Emma Thompson movies: 15 greatest films, ranked worst to best, include ‘Howards End,’ ‘Sense and Sensibility,’ ‘Remains of the Day’

Emma Thompson is having quite the year so far. In June, the British actress, 59, acquired the title of capital-D Dame, thanks to Queen Elizabeth.

Then there is her still-thriving career. She joins her “Howards End” and “The Remains of the Day” co-star Anthony Hopkins in a BBC co-production of Shakespeare’s “King Lear” that will stream on Amazon starting September 28. She plays Goneril, the devious eldest daughter of Hopkins’s tragic royal who takes advantage of his descent into madness.

The double Oscar winner is the main attraction in “The Children Act,” which is now in theaters and is also available on DirecTV. In the drama, based on Ian McEwan’s novel, she plays a British judge who must decide whether a teen boy suffering from leukemia can be forced to get a blood transfusion to save his life — even though it is against his beliefs as a Jehovah’s Witness.

She will also show up as a prime minister in “Johnny English Strikes Again,” the second sequel that features Rowan Atkinson as a bumbling English spy that will arrive October 26.  What better way to celebrate the eminent Dame Emma than to rank 15 of her greatest movies, from worst to best, in our photo gallery above. Our list includes the ones mentioned above as well as “Sense and Sensibility,” “Harry Potter” and “Saving Mr. Banks.”

In this fervor-filled true story about a 15-year miscarriage of justice, Daniel Day-Lewis stars as Gerry Conlon, who along with three other men is wrongly accused of a IRA bombing that killed five in England. His hated father ends up in jail as well and they forge a bond after being cell mates. Thompson is Conlon’s lawyer who eventually finds the hidden evidence she needs to free her client. This big-screen account was accused of playing fast and loose with facts, but that did not stop it from being nominated seven Oscars, including a supporting nom for Thompson. The film went away empty-handed, but the attention gave the actress a boost while she also competed as a lead in “The Remains of the Day” the same year.

14. NANNY MCPHEE (2005)
No spoonful of sugar here. This somewhat grotesque storybook-based variation on “Mary Poppins,” about a magical if hideous-looking caretaker who takes charge of widower Colin Firth’s seven unruly, motherless children, was a nine-year passion project for Thompson, both as its star and screenwriter. As her character tells her hellion charges, “When you need me but don’t want me, I’ll stay. When you want me but no longer need me, I’ll go.” The family film did well enough to deserve a sequel, 2010’s “Nanny McPhee and the Big Bang,” but plans were dropped for a third outing.

This “film a clef,” based on Joe Klein’s best-seller about a fictional Arkansas governor (John Travolta) who runs for president and his formidable wife and future first lady (Thompson), riffed off of the intrigues and scandals that marked  Clinton’s first campaign. The team of Mike Nichols and Elaine May milked much sardonic humor from the behind-the-scenes manipulations of a political team coping with a candidate who is facing charges of adultery. Thompson, handling an American accent with semi-aplomb, and the rest of the cast gathered fine notices. But the movie could not compete with real-life headlines and TV coverage about the POTUS’ affair with White House intern Monica Lewinsky.

Thompson had a small role in her then-husband Kenneth Branagh’s much-acclaimed big-screen debut as a Shakespearian leading man and director, 1989’s “Henry V.” He was treated as Laurence Olivier’s heir, receiving Oscar nods for his acting and directing. But for many critics, her verbal jousting as Beatrice bested Branagh’s hammy declarations as the arrogant Benedick in the Bard’s dark battle-of-the-sexes comedy. “Rolling Stone” critic Peter Travers described her as “an actress of unflagging elegance. Even in thick pancake makeup, she’s an enchanting Beatrice, with a sharp wit that is never merely shrewish.” Vincent Canby of “The New York Times” was similarly taken, describing her as “an especially desirable, unstoppable life force.”

No one was expecting much from this third go-round with Renee Zellweger as the now-40ish British singleton 12 years after the underwhelming first sequel, “Bridget Jones:  The Edge of Reason.” But with Sharon Maguire, the director of 2001’s ”Bridget Jones’s Diary,” returning and Thompson doing double duty as an Bridget’s droll obstetrician as well as doing script doctor surgery, critics – including me – were delightfully surprised by the screwball hilarity involving two possible baby daddies (Firth and Patrick Dempsey). It is quite amusing  how Thompson’s doc  goes out of her way to describe Bridget’s pregnancy as “geriatric” every chance she can. And that she always shoos fathers out of the room during labor, noting her ex-husband always left because, as he told her, “It was like watching his favorite pub burn down.”

Disney’s overblown live-action remake of the studio’s 1991 original, the only traditionally animated film to be nominated for Best Picture, could have gone wrong in many different ways. But one of its strong suits was finding the perfect match for the voices of all of the enchanted household objects that befriend Emma Watson’s Belle when she is held captive by Dan Stevens’ surly ram-horned Beast. I had some trepidation about how Thompson could possibly be as magical as Angela Lansbury’s performance as the motherly teapot Mrs. Potts. But she more than managed to warmly warble the Oscar-winning title tune with its “tale as old as time,” when the central couple waltz together and begin to fall in love.

9. THE TALL GUY (1989)
Thompson, who got her start as part of an improv troupe and as a stand-up comic, made her feature debut in this amusing showbiz comedy about Jeff Goldblum’s straight man, who breaks up with his disagreeable partner (Rowan Atkinson) and decides to star in a musical stage version of “The Elephant Man.” As a woo-some twosome, Goldblum and Thompson share a tartly humorous rapport. He and her nurse meet cute when he needs to get allergy shots. Her version of a pick-up line? “Are you going to walk me home? Or should I just get murdered on my own?” Then there is this exchange: Her: “Just dinner?” Him: ”Promise!” Her: “What? No sex at the end?” Him: “Well, maybe – sex? Yes! All right, if you insist!”

