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|Also Known As:||Died:|
|Born:||April 15, 1959||Cause of Death:|
|Birth Place:||London, England, GB||Profession:||actor, screenwriter, producer|
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With her uncanny ability to combine humor and poignancy, actress-writer Emma Thompson rose from the London stage to international film and television acclaim. Alongside her then-husband, revered Shakespearian actor-director Kenneth Branagh, she impressed with early film work in such projects as "Henry V" (1989) and "Dead Again" (1991). Thompson was touted as one of the finest actresses of the day after her performances in the Merchant Ivory productions, "Howard's End" (1992) and "The Remains of the Day" (1993), the former of which earned her a Best Actress Oscar. More accolades came for her roles in the riveting IRA drama "In the Name of the Father" (1993), opposite Daniel Day Lewis, and "Sense and Sensibility" (1995), where her double duty as screenwriter earned her another Academy Award. The actress was soon in high demand for such U.S. productions as the political satire "Primary Colors" (1998) and masterful adaptations of the revered stage dramas "Wit" (HBO, 2001) and "Angels in America" (HBO, 2003). The incredibly adroit Thompson took on a pair of recurring roles for the first time in the fantasy films "Harry Potter and the Prisoner of Azkaban" (2004) and "Nanny McPhee" (2005), before venturing...
With her uncanny ability to combine humor and poignancy, actress-writer Emma Thompson rose from the London stage to international film and television acclaim. Alongside her then-husband, revered Shakespearian actor-director Kenneth Branagh, she impressed with early film work in such projects as "Henry V" (1989) and "Dead Again" (1991). Thompson was touted as one of the finest actresses of the day after her performances in the Merchant Ivory productions, "Howard's End" (1992) and "The Remains of the Day" (1993), the former of which earned her a Best Actress Oscar. More accolades came for her roles in the riveting IRA drama "In the Name of the Father" (1993), opposite Daniel Day Lewis, and "Sense and Sensibility" (1995), where her double duty as screenwriter earned her another Academy Award. The actress was soon in high demand for such U.S. productions as the political satire "Primary Colors" (1998) and masterful adaptations of the revered stage dramas "Wit" (HBO, 2001) and "Angels in America" (HBO, 2003). The incredibly adroit Thompson took on a pair of recurring roles for the first time in the fantasy films "Harry Potter and the Prisoner of Azkaban" (2004) and "Nanny McPhee" (2005), before venturing into existential whimsy with "Stranger Than Fiction" (2006). Through it all, her puckish wit and sly self-confidence made her one of the world's most endlessly quotable movie stars.
Born on April 15, 1959, Thompson was raised in the Paddington section of West London. With stage director, actor, and television producer Eric Thompson for a father and Scottish actress Phyllida Law for a mother, Thompson grew up well-versed in the entertainment business, surrounded by creativity. Her first pursuit was writing, but while studying at Cambridge, she joined the school's famed Footlights sketch comedy group where she wrote and performed alongside future big names Stephen Fry and Hugh Laurie. She also appeared with the university's all-female troupe, Woman's Hour. Thompson, Fry and Laurie landed a short-lived TV variety show, "Alfresco" (1983), and when Thompson struck out on her own, she won rave reviews for her West End musical debut opposite Robert Lindsay in the 1985 revised version of "Me and My Girl." She co-starred with Kenneth Branagh in the World War II-set drama series "Fortunes of War" (BBC, 1986-87) and with Robbie Coltrane in the cult classic about a Scottish rock band, "Tutti Frutti" (BBC, 1987). She wrote and starred in her own 1988 BBC comedy-variety TV series, "Thompson," and made her film debut as Jeff Goldblum's leading lady in the underrated "The Tall Guy" (1989).
Thompson married fellow thespian Kenneth Branagh and the pair joined forces in the Renaissance Theatre Company, appearing in "Look Back in Anger," "King Lear" and "A Midsummer Night's Dream." Such was the pair's chemistry and acclaim, they began earning comparisons to the former first couple of British theatre, Sir Laurence Olivier and Vivien Leigh. Branagh cast her as Princess Katherine in his 1989 film "Henry V" and as an amnesiac haunted by nightmares of a past murder in the 1991 romantic melodrama "Dead Again." Her strong performance as the forthright heroine of the Merchant-Ivory production "Howards End" (1992), however, catapulted her to stardom, sans Branagh. More than holding her own against strong actors Anthony Hopkins, Vanessa Redgrave, and Helena Bonham Carter, Thompson received a Best Actress Oscar and Golden Globe Award, coming out of seemingly nowhere for American audiences. The following year, she earned dual Academy Award nominations as Best Actress for her turn as a housekeeper in love with a repressed butler (Hopkins) in another Merchant-Ivory adaptation, "The Remains of the Day" (1993) and a Best Supporting Actress nod for her no-nonsense barrister representing a youth accused of involvement in an IRA bombing (Daniel Day-Lewis) in "In the Name of the Father" (1993). The same year, she and Branagh threw sparks as Shakespeare's witty and warring lovers Beatrice and Benedick in Branagh's adaptation of "Much Ado About Nothing" (1993). In an attempt to bank on Thompson's positive reception among U.S. audiences, she was cast in a comic lead opposite Arnold Schwarzenegger and Danny De Vito in "Junior" (1994), but the sub-par material failed to launch her as a mainstream American commodity.
