The Lady in the Van

From privileged British countess to unkempt London transient -- quite a role reversal for Dame Maggie Smith, wouldn't you think? But it's not. For the 81-year-old's portrayal of Violet, dowager countess of Grantham on PBS' runaway hit Downton Abbey, is much like her character of Mary Shepherd, a vagrant living in a trashy van parked in the North London driveway of well-regarded British playwright Alan Bennett: Both characters are imperious, difficult, unrelenting, bossy, and Women Who Must Be Obeyed.

Like the dowager, Miss Shepherd -- the centerpiece of The Lady in the Van -- is master of her universe. The opening scenes of the film, which portray her at her worst, may put off some viewers. And both characters have their secrets. (Miss Shepherd has hygiene issues but speaks fluent French, hints at a rich professional musical background, and has a curious relationship with the Catholic church; and who can forget the dowager's princely Russian boyfriend, still sexy after all these years?)

But Miss Shepherd, smelly and cantankerous as she is, slowly exudes a curious appeal, as does the oddity of rather elegant Mr. Bennett occupying two characters (both played with delightful exasperation by Alex Jennings) -- one a goodhearted playwright struggling to be humane (all the while battling with the declining physical and mental state of his mother) and the other a more egotistical guy who's trying to get his other half to make the most of the slice-of-life theatrical fodder that's right in front of them -- who often argue about their approach to their none-too-welcome intruder.

Despite their often witty verbal sparring, Miss Shepherd and Mr. Bennett are hardly friends. She's abusive, dismissive and unappreciative. He's got affluent-guy guilt, along with barely disguised irritation toward her self-centered approach to life that allows her to cunningly take full advantage of suckers like him. That's what leads Bennett to allow her to park her hideous, battered van in his Camden Town townhouse driveway rather than suffer the indignities of traffic laws by parking in the street. This so-called temporary arrangement (shot in Bennett's actual driveway) goes on for 15 years, much to the distress of (yet gradual acceptance by) Bennett's snobby neighbors.

And so does the running time of the film, it seems, overstaying its clever conceit. But Dame Maggie's absolute command of the character -- whether selling pencils on the street, annoying any and all gatherings of children, insulting social workers, and dealing with a mysterious late-night visitor who's up to no good -- doesn't seem overly concerned with any need to wind things up.

Why should it? This quirky outing, which suffers only slightly from an awkward ending, is enhanced by the evocative autumn-toned cinematography of Andrew Dunn and director Nicholas Hytner's fine comic timing. And throughout, it's guided by a masterful performer with the unwavering support of a spot-on cast that, like those in the best of Bennett's plays, are all on the same page.

MovieStyle on 02/19/2016