First from Gary Oldman, who ran off with Uma Thurman when their child, Alfie, was three months old (he’s now 35, and Manville has two grandchildren) then from actor Joe Dixon (2000-04). Terrible, she knows, but “I have a control-freak side to me”.įor this reason, she cannot conceive of sharing her life. I’d think, have they done that? Have they done it properly? What about that email?” She’s been known to follow her cleaner around doing it all again. Photograph: Amelia Troubridge/The GuardianĪ PA would improve things “enormously”. Top image: beaded dress and rose corsage, both by Richard Quinn. “That’s better,” she says of the instant quiet. She is slight, but her voice carries like a military battery. “That would be rude.” Instead, she gets up to tell the packers-up to keep the noise down. Despite four hours of photoshoot, she won’t eat while we talk. She’s pin-straight while saying this, her deportment betraying her dance training, and speaks deliberately, as if reading in church. I don’t want outstanding business.” She does her own accounts, has done since she was 16. “If I’m focusing on a script, my desk needs to be clear. She says life admin – endless emails and so on, which she deals with herself at home in London – is an irritant. T o achieve this formidable output and overlapping commitments, Manville is obsessive. Last year, her lead role in Mrs Harris Goes to Paris, the story of a cleaner, heart set on a Dior dress, saw her up for a Golden Globe. Two more films are to come: The Critic, written by Patrick Marber, and Back to Black, the Amy Winehouse biopic in which she plays the late singer’s grandmother, Cynthia. She is simultaneously filming season six of The Crown – she is Princess Margaret opposite Imelda Staunton’s Queen Elizabeth – and Disclaimer, a miniseries directed by Alfonso Cuarón.
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Who would have thought? I imagined that when I got to my 60s would be really hard.” Right now she has two series running: Citadel and Magpie Murders on BBC One. Here she is at 67, enjoying a career that has sprawled in ways inconceivable even 10 years ago. Of course, Manville is quick to acknowledge the benefits of what she calls the “shifting tide” in Hollywood. Why, she wants to know, when we’ve worked so hard with #MeToo and #TimesUp, ensuring women are better respected, better paid, visible as they age, has this ultraviolence towards women become mainstream? “It’s as if we were doing all the work over here, and, while our attention is focused on that, they’re undermining it over there. “You need to understand what’s going on, the risks, what you’re up against.” Being a woman is a political position,” she argues. Yes.” Her position is not merely squeamish, it’s political. She watched it in Los Angeles with Paul Thomas Anderson, director of Phantom Thread, for which she was nominated for an Oscar in 2018. I really don’t want to see that.” She shudders when I mention Quentin Tarantino’s Once Upon a Time in Hollywood.
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She offers a disclaimer – she hasn’t seen the final edit of Citadel, isn’t certain of the full extent of the violence.
She hesitates, perhaps sensing a conflict between principles and practice. Until I ask Manville her view of the violence. She plays an “incredibly bad” UK ambassador to the US – bowing to the boilerplate that the UK government is upper class, sadistic, speaking only in clipped Anglo-Saxon. Manville’s scenes are sedate by comparison. It’s glossy, supercharged, high-body-count, fights-to-the-death-in-speeding-train-lavatories TV. B efore meeting Lesley Manville, I watch a preview of Citadel, the new Amazon spy thriller in which she stars alongside Richard Madden, Priyanka Chopra and Stanley Tucci.
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