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Emma's Family History/Interview

Her portrayal of Elinor Dashwood in the film Sense And Sensibility won critical acclaim. But it seems Emma Thompson may have unwittingly been drawing on her own family history when she adapted the Jane Austen novel for the screen and took the lead role.
In a case of life imitating art, Miss Thompson's great grandparents' own romance is, intriguingly, almost identical to that of Elinor and Edward Ferrars in Sense And Sensibility.
In the book, Miss Dashwood falls for the sweet but shy Ferrars, played by Hugh Grant in the film, who throws off his family's wealth and expectations for a quiet life as a country parson.
Emma's own great-grandmother, Elizabeth Anna Anderson, fell in love with David Orr, the son of a wealthy food merchant who gave up his fortune to take holy orders, according to research by genealogy site Ancestry.co.uk.

Family history: Actress Emma Thompson

It is thought Orr met Elizabeth while studying art at Glasgow University in 1880. But they did not marry until a decade later.
'For most ladies of the day, marrying at 30 was considered late,' says Ancestry.co.uk spokesman Simon Ziviani.
'But as Elizabeth committed herself to David quite early on, it is more than likely that both being middle class, David first sought financial security by way of his own parish before seeking her father's approval for them to marry.'
The Oscar-winning actress comes from a theatrical family. Her sister, Sophie Thompson, and mother, Phyllida Law, are both actresses, while her father, Eric Thompson, wrote and narrated the BBC children's classic The Magic Roundabout.
Miss Thompson, who was once married to Kenneth Branagh, wed her second husband Greg Wise - also a star of Sense And Sensibility - in 2003.
The couple have a nine-year-old daughter and an unofficially adopted son - Tindyebwa Agaba, 22.
Details of the star's ancestry are available as part of a project to place the records of more than 77 million people online.

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"It is appallingly short-sighted and idiotic of us to pretend for a second that youth is the best bit of life or that growing older is not full of joy and hope and wonder," says Emma Thompson.

Halfway through a 20-minute phone conversation, she's at full steam, dazzlingly articulate as ever. "I feel about a billion times happier [at 49] than I did when I was younger. I'm more confident. I'm wiser. I'm more able to do lots of different things quite well. I can make decisions and I've had enough experience not to f**k things up regularly. I don't make the same mistakes as I did. I don't get hurt in the same way. I'm so much less anxious. A lot of bad things have happened in my life, and I've survived them. But people keep not being told that. And they keep being lied to, being shown pictures of happy people who are very young, and no one else."

She takes her first breath in minutes and laughs. "I carry my soapbox around with me," she says.

There's no actor I'd rather take advice from. Born into a family of thespians, Thompson graduated from Cambridge University in 1980 and immediately distinguished herself as an actress, comedienne and writer. She and the actor/director Kenneth Branagh divorced in 1995 after six years; she wed Greg Wise, her Sense and Sensibility co-star, in 2003. Their daughter, Gaia, 9, shares her mother's "vigour, zest for life and devotion to Maltesers" and is off to play hockey as we speak. Thompson's been showered with awards, including two Oscars -- she's the only person to win for both acting (Howards End) and screenwriting (Sense and Sensibility) -- and she's never played just someone's girlfriend or wife; she's made a rare career of embodying substantial females who always act their age.

"I've grown into my face," Thompson says. "I was never an ingenue. So I've been protected from any sellby date. I often think about someone like Greta Garbo, so famous for her looks, finally saying, 'I don't want you to see me like this.' I think that must have been so terrible and lonely."
Thompson's last role, as the terrifying matriarch in 2008's Brideshead Revisited, has again stirred up Oscar talk, and her new film, Last Chance Harvey -- in which she's wooed by Dustin Hoffman -- attacks the lie that love is only for the young. In it, she looks every minute of 49 and doesn't mind a whit. "Oh, I rail bitterly against every fresh bloody wrinkle. I've got all the creams. I'm hysterical," she says. "But I've been like that since I was young. And in every other way, I don't really notice it. I cannot imagine anything less useful, fulfilling or happy-making than trying to look younger."
Mention Hollywood's penchant for plastic surgery, and Thompson really lifts off. "What the hell do they think they're doing? Why are they doing it? What kind of message does it send to our young women -- that there is no dignity, no beauty, no fantastic things to be had about accepting your wrinkles and thinking they're characterful and evidence of a life well lived? Apart from everything else, how can people be so narcissistic at this age? The whole point about getting older is that your ego expands -- not filled with yourself but filled with the wonders of the world. You don't care about yourself so much anymore, and that's what makes you happier. We really are raising a generation of profound narcissists, and narcissism does not make you happy. It just doesn't."
What makes Thompson happy? "My family is obviously the first port of call in terms of energy and attention," she says. "And I'm putting myself more in the frame, which is a new thing and quite good and healthy. Professionally, if something interesting comes along, I do it. I've never thought of myself as having a career. I've just had a string of jobs, some of which I've loved beyond description. And I'm writing lots at the moment: a new Nanny McPhee, which we're shooting in May; a new version of My Fair Lady -- exploring male emotional autism, it's so interesting! -- and my own original thing, a piece about John Ruskin, the Victorian art critic, and Effie Gray, his wife, and their very odd marriage. It's dead cool and really exciting."
She also works with several NGOs including ActionAid, which addresses world poverty; her involvement took her to the World Economic Forum in Davos. "It was horrifying to me, completely horrifying," she says. "No women there except Condoleeza Rice, surrounded by about 18 bodyguards and looking like an empress as she walked through. I thought, 'For crying out loud, if you want to make the world a better place, you're going to have to include the other 50 per cent of the population.'"
Okay, what makes Thompson unhappy? "That, much to our great loss, we've turned away from the notion of elders, of wisdom," she says. "It's an absolute disaster for the old and the young. It leads to fractures everywhere. But mostly a fracture in our concept of what it is to be human. And it's all just to do with selling things. Because it's easier to sell things to young people. As you get older, you realize that stuff isn't important at all. It's so great; we spend all our lives giving things away now. I think it's something we must address. So I plan to keep on playing my age, and writing my age."
Suddenly, Thompson makes a strangled noise. "I saw one [famous 70-something] woman the other day, I won't say who, and suddenly she's got loads of blond hair," she says. "Long, blond hair. And she was so pretty and nice and intelligent. She has done so much. She has nothing to prove. She doesn't have to stay young. I thought, 'You've been forced into this. This is peer pressure.' It's the most useless waste of time. And it's women who are wasting our own time. Instead of carrying on thrillingly, enjoying getting older and being able to achieve more and more, we're spending all our time and effort on our looks when we should be saying, bullocks to high heels, I'm going to spend the rest of my life in sneakers and f**k you all. I'm going to do some useful and wonderful things and look after myself, and it's going to be great."

-Johanna Schneller