Sir Alec Guinness - one of the greats of the theatre
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Sir Alec Guinness

The passing of Sir Alec Guinness may for many signal the true ending of the twentieth century; he was the last 'great' of the British theatre, along with Olivier, Gielgud and Richardson.

 

His career spanned 66 years and encompassed roles as diverse as Shakespeare and Star Wars. Guinness was able to immerse himself in a character so effortlessly that the critic J G Trewin once remarked that 'he had a players countenance, designed for whatever turned up'.

 

Born illegitimately on 2 April 1914 in Marylebone, London he never knew the identity of his real father and admitted that 'the source of his identity has been my constant speculation for 50 years'. Nevertheless his mysterious father provided for his schooling and on leaving education Guinness joined Arks Publicity, Advertising Agents as a copywriter. He used most of his salary to buy theatre tickets and no doubt inspired by what he saw, paid for a course of acting lessons at the Fay Compton School of Acting. At the end of term he was judged the winning pupil by John Gielgud.

 

Gielgud encouraged his budding theatrical career and cast him as Orsic in his 1934 production of Hamlet. A role Guinness reprised in Olivier's 1937 production, as well as understudying Olivier.

Sir Alec Guinness

His prior association with David Lean (as Herbert Pockett in Great Expectations- 1946) led to the part of the quintessential stiff upper-lipped English Army officer, Col Nicholson in Bridge over the River Kwai (1958). For this he won an Oscar.

 

Three years later he played the diametrically opposed, hard drinking Scottish Lt-Col Jock Sinclair in Tunes of Glory (1960) which he later described as his favourite film - ' possibly the best I've done'.

 

Other films followed - Oliver Twist (Fagin - 1948), Lawrence of Arabia (1962) , Doctor Zhivago (1965) and A Passage to India (1984) . In what was intended to be a follow up to El Cid he appeared in The Fall of the Roman Empire on which Christopher Plummer remarked: 'the amazing thing was the way in which he could take that appalling dialogue and make it sound acceptable'.

 

In 1977 now Sir Alec Guinness ( he was knighted in 1959) he was brought to the attention of a new and younger audience with the release of Star Wars in which he played Luke Skywalker's mentor Obi-Wan Kenobi. He afterwards called the film 'frightful rubbish' and making it made him feel like a ' caged animal' but it gave him international renown, financial security and an Oscar for the Best Supporting Actor.

Although he was better known for his film work he also did a little television, scoring a huge success as George Smiley in Le Carre's 'Tinker Tailor Soldier Spy' (1979) and 'Smiley's People' (1981); ably confusing most viewers as to identity of the real double spy and winning two BAFTA awards in the process.

 

He was still performing on stage; as T E Lawrence in 'Ross', as the blind lawyer in John Mortimer's 'Voyage Round My Father' (1977) and as Reilly in T S Eliot's 'Cocktail Party' - creating a deep and moving figure that in the hands of another would seem vacuous and fraudulent.

 

In 1994 he was made a Companion of Honour crowning a career in which he had received awards from his fellow professionals, peers, critics and industry fellows.

 

The same year he published a diary of a year called 'My Name Escapes Me' in which he states that at 82 he was past his sell-by date. 'I doubt if a part, however small, would tempt me'. He made 'A Handful of Dust' in 1988, 'Kafka' in 1991 and despite the book introduction a TV play 'Eskimo Day' in 1996.

 

Although he converted to catholicism in 1956 he resisted attempts to describe him as 'pious'. He once said that an actor was ' a kind of priest'. Whilst filming 'Father Brown' in France a small boy came up and held his hand, assuming from his dress that he was indeed a priest and someone to be trusted, so adept was the characterisation.

 

He rarely played the lead or the all conquering hero, content with creating memorable characters as a master of his craft - so many memorable characters created out of genius, a kind of genius that defies analysis.

 

© John Barber - originally published in The Stage 10 August 2000

The War interrupted his career and he joined the Royal Navy as a rating in 1941. At the end of the fighting he rejoined the Old Vic and played Menenius in a 1948 production of Corialanus at the New Theatre.

 

However it was in the emerging film industry where he found popular acclaim; in the classic black comedy from the Ealing Studios, Kind Hearts and Coronets. He played all members of the d'Ascoyne family from the ferocious suffragette Aunt Edith to the blustering General. He described the role as ' eight speaking parts, one non-speaking cameo and a portrait in oils'.

 

Further successes with Ealing followed; The Man in the White Suit (1951), The Lavender Hill Mob (1951) and The Ladykillers (1955) . During a break from filming he had a triumphant summer season in 1953 at the Stratford Festival in Toronto, Canada playing Richard 111 and Alls Well That Ends Well.