Vivien Leigh
Vivien Mary, Lady Olivier (November 5 1913 – July 8 1967), known as Vivien Leigh, was a world famous English actress who ironically won two Academy Awards for her portrayal of "southern bells". She was the first non-American to win a "Best Actress" Oscar. Her thrity-year career was marked by two marriages, one child, severe bouts of depression, and laud and praise for her talent. Leigh was a classic beauty, her trademarkes were her green eyes and her cat-like smile, which she made famous in her role as Scarlett O'Hara in Margaret Mitchell's Gone with the Wind.
Early life and acting career
Vivian Leigh was born as Vivian Mary Hartley in Darjeeling, British India just before the outbreak of World War I. An only child, her parents, Ernest Hartley and Gertrude Robinson Yackje, moved to India during a time when a simple officer in the Indian Cavalry could live like a king in India. Her father was English, while her mother was of French and Irish descent.[1]
At the young age of three, Leigh was already appearing on stage. She recited "Little Bo Peep" in her mother's amateur theatre group production. Leigh was introduced to Hans Christian Andersen, Lewis Carroll, and Rudyard Kipling at a very young age, and her mother was responsible for her good education and her appreciation of literature and art. Leigh particularly loved the stories from Greek mythology and was often found reading them with her mother.
As a young girl, Leigh was sent to England for her education, as her mother was worried that she wouldn't receive proper instruction in Bangalore, where the family was residing at the time. Thus, Leigh was sent to the "Convent of the Sacred Heart" in Roehampton in 1920. One of the only highlights of her education at Sacred Heart was the close friendship she formed with Maureen O'Sullivan a future actress. She confided in Maureen that her greatest desire was to become "a great actress." [2]
After finishing at the "Sacred Heart", Leigh finished secondary education in Europe, and upon graduation she returned to where her parents were living in England around 1931. Leigh was surprised and excited to see that her old friend, Maureen O'Sullivan had a film playing in London's West End and this moment brought back all of the desires she had had as a child. She told her parents she had decided to become and actress and they showed their support by helping her to enroll at the Royal Academy of Dramatic Art (RADA) in London.[3] Her studies at RADA did not last long. In the same year she met Herbert Leigh Holman, a barrister who happened to be thirteen years older that she. Holman was not interested in "theatrical people" and in fact, disapproved of them, but he fell in love with Vivien and they were married on December 20, 1932. Their marriage was the end of her theatrical studies. She became pregnant almost immediately and gave birth to a daughter, Suzanne, on October 12, 1933.
Leigh's nature did not seem to be one of motherhood at such an early age, although she loved her daughter deeply, she often felt stagnant and frustrated with the monotony of domestic life. It was at this time that Leigh accepted a small part in the film Things Are Looking Up, this was her first motion picture appearance. Immediatly upon completion, Leigh hired John Gliddon as her agent. It was Gliddon who suggested a name change as he did not think "Vivian Holman" was an appropriate name for an actress. After many versions, including the name "April Morn", Leigh decided on "Vivian Leigh" for her professional name.[4]
With a new agent and a new name, Vivien began her career in earnest. In 1935, she received excellent reviews for her role in the play The Mask of Virtue. In one such review from the Daily Express, Leigh's acting was depicted with the phrase, "a lightning change came over her face". This review would prove to be the first mention of one of Leigh's most distinguished characteristics, that of her rapid mood changes. [5] Her perfomance led to a film contract and one last name change, that of "Vivian" to "Vivien". Years after the highlight of her career, Leigh remembered her the influence of her first brush with fame and greatness. She said, "some critics saw fit to be as foolish as to say that I was a great actress. And I thought, that was a foolish, wicked thing to say, because it put such an onus and such a responsibility onto me, which I simply wasn't able to carry. And it took me years to learn enough to live up to what they said for those first notices. I find it so stupid. I remember the critic very well, and have never forgiven him."[6]
Meeting Laurence Olivier
One of the most famous couples ever to have graced Hollywood,Laurence Olivier and Vivien Leigh had a relationship that saw its many ups and downs. Olivier first say Leigh when he attended one of her performances in The Mask of Virtue. After the play was over, Olivier was so impressed that he went backstage to congratulate the actress on her remarkable performance. From that moment, a friendship developed. A short time later, the two were cast in the 1937 film Fire Over England. During filming the attraction between the two was evident, and at the end of the production, the two began an affair.
