The film gave Smith another opportunity to excel in a literary period piece.
1999 — Curtain Call
Curtain Call was a romantic comedy in which Smith played Lily Marlowe, one of several characters involved in a story about relationships and theatrical life. Peter Yates directed the film, which featured Michael Caine, Patricia Clarkson, and Maggie Smith. The movie explored romance, friendship, and the complications created by past relationships. It belongs to Smith’s productive late-1990s period on screen.
1999 — The Last September
Smith appeared as Lady Myra Naylor in The Last September, a period drama directed by Deborah Warner. Adapted from Elizabeth Bowen’s novel, the film is set in Ireland during the Irish War of Independence and examines the lives of the Anglo-Irish upper class. Smith’s performance contributed to the film’s atmospheric ensemble. It was one of several literary and historical dramas she made around the end of the 1990s.
1999 — Tea with Mussolini
In Tea with Mussolini, Smith played Lady Hester Random, one of a group of British and American women living in Italy during the rise of Fascism and the Second World War. Franco Zeffirelli directed the film, which also starred Judi Dench, Joan Plowright, Cher, and Lily Tomlin. Smith’s performance combined comedy, pride, and vulnerability. She won the BAFTA Award for Best Supporting Actress for the role.
2001 — Harry Potter and the Philosopher’s Stone
Smith first appeared as Professor Minerva McGonagall in Harry Potter and the Philosopher’s Stone, the film that launched the hugely successful Harry Potter movie series. Chris Columbus directed the adaptation, with Daniel Radcliffe, Rupert Grint, and Emma Watson leading the young cast. McGonagall is the strict but fair Transfiguration professor and deputy headmistress of Hogwarts. Smith’s performance helped establish the character as one of the franchise’s most memorable adults.
2001 — Gosford Park
In Robert Altman’s Gosford Park, Smith played Constance Trentham, an aristocratic guest attending a country-house weekend that turns into a murder investigation. The ensemble drama features an extensive cast including Helen Mirren, Clive Owen, Kristin Scott Thomas, and Michael Gambon. Smith’s performance earned her an Academy Award nomination for Best Supporting Actress. The film is regarded as one of the major ensemble mysteries of the early 2000s.
2002 — Harry Potter and the Chamber of Secrets
Smith returned as Professor McGonagall in Harry Potter and the Chamber of Secrets, the second Harry Potter film directed by Chris Columbus. The story sends Harry, Ron, and Hermione into another dangerous year at Hogwarts after the Chamber of Secrets is opened. McGonagall remains an important authority figure as the school faces a mysterious threat. Smith’s performance reinforced the character’s combination of discipline, intelligence, and loyalty.
2002 — Divine Secrets of the Ya-Ya Sisterhood
Smith played Caro in Divine Secrets of the Ya-Ya Sisterhood, a comedy-drama directed by Callie Khouri. The film follows a troubled mother-daughter relationship and the lifelong friendship shared by a group of Southern women. Sandra Bullock and Ellen Burstyn led the cast alongside Smith. Her role brought warmth and wit to the ensemble’s exploration of family and memory.
2004 — Harry Potter and the Prisoner of Azkaban
Smith reprised Professor McGonagall in Harry Potter and the Prisoner of Azkaban, directed by Alfonso Cuarón. The darker third installment introduces Sirius Black, the mysterious prisoner believed to have escaped from Azkaban. McGonagall continues to teach and protect the students while maintaining her characteristically firm demeanor. The film is often praised for giving the series a more mature visual and dramatic style.
2004 — Ladies in Lavender
In Ladies in Lavender, Smith played Janet Widdington, an older woman whose quiet life changes after a mysterious young man washes ashore near her coastal home. Charles Dance directed the period drama, which also starred Judi Dench and Daniel Brühl. The story combines friendship, music, romance, and the tensions created by an outsider entering a secluded community. Smith’s understated performance was central to the film’s emotional atmosphere.
2005 — Harry Potter and the Goblet of Fire
Smith returned as McGonagall for Harry Potter and the Goblet of Fire, directed by Mike Newell. The film centers on the dangerous Triwizard Tournament and Harry’s unexpected participation. McGonagall remains one of Hogwarts’ senior teachers and provides guidance as the school hosts international competitors. Smith once again balanced the professor’s strict exterior with her concern for the students.