The granddaddy of all yuletide romantic comedy ensemble pieces. For every moment of comic gold, such as Hugh Grant’s happy dance to the Pointer Sisters’ “Jump” and Bill Nighy’s Christmas-y version of “Love Is All Around,” there is some silly business such as when Firth’s author and his non-English-speaking Portugese maid  jump into a lake to save his manuscript. But Thompson, who plays Grant’s sensible sister, lends some heart-tugging gravitas to the proceedings when she finds a beautiful necklace that she believes is a Christmas gift to her from her lawyer husband (Alan Rickman). When it is time to open presents,  she tries not to signal her disappointment  when she unwraps a Joni Mitchell CD instead. She takes her leave and begins to weep their bedroom, realizing the jewelry was meant for another women while a melancholy rendition of Mitchell’s well-known song,  “Both Sides Now,” is heard.

This post-modern, sweet-sad movie is about an IRS agent (Will Ferrell) with a rather empty existence, who suddenly hears a female novelist’s voice narrating his life in his head. Since what is said is layered with Thompson’s own wry and dry British intonations, he remarks to his shrink, “It’s telling me what I’ve already done. Accurately, and with a better vocabulary.” Her scribe might be smart, but nice she is not – at least not when she is beset with writer’s block.  As critic Mick LaSalle opined: “The honesty of Thompson’s performance, its pursuit of quirky, disturbing truths over soft cliches, is typical of the entire movie.” There are laughs, touching scenes that might draw tears and existential ideas to contemplate.

6. AN EDUCATION (2009)
Carey Mulligan is Jenny, a young, bright British schoolgirl with hopes of attending Oxford University. She becomes involved with an older, seemingly wealthy man (Peter Sarsgaard), who introduces her to his sophisticated world of night clubs, champagne and the like. Soon enough, she discovers he is a fraud, but not before she is warned by Thompson, as her exclusive all-girl school’s headmistress. She tells that her behavior is endangering her future, adding, “Nobody does anything worth doing without a degree.” Feeling all full of herself,  Jenny snipes back,  “Nobody does anything worth doing WITH a degree. No woman anyway. “Thompson’s impact in just three scenes in this best-pic nominee as a somewhat resentful middle-aged matron who is strangely anti-Semitic is quite something to witness.

5. SAVING MR. BANKS (2013)
This biopic about P.L. Travers, the rather disagreeable author and creator of “Mary Poppins,” has a bipolar screenplay. The best half has Thompson butting heads with Tom Hanks as a cagey Walt Disney, who attempts to woo the curmudgeonly author into letting him turn her literary nanny heroine into a movie star. The other half is in the Australian outback, where Travers grew up with a suicidal mother and a loving but deeply alcoholic father. Thompson, hiding under a brown perm, is at her best when her constant frown is turned upside-down when the composing Sherman brothers finally please her in song. Or when we observe her face register myriad emotions while seeing the fantasy film at its premiere.

Thompson entered the wizarding world of Harry Potter in the third movie of the eight-film blockbuster fantasy franchise as Hogwarts’ new divination professor and probably one of the funniest of J.K. Rowling’s characters, Sybill Trelawney. She wears large, round eyeglasses that severely magnify her eyes, dresses in boho chic and speaks with a wispy voice. One of her ancestors was a noted seer, but Sybill’s gifts are far less reliable. But Dumbledore recruits her as a teacher because of one prophesy that may come true – the cause of Voldemort’s demise.  Her eccentric character, who has foot-in-mouth disease, would return for two other sequels, “The Order of the Phoenix” and “The Deathly Hollows, Part 2.”

In flashbacks to the ‘30s. Thompson is all about the drama as kind and friendly housekeeper Miss Kenton, who shares an un-acted-upon attraction to Hopkins’ efficient though repressed butler, Stevens. It soon becomes clear that their employer, Lord Darlington, is a Nazi sympathizer and asks Stevens to fire two German-Jewish maids. When Miss Kenton gives Stevens a chance to make their friendship something more, he refuses to acknowledge her intent. The scene when Thompson cracks and breaks down in tears on her knees, and Hopkins walks in and tells her to do a household chore, is devastating. She and Hopkins were both up for lead acting Oscars and the film got six other nods, including Best Picture.

A widow and her three daughters are denied their inheritance when a half-brother gets it all and their lifestyle is financially diminished. Matrimony is sought for Marianne (Kate Winslet), who is ruled by her emotions, and eldest sister Elinor, who listens to logic. They both have their eyes on potential mates —  Grant’s down-to-earth vicar Edward for Elinor, Greg Wise’s dashing Willoughby for Marianne — who are, unfortunately, betrothed to others. Ang Lee, with his first American film, and Thompson, with her first movie script that was written and revised over five years, beat the rush of movie adaptations of Austen novels. “Sense and Sensibility” would receive seven  Oscar nods, including Best Picture and Best Actress. Thompson became the first and still only person to win Academy Awards for both script and acting.

1. HOWARDS END (1992)
The source of Thompson’s Academy Award win for lead actress – one of nine of its nominations — is Merchant Ivory at their best, a grandly evocative adaptation of E.M. Forster’s 1910 novel about the clash of the classes in Edwardian England. When wealthy and regal Mrs. Wilcox (Vanessa Redgrave) decides to bequeath her charming country home to  Margaret Schlegel  (Thompson), a  cultured and liberated middle-class woman who scrapes by with her sister (Helena Bonham Carter) and young brother, her husband (Hopkins) and son (James Wilby) take great offense. They burn the note she scribbled on her death bed, which leads to a series of deceptions. Thompson is the soul of the story while Redgrave is its heart.

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