Leigh portrayed Ophelia opposite Olivier's portrayal of Hamlet in an Old Vic Theatre production. This production was one of the first indications Olivier had to Leigh's unstable and unbalances nature. During one evening's performance, Leigh abruptly changed her mood, yelling and screaming at Olivier shortly before appearing onstage. As suddenly as she began screaming, she stopped, calmed herself down, and went out to perform without mishap or incident. By the following day, Leigh was completely normal and couldn't even remember the incident had occurred. [7] They began living together; Holman and Olivier's wife, the actress Jill Esmond, each having refused to grant either a divorce.
In 1938, Leigh appeared in another film, this time with her childhood friend, Maureen O'Sullivan, along with Robert Taylor and Lionel Barrymore. The film was A Yank at Oxford, and it marked a shift in her career, as it was the first of her films to be widely received in the United States. It was also the film that spurred comments by those who worked with her that she was difficult and unreasonable to work with. In fact, the film company warned her that her contract would not be renewed if behavior did not improve. [8] She moved onto her next role immediately, starring in St. Martin's Lane (1938) with Charles Laughton.
Achieving international success
During the filming of her two films of 1938, Vivien Leigh read Margaret Mitchell's best-selling novel Gone with the Wind. Leigh heard that a film version was going to be made, and she became very interested in playing the role of Scarlet O'Hara.[9] She remarked to a journalist, "I've cast myself as Scarlett O'Hara", and the film critic C. A. Lejeune recalled a conversation her had with Leigh where she made the prediction that Olivier "won't play Rhett Butler, but I shall play Scarlett O'Hara. Wait and see."[10]
Thus, in February 1938, Vivien Leigh requested that she be placed in the running for the role of Scarlett. That month, the producer of the film, David Selznick, watched Leigh's two most recent pictures. Although he never thought he would like her, Selznick was won over by Leigh's beauty and her acting. After that, she was considered one of the main choices for the film. Selznick deliberated for several months, studying Leigh's work and photographs of her in depth. On October 18, Selznick wrote in a confidential memo to director George Cukor, "I am still hoping against hope for that new girl."[11] When Leigh travelled to Los Angeles to be with Lawrence Olivier, she had a chance meeting with Selznick's brother Myron. Myron was serving as Olivier's American agent, and he took the couple to the set of the film and introduced Leigh to his brother. Shortly after, Leigh did a formal audition and a screen test for David Selznick. After the audition, Selznick wrote to his wife, "She's the Scarlett dark horse and looks damn good. Not for anyone's ear but your own: it's narrowed down to Paulette Goddard, Jean Arthur, Joan Bennett and Vivien Leigh". The director of the film, George Cukor, agreed with Selznick and noted that the "incredible wildness" of Leigh was perfectly suited to Scarlett. Leigh was given the infamous part soon after.[12]
The production of Gone with the Wind" was frought with hard times. First of all Cukor was fired and replaced with Victor Fleming as the new director. This change led to several conflicts in personality between Leigh and Fleming. Leigh believed that Cukor was the man for the job, thus, along with Olivia de Havilland, they met with Cukor secretly to ask advice on how the roles of Scarlett and Melanie should be played. Leigh truly admired and befriended Clark Gable, his wife Carole Lombard and de Havilland. However, her relationship with Leslie Howard was tense and strained. Leigh was required to perform several of the most emotional scenes with Howard, she also worked seven days a week, and often long evenings. She missed Olivier who was in New York, and she because tired and distraught. She wrote in a letter, "I loathe Hollywood.... I will never get used to this – how I hate film acting."[13]
Many rumors flowed concerning Leigh's behavior during the filming of one of American's most loved films. And finally, in 2006, Olivia de Havilland spoke out against the rumors and publications. She said of Leigh, "Vivien was impeccably professional, impeccably disciplined on Gone with the Wind. She had two great concerns: doing her best work in an extremely difficult role and being separated from Larry [Olivier], who was in New York." [14]
Gone with the Wind brought Leigh much attention, laud, and fame. However, she never bought into the idea of being a huge star. She once said, "I'm not a film star – I'm an actress. Being a film star – just a film star – is such a false life, lived for fake values and for publicity. Actresses go on for a long time and there are always marvellous parts to play."[15] Gone with the Wind was nominated for severalAcademy Awards, winning ten of them. Among the ten was a Best Actress award for Leigh, who also won a New York Film Critics Circle Award for Best Actress. In 1993, her Academy Award statuette was sold at auction for $510,000. [16]
Marriage and joint projects
In February 1940 Jill Esmond agreed to divorce Olivier, and Holman also agreed to divorce Leigh, although they maintained a strong friendship for the rest of Leigh's life. Esmond was granted custody of Tarquin, her son with Olivier, and Holman was granted custody of Suzanne, his daughter with Leigh. On August 30 Olivier and Leigh were married in Santa Barbara, California, in a ceremony attended only by their witnesses, Katharine Hepburn and Garson Kanin.