2005 — Keeping Mum
Keeping Mum cast Smith as Grace Hawkins, a seemingly gentle woman whose arrival in a troubled household leads to unexpected consequences. Directed by Niall Johnson, the British comedy starred Rowan Atkinson, Kristin Scott Thomas, and Patrick Swayze alongside Smith. The film mixes family comedy with dark humor and eccentric character work. Smith’s performance is particularly notable for its dry comic timing.
2007 — Harry Potter and the Order of the Phoenix
Smith reprised Professor McGonagall in Harry Potter and the Order of the Phoenix, directed by David Yates. The story follows Harry’s growing resistance to the Ministry of Magic as Dolores Umbridge takes control of Hogwarts. McGonagall becomes one of the teachers who quietly opposes Umbridge’s authoritarian approach. Smith’s sharply delivered performance became an especially memorable part of the film’s faculty scenes.
2007 — Becoming Jane
In Becoming Jane, Smith played Lady Gresham, the mother of a wealthy young man whose romantic prospects are important to his family. Julian Jarrold directed the period romance inspired by the life of novelist Jane Austen, played by Anne Hathaway. James McAvoy portrayed Tom Lefroy, while Smith brought authority and social pressure to the story’s older generation. The film is another example of Smith’s long association with British period drama.
2009 — Harry Potter and the Half-Blood Prince
Smith returned as Professor McGonagall in Harry Potter and the Half-Blood Prince, the sixth Harry Potter film. David Yates directed the increasingly dark fantasy, which follows Harry’s attempts to understand Voldemort’s past while preparing for the coming conflict. McGonagall remains a key Hogwarts authority and ally to Harry and his friends. Smith’s performance continued to give the character a balance of severity and compassion.
2009 — From Time to Time
In From Time to Time, Smith played Linnet Oldknow in a supernatural family drama directed by Julian Fellowes. The story follows a young boy who discovers that his family’s historic home allows him to see events from the past. Smith’s character is connected to the house and its long history. The film combines period drama, mystery, and supernatural elements in a distinctly British setting.
2010 — Nanny McPhee Returns
Smith appeared as Agatha Rose Docherty in Nanny McPhee Returns, also known as Nanny McPhee and the Big Bang. Susanna White directed the family fantasy comedy, which stars Emma Thompson as the magical nanny. Smith’s character is part of the chaotic rural household that needs Nanny McPhee’s unusual assistance. The movie gave Smith another opportunity to work in family-oriented fantasy after her success in the Harry Potter series.
2011 — Gnomeo & Juliet
Smith provided the voice of Lady Bluebury in the animated family comedy Gnomeo & Juliet. Directed by Kelly Asbury, the film transforms Shakespeare’s Romeo and Juliet into a playful story about garden gnomes. Smith’s voice role placed her alongside a cast including James McAvoy, Emily Blunt, Michael Caine, and Maggie Smith’s frequent screen colleagues. Because this is a voice performance rather than an on-screen acting role, it is best identified separately when discussing her movie career.
2011 — Harry Potter and the Deathly Hallows: Part 2
Smith’s final appearance as Professor McGonagall came in Harry Potter and the Deathly Hallows: Part 2. Directed by David Yates, the finale depicts the climactic Battle of Hogwarts and Harry’s final confrontation with Voldemort. McGonagall plays a significant role in defending the school and organizing its resistance. Smith’s performance helped give the long-running character a powerful farewell.
2012 — The Best Exotic Marigold Hotel
Smith played Muriel Donnelly in The Best Exotic Marigold Hotel, a comedy-drama directed by John Madden. The film follows a group of British retirees who travel to India and discover that their new home is far less luxurious than advertised. Smith’s initially prejudiced and difficult character gradually undergoes one of the story’s most meaningful transformations. The film became an international success and introduced her to a new generation of viewers.
2012 — Quartet
In Quartet, Smith played Jean Horton, a retired opera singer living in a home for former professional musicians. Dustin Hoffman directed the film, which also starred Billy Connolly, Tom Courtenay, and Pauline Collins. The story focuses on aging performers preparing for an annual concert while confronting old rivalries and unfinished relationships. Smith’s performance combines humor, pride, vulnerability, and musical-world authenticity.
