T he life of the child actor is one begun under heavy pressure. The threat of corruption is intense, the risk of exploitation high. Any subsequent slide into depression, addiction and debauchery will be well-documented. Now 62, the knicker-waver from The Railway Children sailed through the experience without incident, then grew into an actor so normal it is sometimes a struggle to remember she is a star at all. Unlike her younger peers, frightened into blandly toeing the line, Agutter is open and unstuffy, frank in a way that leaves little scope for misinterpretation; composed but absolutely uncondescending. We are due to meet at a bar on the South Bank in London on a hot Friday afternoon. She is half an hour late, but it is impossible to be cross on account of her deep embarrassment I feel guilty even mentioning it and vaguely mum-ish struggles with her phone.
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