Leigh hoped to star with Olivier and made a screentest for Rebecca, which was to be directed by Alfred Hitchcock with Olivier in the leading role, but after viewing her screentest Selznick noted that "she doesn't seem right as to sincerity or age or innocence", a view shared by Hitchcock, and Leigh's mentor, George Cukor.[17] Selznick also observed that she had shown no enthusiasm for the part until Olivier had been confirmed as the lead actor, and subsequently cast Joan Fontaine. He also refused to allow her to join Olivier in Pride and Prejudice (1940), and Greer Garson took the part Leigh had envisioned for herself. Waterloo Bridge (1940) was to have starred Olivier and Leigh, however Selznick replaced Olivier with Robert Taylor, then at the peak of his success as one of Metro-Goldwyn-Mayer's most popular male stars. Leigh's top-billing reflected her status in Hollywood, and despite her reluctance to participate without Olivier, the film proved to be popular with audiences and critics.
She and Olivier mounted a stage production of Romeo and Juliet for Broadway. The New York press discussed the adulterous nature that had marked the beginning of Olivier and Leigh's relationship, and questioned their ethics in not returning to England to help with the war effort, and the critics were hostile in their assessment of the production. Brooks Atkinson for the New York Times wrote, "Although Miss Leigh and Mr Olivier are handsome young people they hardly act their parts at all."[18] While most of the blame was attributed to Olivier's acting and direction, Leigh was also criticised, with Bernard Grebanier commenting on the "thin, shopgirl quality of Miss Leigh's voice." The couple had invested almost their entire savings into the project, and its failure was a financial disaster for them.[19]
They filmed That Hamilton Woman (1941) with Olivier as Horatio Nelson and Leigh as Emma Hamilton. With Britain engaged in World War II, it was one of several Hollywood films made with the aim of arousing a pro-British sentiment among American audiences. The film was popular in the United States, but was an outstanding success in the Soviet Union. Winston Churchill arranged a screening for a party which included Franklin D. Roosevelt and, on its conclusion, addressed the group, saying, "Gentlemen, I thought this film would interest you, showing great events similar to those in which you have just been taking part." The Oliviers remained favourites of Churchill, attending dinners and occasions at his request for the rest of his life, and of Leigh he was quoted as saying, "By Jove, she's a clinker."[20]
The Oliviers returned to England, and Leigh toured through North Africa in 1943, performing for troops before falling ill with a persistent cough and fevers. In 1944 she was diagnosed as having tuberculosis in her left lung, but after spending several weeks in hospital, she appeared to be cured. In spring she was filming Caesar and Cleopatra (1945) when she discovered she was pregnant, but suffered a miscarriage. She fell into a deep depression which reached its nadir when she turned on Olivier, verbally and physically attacking him until she fell to the floor sobbing. This was the first of many major breakdowns related to manic-depression, or bipolar mood disorder. Olivier came to recognise the symptoms of an impending episode – several days of hyperactivity followed by a period of depression and an explosive breakdown, after which Leigh would have no memory of the event, but would be acutely embarrassed and remorseful.[21]
She was well enough to resume acting in 1946 in a successful London production of Thornton Wilder's The Skin of Our Teeth, but her films of this period, Caesar and Cleopatra (1945) and Anna Karenina (1948), were not great successes.
In 1947 Olivier was knighted, and Leigh accompanied him to Buckingham Palace for the investiture. She became Lady Olivier, a title she continued to use after their divorce, until she died.