Returning to period dramas, Thompson followed up with back-to-back starring roles - first in "Carrington" (1995), which cast her in the title role of the Bloomsbury painter who had a long platonic relationship with writer Lytton Strachey. "Sense and Sensibility" (1995) was a dream project for the actress, who had long talked of penning the screenplay. Directed by Ang Lee, the results proved it as one of the year's best films, earning Thompson a Best Actress Academy Award nomination and a statuette for her witty script. Amidst rumors of professional egos clashing, Thompson and Branagh divorced shortly thereafter. The actress spoofed her image on a memorable episode of the sitcom "Ellen" (ABC, 1994-98), playing a lesbian British actress named 'Emma Thompson,' who decided to disclose her homosexuality at an awards banquet. The laughs came when she revealed she was not really British, but from America's heartland and had only acquired the accent from "watching Julie Andrews' films." Thompson next co-starred in Alan Rickman's directorial debut, "The Winter Guest" (1997) with her mother, actress Phyllida Law. Her performance as a photographer grieving the death of her husband and coping with her mother's interference was a strong one, allowing her to display aspects of her talents that had not yet been seen onscreen before.
Mike Nichols tapped Thompson to play the ambitious wife of a womanizing presidential candidate in the critically praised "Primary Colors" (1998), after which she reunited with Rickman to play an FBI agent in the thriller "The Judas Kiss" (1998). After time out for motherhood and a chance to concentrate on her writing, Thompson made a triumphant return to the screen playing a rigid college professor stricken with cancer in the HBO adaptation of "Wit" (2001). Additionally, she collaborated with director Mike Nichols on the script, based on the Pulitzer-winning play, which earned Emmy nominations for both. In one of her more successful contemporary comedic offerings, Thompson was part of the large ensemble cast of writer-director Richard Curtis' multi-story romantic comedy "Love Actually" (2003), where she played the sister of the British Prime Minister (Hugh Grant), whose husband (Alan Rickman) contemplates straying. The actress next earned enormous praise for her role in the ensemble of the acclaimed HBO miniseries "Angels In America" (2003), playing the multiple roles of The Angel of America, Nurse Emily and The Homeless Woman. She was ultimately nominated for a Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Television Movie or Miniseries. Thompson also enjoyed an amusing, if all-too-brief, turn as the prescient but preoccupied Professor Sybil Trelawney in "Harry Potter and the Prisoner of Azkaban" (2004).
In "Nanny McPhee" (2005), a children's fantasy Thompson adapted from Christianna Brand's Nurse Matilda book series, Thompson starred as a snaggle-toothed nanny with magical powers who arrives at the stately home of a recent widower (Colin Firth) who has problems disciplining his seven troublemaking children. "Nanny McPhee" received strong praise from critics, particularly in regards to Thompson's clever and appealing script, but the film did middling business at the box office. The following year, Thompson gave an outstanding performance in the offbeat "Stranger Than Fiction" (2006), where she co-starred as an eccentric novelist whose work-in-progress turns out to have a real-life counterpart - a staid IRS agent (Will Ferrell) whose life is disrupted by the author's narrations in his head. Following a cameo as a doctor in the Will Smith blockbuster "I Am Legend" (2007), Thompson donned the prosthetics to play an elderly Lady Marchmain in a British film version of "Brideshead Revisited" (2008), which received positive notices but enjoyed only limited release stateside.