2014 — My Old Lady
Smith starred as Mathilde Girard in My Old Lady, a comedy-drama directed by Israel Horovitz. Kevin Kline plays an American who inherits a Paris apartment only to discover that Smith’s character has a lifetime right to remain there. Kristin Scott Thomas also stars in the story, which mixes family secrets, romance, and cultural differences. Smith’s performance anchors the film’s more emotional and dramatic moments.
2015 — The Second Best Exotic Marigold Hotel
Smith returned as Muriel Donnelly in The Second Best Exotic Marigold Hotel, John Madden’s sequel to the 2012 hit. The film reunites Smith with Judi Dench, Bill Nighy, Dev Patel, and the rest of the ensemble as the hotel residents face new personal and business challenges. Muriel has become more open-hearted and confident since the first film. Smith’s dry humor remained one of the sequel’s defining features.
2015 — The Lady in the Van
In The Lady in the Van, Smith played Miss Shepherd, an eccentric homeless woman who lives for years in a van parked outside playwright Alan Bennett’s London home. Nicholas Hytner directed the film from Bennett’s own autobiographical stage work and writing. Smith’s performance earned widespread critical praise and another BAFTA and Academy Award-level conversation around her work. The film became one of her most significant late-career dramatic performances.
2018 — Sherlock Gnomes
Smith returned as the voice of Lady Bluebury in Sherlock Gnomes, the animated sequel to Gnomeo & Juliet. Directed by John Stevenson, the film sends the garden gnome characters into a mystery inspired by Sherlock Holmes. Smith’s involvement was again a voice performance rather than a traditional on-screen role. It was her final animated feature voice appearance.
2019 — Downton Abbey
Smith brought Violet Crawley, Dowager Countess of Grantham, to the big screen in Downton Abbey. Directed by Michael Engler, the film continues the story of the television series and follows the Crawley family as the royal household visits their estate. Violet’s sharp observations and cutting humor remained central to the character’s appeal. The movie marked Smith’s return to one of her most celebrated modern roles and became a major theatrical success.
2021 — A Boy Called Christmas
In A Boy Called Christmas, Smith played Aunt Ruth, the narrator and storyteller who introduces a young family to a magical Christmas tale. Gil Kenan directed the fantasy adventure, which follows a boy named Nikolas on a journey toward the legendary North Pole. The film combines family drama, fantasy, humor, and Christmas folklore. Smith’s presence gives the framing story an immediately recognizable warmth and authority.
2022 — Downton Abbey: A New Era
Smith returned as Violet Crawley in Downton Abbey: A New Era, directed by Simon Curtis. The story takes the Crawley family beyond the estate as part of the household travels to the French Riviera while a film production arrives at Downton. Violet’s storyline provides some of the sequel’s most emotional material. The film also became notable as one of Smith’s final major theatrical performances.
2023 — The Miracle Club
The Miracle Club was Maggie Smith’s final released feature film. Directed by Thaddeus O’Sullivan, the comedy-drama stars Smith as Lily Fox alongside Kathy Bates, Laura Linney, and Agnes O’Casey. Set in 1967, the story follows women from Dublin who win a pilgrimage to Lourdes, where old relationships and unresolved emotions resurface. The film premiered at the 2023 Tribeca Festival and became a fitting late-career showcase for Smith’s ability to combine humor, warmth, and dramatic depth.
Conclusion
Maggie Smith’s movie career stretched from her small debut in Child in the House in 1956 to The Miracle Club in 2023, covering more than six decades of cinema. Along the way, she moved effortlessly between Shakespearean drama, British comedy, literary adaptations, fantasy, family entertainment, mystery, and prestige period films. Her Oscar-winning performances in The Prime of Miss Jean Brodie and California Suite demonstrated her dramatic and comic range, while Professor McGonagall and Violet Crawley introduced her work to enormous international audiences. From A Room with a View and Gosford Park to The Best Exotic Marigold Hotel and The Lady in the Van, her filmography contains an unusually broad collection of memorable characters. Looking across Maggie Smith movies by year makes clear why she remains regarded as one of the most accomplished British screen actors of her generation.