By 1948 Olivier was on the Board of Directors for the Old Vic Theatre, and he and Leigh embarked on a tour of Australia and New Zealand to raise funds for the theatre. During their six-month tour, Olivier performed Richard III and also performed with Leigh in The School for Scandal and The Skin of Our Teeth. The tour was an outstanding success, and although Leigh was plagued with insomnia and allowed her understudy to replace her for a week while she was ill, she generally withstood the demands placed upon her, with Olivier noting her ability to "charm the press". Members of the company later recalled several quarrels between the couple, with the most dramatic of these occurring in Christchurch when Leigh refused to go on stage. Olivier slapped her face, and Leigh slapped him in return and swore at him before she made her way to the stage. By the end of the tour, both were exhausted and ill, and Olivier told a journalist, "You may not know it, but you are talking to a couple of walking corpses." Later he would comment that he "lost Vivien" in Australia.[22]
The success of the tour encouraged the Oliviers to make their first West End appearance together, performing the same works with one addition, Antigone, included at Leigh's insistence because she wished to play a role in a tragedy.
Leigh next sought the role of Blanche DuBois in the West End stage production of Tennessee Williams's A Streetcar Named Desire, and was cast after Williams and the play's producer Irene Mayer Selznick saw her in the The School for Scandal and Antigone, and Olivier was contracted to direct. Containing a rape scene and references to promiscuity and homosexuality, the play was destined to be controversial, and the media discussion about its suitability added to Leigh's anxiety, but she believed strongly in the importance of the work. J. B. Priestley denounced the play and Leigh's performance, and the critic Kenneth Tynan commented that Leigh was badly miscast because British actors were "too well-bred to emote effectively on stage". Olivier and Leigh were chagrined that part of the commercial success of the play lay in audience members attending to see what they believed would be a salacious and sensationalist story, rather than the Greek tragedy that they envisioned, but the play also had strong supporters,[23] among them Noël Coward who described Leigh as "magnificent".[24]
After 326 performances Leigh finished her run; however, she was soon engaged for the film version. Her irreverent and often bawdy sense of humour allowed her to establish a rapport with her co-star Marlon Brando, but she had difficulty with the director Elia Kazan, who did not hold her in high regard as an actress. He later commented that "she had a small talent", but as work progressed, he became "full of admiration" for "the greatest determination to excel of any actress I've known. She'd have crawled over broken glass if she thought it would help her performance." Leigh found the role gruelling and commented to the Los Angeles Times, "I had nine months in the theatre of Blanche DuBois. Now she's in command of me."[25] The film won glowing reviews for her, and she won a second Academy Award for Best Actress, a BAFTA Award and a New York Film Critics Circle Award for Best Actress. Tennessee Williams commented that Leigh brought to the role "everything that I intended, and much that I had never dreamed of", but in later years, Leigh would say that playing Blanche DuBois "tipped me over into madness".[26]
Continuing illness
In 1951, Leigh and Olivier performed two plays about Cleopatra, William Shakespeare's Antony and Cleopatra and George Bernard Shaw's Caesar and Cleopatra, alternating the play each night and winning good reviews. They took the productions to New York, where they performed a season at the Ziegfeld Theatre into 1952. The reviews there were also mostly positive, but the critic Kenneth Tynan angered them when he suggested that Leigh's was a mediocre talent which forced Olivier to compromise his own. Tynan's diatribe almost precipitated another collapse; Leigh, terrified of failure and intent on achieving greatness, dwelt on his comments, while ignoring the positive reviews of other critics.[27]
In January 1953 Leigh travelled to Ceylon to film Elephant Walk with Peter Finch. Shortly after filming commenced, she suffered a breakdown, and Paramount Studios replaced her with Elizabeth Taylor. Olivier returned her to their home in England, where between periods of incoherence, Leigh told him that she was in love with Finch, and had been having an affair with him. She gradually recovered over a period of several months.
As a result of this episode, many of the Oliviers' friends learnt of her problems. David Niven said she had been "quite, quite mad", and in his diary Noël Coward expressed surprise that "things had been bad and getting worse since 1948 or thereabouts."[28]
Leigh recovered sufficiently to play The Sleeping Prince with Olivier in 1953, and in 1955 they performed a season at Stratford-upon-Avon in Shakespeare's Twelfth Night, Macbeth and Titus Andronicus. They played to capacity houses and attracted generally good reviews, Leigh's health seemingly stable. Noël Coward was enjoying success with the play South Sea Bubble, with Leigh in the lead role, but she became pregnant and withdrew from the production. Several weeks later, she miscarried and entered a period of depression that lasted for months. She joined Olivier for a European tour with Titus Andronicus, but the tour was marred by Leigh's frequent outbursts against Olivier and other members of the company. After their return to London, her former husband Leigh Holman, who continued to exert a strong influence over her, stayed with the Oliviers and helped calm her.