Continuing her strong run of performances, Thompson reunited with "Stranger" supporting player Dustin Hoffman in "Last Chance Harvey" (2008), a romantic drama that found the pair cast as unsatisfied middle-agers whose lives change after a chance meeting at an airport bar. Once again in her illustrious career, Thompson found herself in award contention after her performance earned a Golden Globe nomination for Best Actress in a Motion Picture - Comedy or Musical category. Thompson's next pair of releases were both 1960s-set British comedies, the Nick Hornby-scripted "An Education" (2009) and "The Boat That Rocked" (2009), a look at England's once-thriving offshore pirate radio stations. Meanwhile, she once again donned her bulbous prosthetic nose and came to the rescue of another dysfunctional family-in-need for the sequel "Nanny McPhee Returns" (2010), which found her watching over an unruly brood in wartime Great Britain.
On television, Thompson delivered yet another sublime performance, this time opposite Alan Rickman in "The Song of Lunch" (BBC, 2010), the tale of a bittersweet reunion between two lovers told almost entirely with a poetic monologue narrated by Rickman. The actress was next seen for the last time as the prophetic Professor Trelawney with a cameo in "Harry Potter and the Deathly Hallows: Part 2" (2011), the final entry in the record-breaking fantasy franchise. The following year, Thompson appeared opposite Will Smith as Agent O, the new chief of the super-secret MIB agency in "Men in Black 3" (2012), in which Agent J (Smith) travels back in time to prevent his partner, Agent K (Tommy Lee Jones), from being erased from the current reality with the help of the 1969 version of Agent K (Josh Brolin). From one highly-anticipated feature to another, Thompson gave voice to a Scottish queen whose fate is in the hands of her headstrong young daughter (Kelly Macdonald) in Pixar's animated coming-of-age adventure "Brave" (2012), while on the small screen she earned an Emmy Award nomination in 2012 for her performance as woman reunited with her former lover (Alan Rickman) in "The Song of Lunch" (PBS, 2011). Following a supporting role in the romantic teen fantasy "Beautiful Creatures" (2013) and the divorce comedy "The Love Punch" (2013), opposite Pierce Brosnan, Thompson starred as author P.L. Travers in "Saving Mr. Banks" (2013), a fact-based story of the making of "Mary Poppins" with Tom Hanks as Walt Disney. She next wrote and co-starred in period drama "Effie Gray" (2014) and played Catherine Bryson, the British-born wife of real-life American humorist Bill Bryson (Robert Redford) in "A Walk in the Woods" (2014), based on Bryson's memoir of his travels on the Appalachian Trail.
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CAST: (feature film)
Milestones close milestones
"I'm a character actress. Nobody is going to ask me to play the romantic roles, I don't have the right kind of face. I've got too many teeth." --Emma Thompson to The Chicago Sun-Times, March 18, 1998.
On her relationship with her mother, Thompson told The New York Times (December 21, 1997): "In my 20's I was domestically unbound, so I spent a lot of time with my mother, and our relationship moved sideways away from the typical mother-daughter thing. In a sort of subterranean way, though, I rely on her approval more than anybody's, and if I feel her disapproval, it has a profound effect on me."
"It's been sort of accidental, but I think we're a good team. We play a kind of tatty Bogart and Bacall in ["The Judas Kiss"]--only Emma's Bogart and I'm Bacall" --Alan Rickman quoted in Los Angeles Times, December 22, 1997.
Thompson has stated that she keeps her Best Actress Oscar in the bathroom of her home.
"There is something very uncomfortable about taking this strange, ephemeral thing called fame and plunking it in some other arena and saying, 'Look at this, look at this.' ... I think I'm a brave person and have never ever not stood up to be counted, but to be a performer and then to step sideways into a political arena somehow fells wrong." --Thompson on mixing politics and show business to Los Angeles Times Calendar, December 10, 1995.
"Look, this question of gossip is interesting. In some form it isn't necessarily a bad thing. It's to do with people trying to work out how to live their lives. For God's sake, look at Jane Austen! It's possible that gossip is a first step, that way in which we try to discover ourselves." --to Vanity Fair, February 1996.
"Part of growing up, it has occurred to me--while I was sitting on the loo yesterday--is admitting to WHAT YOU ARE. I think that certainly during my 20s, my intelligence and my articulateness were very important to me ... I thought I was much stronger than I am. I was frightened of being 'feminine', because that seemed a weakness." --Emma Thompson to Vanity Fair, February 1996.
"In England, they love it when you fail. One feels vaguely embarrassed about success here [in London]. It's a great relief to go to America where they're fond of you when you succeed. But if I had a socking failure, I'd rather be here. The British are not cruel. They love underdogs--it's top dogs we don't like." --Emma Thompson to The New York Times, November 20, 1994.
"Emma is sane. She also has intelligence, tremendous acting talent and terrific style. She's funny and fun to be with--always," --director James Ivory to USA Today, March 14, 1994.
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