The Lady in the Van tells the true story of Alan Bennett's strained friendship with Miss Mary Shepherd, an eccentric homeless woman whom Bennett befriended in the 1970s before allowing her temporarily to park her Bedford van in the driveway of his Camden home. She stayed there for 15 years. As the story develops Bennett learns that Miss Shepherd is really Margaret Fairchild (died 1989), a former gifted pupil of the pianist Alfred Cortot. She had played Chopin in a promenade concert, tried to become a nun, was committed to an institution by her brother, escaped, had an accident when her van was hit by a motorcyclist for which she believed herself to blame, and thereafter lived in fear of arrest.
Margaret/Mary is shown parking her new Commer van in the drive of Alan Bennett's house and she pulls up on the handbrake in the middle of the van, where a handbrake would normally be. In fact Commer vans had their handbrake to the right of the driver's seat between the seat and the door - not between the two front seats. See more »
The smell is sweet, with urine only a minor component, the prevalent odor suggesting the inside of someone's ear. Dank clothes are there, too, wet wool and onions, which she eats raw. Plus, what for me has always been the essence of poverty, damp newspaper. Miss Shepherd's multi-flavored aroma is masked by a liberal application of various talcum powders, with Yardley's Lavender always a favorite. And currently it is this genteel fragrance that dominates the second subject, ...
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During the first part of the credits, a young Margaret can be seen playing the piano at her concert in King's Hall. See more »
At the bottom of the poster it says: 'This is a mostly true story.' Nicholas Hytner directs a 'revisionist' take on Miss Shepherd, the tramp-like old biddy who parked her van in Alan Bennett's front drive for a few weeks that turned into 15 years. The movie version fleshes out her story with glimpses of her past (a convent, a piano recital, a family feud, a fatal accident) which the narrator (one of the two Alan Bennetts played by Alex Jennings) tells us he only found out after she died.
A woman in front of me whispered to her companion, who wondered why Alan Bennett had a twin, that he actually had a split personality. That's not a bad explanation for the device of the householder Alan who puts up with Miss Shepherd (and clears her mess from his drive) and the writer Alan who doesn't think there's a story in this. I'm not sure that the double-act is entirely effective or necessary: a voice-over from the real Alan would have worked just as well, wouldn't it?
Despite the attempts to give the Lady a life before the Van, the screenplay is more revealing about the playwright, the reluctant Samaritan who is also having to deal with his northern mother's journey down the road to dementia. There are even a few references to the fact that Mr Bennett's sexuality was being questioned for many years before he finally outed himself.
The movie has more pace than the book and the play did. Maggie Smith is of course simply magnificent, fully absorbed into the grimy skin of this unlovable old harridan. Her performance is pitched midway between the Duchess of Downton and Muriel from the Marigold Hotel, although the character preposterously blends Hyacinth Bucket with Victor Meldrew. The 'History Boys', who largely owe their careers to Mr Bennett, pop up in a series of cameos, along with Frances de la Tour and Stephen Campbell-Moore from the same play. Jim Broadbent's scrounger is the least convincing presence and is perhaps mostly untrue.
This looks like being another highly competitive year for Oscars and BAFTAs, but Dame Maggie is certain to be a contender and could well be a winner. THE LADY IN THE VAN is not pitch-perfect in the way that THE HISTORY BOYS was (and the first - best - MARIGOLD HOTEL), but it is another master-class exemplar of British writing, acting and film- making.
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