Vivien Leigh
Birthday:
5 November 1913, Darjeeling, Bengal Presidency, British India [now West Bengal, India]
Birth Name:
Vivian Mary Hartley
Height:
161 cm
If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks s...
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If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks she should have a proper English upbringing and insists on leaving her in a convent school - even though Vivien is two years younger than any of the other girls at the school. The only comfort for the lonely child is a cat that was in the courtyard of the school that the nuns let her take up to her dormitory. Her first and best friend at the school is an eight-year-old girl, Maureen O'Sullivan who has been transplanted from Ireland. In the bleakness of a convent school, the two girls can recreate in their imaginations the places they have left and places where they would some day like to travel. After Vivien has been at the school for 18 months, her mother comes again from India and takes her to a play in London. In the next six months Vivien will insist on seeing the same play 16 times. In India the British community entertained themselves at amateur theatricals and Vivien's father was a leading man. Pupils at the English convent school are eager to perform in school plays. It's an all-girls school, so some of the girls have to play the male roles. The male roles are so much more adventurous. Vivien's favorite actor is Leslie Howard, and at 19 she marries an English barrister who looks very much like him. The year is 1932. Vivien's best friend from that convent school has gone to California, where she's making movies. Vivien has an opportunity to play a small role in an English film, Things Are Looking Up (1935). She has only one line but the camera keeps returning to her face. The London stage is more exciting than the movies being filmed in England, and the most thrilling actor on that stage is Laurence Olivier. At a party Vivien finds out about a stage role, "The Green Sash", where the only requirement is that the leading lady be beautiful. The play has a very brief run, but now she is a real actress. An English film is going to be made about Elizabeth I. Laurence gets the role of a young favorite of the queen who is sent to Spain. Vivien gets a much smaller role as a lady-in-waiting of the queen who is in love with Laurence's character. In real life, both fall in love while making this film, Fire Over England (1937). In 1938, Hollywood wants Laurence to play Heathcliff in Wuthering Heights (1939). Vivien, who has just recently read Gone with the Wind (1939), thinks that the role of Scarlett O'Hara is the first role for an actress that would be really exciting to bring to the screen. She sails to America for a brief vacation. In New York she gets on a plane for the first time to rush to California to see Laurence. They have dinner with Myron Selznick the night that his brother, David O. Selznick, is burning Atlanta on a backlot of MGM (actually they are burning old sets that go back to the early days of silent films to make room to recreate an Atlanta of the 1860s). Vivien is 26 when Gone with the Wind (1939) makes a sweep of the Oscars in 1939. So let's show 26-year-old Vivien walking up to the stage to accept her Oscar and then as the Oscar is presented the camera focuses on Vivien's face and through the magic of digitally altering images, the 26-year-old face merges into the face of Vivien at age 38 getting her second Best Actress Oscar for portraying Blanche DuBois in A Streetcar Named Desire (1951). She wouldn't have returned to America to make that film had not Laurence been going over there to do a film, Carrie (1952) based on Theodore Dreiser's novel "Sister Carrie". Laurence tells their friends that his motive for going to Hollywood to make films is to get enough money to produce his own plays for the London stage. He even has his own theater there, the St. James. Now Sir Laurence, with a seat in the British House of Lords, is accompanied by Vivien the day the Lords are debating about whether the St James should be torn down. Breaking protocol, Vivien speaks up and is escorted from the House of Lords. The publicity helps raise the funds to save the St. James. Throughout their two-decade marriage Laurence and Vivien were acting together on the stage in London and New York. Vivien was no longer Lady Olivier when she performed her last major film role, The Roman Spring of Mrs. Stone (1961). Show less «
[to critics about her reviews for "The Mask of Virtue" (1935), her second play on the London stage] It's much easier to make people cry than...Show more »
[to critics about her reviews for "The Mask of Virtue" (1935), her second play on the London stage] It's much easier to make people cry than to make them laugh. Show less «
Some critics saw fit to say that I was a great actress. I thought that was a foolish, wicked thing to say because it put such an onus and su...Show more »
Some critics saw fit to say that I was a great actress. 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. Show less «
Scorpios burn themselves out and eat themselves up and they are careless about themselves - like me. I swing between happiness and misery an...Show more »
Scorpios burn themselves out and eat themselves up and they are careless about themselves - like me. I swing between happiness and misery and I cry easily. I am a mixture of my mother's determination and my father's optimism. I am part prude and part non-conformist and I say what I think and don't dissemble. I am a mixture of French, Irish and Yorkshire, and perhaps that's what it all is. Show less «
[when asked to take over Joan Crawford's role in Hush...Hush, Sweet Charlotte (1964)] No, thank you. I can just about stand looking at Joan ...Show more »
[when asked to take over Joan Crawford's role in Hush...Hush, Sweet Charlotte (1964)] No, thank you. I can just about stand looking at Joan Crawford's face at six o'clock in the morning, but not Bette Davis'. Show less «
[on Alexander Korda] Alex was like a father to us - we went to see him with every little problem we had. We usually left convinced that he h...Show more »
[on Alexander Korda] Alex was like a father to us - we went to see him with every little problem we had. We usually left convinced that he had solved it - or that we'd got our own way. Show less «
All day long you're really leading up to the evening's performance. To time everything correctly, you have to take care of yourself - which ...Show more »
All day long you're really leading up to the evening's performance. To time everything correctly, you have to take care of yourself - which is a very difficult thing to do, because it's highly emotional Show less «
Am I finished with Hollywood? Good heavens, no! I shall certainly go back there if there is a film to make.
Am I finished with Hollywood? Good heavens, no! I shall certainly go back there if there is a film to make.
Actresses go on for a long time and there are always marvelous parts to play.
Actresses go on for a long time and there are always marvelous parts to play.
[on Warren Beatty] He has the kind of magnetic sensuality you could light torches with.
[on Warren Beatty] He has the kind of magnetic sensuality you could light torches with.
I'm not a film star; I am an actress. Being a film star is such a false life, lived for fake values and for publicity.
I'm not a film star; I am an actress. Being a film star is such a false life, lived for fake values and for publicity.
Most of us have compromised with life. Those who fight for what they want will always thrill us.
Most of us have compromised with life. Those who fight for what they want will always thrill us.
Who could quarrel with Clark Gable? We got on well. Whenever anyone on the set [of Gone with the Wind (1939)] was tired or depressed, it was...Show more »
Who could quarrel with Clark Gable? We got on well. Whenever anyone on the set [of Gone with the Wind (1939)] was tired or depressed, it was Gable who cheered that person up. Then the newspapers began printing the story that Gable and I were not getting on. This was so ridiculous it served only as a joke. From that time on, the standard greeting between Clark and myself became, "How are you not getting on today?" Show less «
I cannot let well enough alone. I get restless. I have to be doing different things. I am a very impatient person and headstrong. If I've ma...Show more »
I cannot let well enough alone. I get restless. I have to be doing different things. I am a very impatient person and headstrong. If I've made up my mind to do something, I can't be persuaded out of it. Show less «
Comedy is much more difficult than tragedy - and a much better training, I think. It's much easier to make people cry than to make them laug...Show more »
Comedy is much more difficult than tragedy - and a much better training, I think. It's much easier to make people cry than to make them laugh. Show less «
Myra Deauville
Lady Emma Hamilton
Scarlett
Mary Treadwell
Blanche DuBois