In 1958, considering her marriage to be over, Leigh began a relationship with the actor Jack Merivale, who knew of Leigh's medical condition and assured Olivier he would care for her. She achieved a success in 1959 with the Noël Coward comedy Look After Lulu, with The Times critic describing her as "beautiful, delectably cool and matter of fact, she is mistress of every situation."[29]
In 1960 she and Olivier divorced, and Olivier married the actress Joan Plowright. In his autobiography he discussed the years of problems they had experienced because of Leigh's illness, writing, "Throughout her possession by that uncannily evil monster, manic depression, with its deadly ever-tightening spirals, she retained her own individual canniness – an ability to disguise her true mental condition from almost all except me, for whom she could hardly be expected to take the trouble."[30]
Final years and death
Merivale proved to be a stable influence for Leigh, but despite her apparent contentment she was quoted by Radie Harris as confiding that she "would rather have lived a short life with Larry [Olivier] than face a long one without him".[31] Her first husband, Leigh Holman, also spent considerable time with her. Merivale joined her for a tour of Australia, New Zealand and Latin America that lasted from July 1961 until May 1962, and Leigh enjoyed positive reviews without Olivier sharing the spotlight with her. Though she was still beset by bouts of depression, she continued to work in the theatre and in 1963 won a Tony Award for Best Actress in a Musical for her role in the Broadway musical Tovarich. She also appeared in the films The Roman Spring of Mrs. Stone (1961) and Ship of Fools (1965).[32]
In May 1967 she was rehearsing to appear with Michael Redgrave in Edward Albee's A Delicate Balance when she became ill with tuberculosis but, after resting for several weeks, seemed to be recovering. On the night of July 7, Merivale left her as usual, to perform in a play, and returned home around midnight to find her asleep. About thirty minutes later (by now July 8), he returned to the bedroom and discovered her body on the floor.[33] She had been attempting to walk to the bathroom, and as her lungs filled with liquid, she had collapsed.[34] Merivale contacted Olivier, who was receiving treatment for prostate cancer in a nearby hospital. In his autobiography, Olivier described his "grievous anguish" as he immediately travelled to Leigh's residence, to find that Merivale had moved her body onto the bed. Olivier paid his respects, and "stood and prayed for forgiveness for all the evils that had sprung up between us",[35] before helping Merivale make funeral arrangements.
She was cremated, and her ashes were scattered on the lake at her home, Tickerage Mill, near Blackboys, East Sussex, England. A memorial service was held at St Martin-in-the-Fields, with a final tribute read by John Gielgud. In the United States, she became the first actress honoured by "The Friends of the Libraries at the University of Southern California". The ceremony was conducted as a memorial service, with selections from her films shown and tributes provided by such associates as George Cukor.[36]
Awards and nominations
| Year | Award | Work |
|---|---|---|
| 1939 | Academy Award for Best Actress (won) New York Film Critics Circle Award for Best Actress (won) |
Gone With the Wind |
| 1952 | Academy Award for Best Actress (won) BAFTA Award for Best Actress in a Leading Role (won) Golden Globe Award for Best Actress - Motion Picture Drama (nominated) New York Film Critics Circle Award for Best Actress (won) Venice Film Festival - Volpi Cup (won) |
A Streetcar Named Desire |
| 1963 | Tony Award for Best Leading Actress in a Musical (won) | Tovarich |
| Awards | ||
|---|---|---|
| Preceded by: Bette Davis for Jezebel |
Academy Award for Best Actress 1939 for Gone with the Wind |
Succeeded by: Ginger Rogers for Kitty Foyle |
| Preceded by: Judy Holliday for Born Yesterday |
Academy Award for Best Actress 1951 for A Streetcar Named Desire |
Succeeded by: Shirley Booth for Come Back, Little Sheba |
| Preceded by: (tie) Anna Maria Alberghetti for Carnival and Diahann Carroll for No Strings |
Tony Award for Best Leading Actress in a Musical 1963 for Tovarich |
Succeeded by: Carol Channing for Hello, Dolly! |
See also
- For a full chronology of Leigh's theatre and film work, see Vivien Leigh chronology of stage and film performances.
ReferencesISBN links support NWE through referral fees
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X p 12
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 12-19
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 25-30
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 30-43
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005, ISBN 0-7475-8306-4 p 74
- ↑ Actors Talk About Acting - Vivien Leigh interview (1961) Edited by John E. Boothe and Lewis Funke. Retrieved January 7, 2006
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005. ISBN 0-7475-8350-1; p 97-98
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005. ISBN 0-7475-8350-1; p 97
- ↑ Selznick wrote in a memo on February 3, 1938, "I have no enthusiasm for Vivien Leigh. Maybe I will, but as yet have never even seen a photograph of her. Will be seeing "Fire Over England" shortly, at which time of course will see Leigh . . ."
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005, ISBN 0-7475-8306-4 pp 76-77, 90, 94-95
- ↑ Selznick, David O. (2000). Memo from David O. Selznick. New York: Modern Library, 184. ISBN 0-375-75531-4.
- ↑ Haver, Ronald. David O. Selznick's Hollywood, Bonanza Books, New York, 1980. [ISBN 0-517-47665-7]; p 259
- ↑ Taylor, John Russell. Vivien Leigh, Elm Tree Books, 1984. ISBN 0-241-11333-4, pp 22-23
- ↑ The Washington Examiner Bob Thomas, The Associated Press, published January 3, 2006. Retrieved January 7, 2006, quoting Olivia de Havilland
- ↑ Taylor, John Russell. Vivien Leigh, Elm Tree Books, 1984. ISBN 0-241-11333-4, pp 22-23
- ↑ stacks.ajc.com "Mystery voice on phone gets GWTW Oscar for $510,000", citing The Atlanta Journal, published December 16, 1993. Retrieved December 29, 2006.
- ↑ McGilligan, Patrick. Alfred Hitchcock, A Life in Darkness and Light, Wiley Press, 2003. ISBN 0-470-86973-9, p 238.
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X p 127
- ↑ Holden, Anthony, Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7, pp 189-190
- ↑ Holden, Anthony, Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7, pp 202, 205 and 325
- ↑ Holden, Anthony, Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7, pp 221-222
- ↑ Holden, Anthony, Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7, pp 295
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005, ISBN 0-7475-8306-4 pp 227-231
- ↑ Holden, Anthony, Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7, p 312
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005, ISBN 0-7475-8306-4 pp 233-236
- ↑ Holden, Anthony, Olivier, Sphere Books Limited, 1989, ISBN 0-7221-4857-7, pp 312-313
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 196-197
- ↑ Coleman, Terry, Olivier, The Authorised Biography, Bloomsbury Publishing, 2005, ISBN 0-7475-8306-4 pp 254-263
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 219-234 and 239
- ↑ Olivier, Laurence, Confessions Of an Actor, Simon and Schuster, 1982, ISBN 0-14-006888-0 p 174
- ↑ Walker, Alexander. Vivien, The Life of Vivien Leigh, Grove Press, 1987. ISBN 0-8021-3259-6 p290
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 266-272
- ↑ Vivien Leigh's death certificate
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X pp 304-305
- ↑ Olivier, Laurence, Confessions Of an Actor, Simon and Schuster, 1982, ISBN 0-14-006888-0 pp 273-274
- ↑ Edwards, Anne. Vivien Leigh, A Biography, Coronet Books, 1978 edition. ISBN 0-340-23024-X p 306
External links
- Vivien Leigh at the Internet Movie Database
- Vivien Leigh at the TCM Movie Database
- Vivien Leigh at the Internet Broadway Database
- Vivien Leigh at the Notable Names Database
- Australian National Library, photographs from Australian tour
| Persondata | |
|---|---|
| NAME | Leigh, Vivien |
| ALTERNATIVE NAMES | Hartley, Vivian Mary |
| SHORT DESCRIPTION | actress |
| DATE OF BIRTH | November 5 1913 |
| PLACE OF BIRTH | Darjeeling, India |
| DATE OF DEATH | July 7 1967 |
| PLACE OF DEATH | London, England |
Credits
New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here:
The history of this article since it was imported to New World Encyclopedia:
Note: Some restrictions may apply to use of individual images which are separately licensed.
