Friday, May 08, 2009

ENGLISH ROSE VIVIEN LEIGH.



Leigh was born Vivian Mary Hartley in Darjeeling, West Bengal, India, to Ernest Hartley, a British Officer in the Indian Cavalry, and Gertrude Robinson Yackje, whose heritage is in question. They were married in Kensington, London in 1912. In 1917, Ernest Hartley was relocated to Bangalore, while Gertrude and Vivian stayed in Ootacamund. Vivian Hartley made her first stage appearance at the age of three, reciting "Little Bo Peep" for her mother's amateur theatre group. An only child, Vivian Hartley was sent to the Convent of the Sacred Heart in Roehampton, England (now Woldingham School) in 1920 at the age of six-and-a-half. Her closest friend at the convent school was the future actress Maureen O'Sullivan.
Vivian Hartley completed her later education in Europe, returning to her parents in England in 1931. She discovered that one of Maureen O'Sullivan's films was playing in London's West End and told her parents of her ambitions to become an actress. Both were highly supportive, and her father helped her enroll at the Royal Academy of Dramatic Art (RADA) in London.
In late 1931, she met Herbert Leigh Holman, known as Leigh, a barrister thirteen years her senior. Despite his disapproval of "theatrical people", they were married on 20 December 1932, and upon their marriage she terminated her studies at RADA. On 12 October 1933, she gave birth to a daughter, Suzanne, but felt stifled by her domestic life. Her friends suggested her for a small part in the film Things Are Looking Up, which marked her film debut. She engaged an agent, John Gliddon, who believed that the name "Vivian Holman" was not suitable for an actress, so she took "Vivian Leigh" as her professional name.

Love Lives - Laurence Olivier & Vivien Leigh




He played Romeo to her Juliet, Antony to her Cleopatra. And not only on the stage. Off-stage, Laurence Olivier and Vivien Leigh carried on a tumultuous twenty-year romance that rivaled any they ever portrayed in a play. Dubbed 'the King and Queen of the theater' by fellow actor John Gielgud, they were truly show business royalty, as dazzlingly glamorous a couple as had ever captured the fancy of an adoring public. He was Heathcliff. She was Scarlett O'Hara. That two such romantic icons should also be husband and wife seemed like Hollywood fantasy. In the end, that fantasy was too good to be true.
It was love at first sight, at least for Leigh. As a 22-year-old starlet in 1935, she saw Olivier on the London stage and was instantly enthralled by his brilliant star power-and brooding good looks. 'Someday I am going to marry Laurence Olivier,' she told a friend, with the same conviction she'd later announce, 'I shall play Scarlett O'Hara' - years before landing the part. Such bold declarations were typical of the headstrong Leigh, who always knew what she wanted, and usually got it.
For Olivier, the attraction was almost as immediate. He too had first seen his future love on the stage and had been struck by her 'magical looks' and 'beautiful poise.' Quite simply, these two completed each other. Olivier inspired Leigh; he was her hero, her mentor, her soulmate. He shared her artistic aspirations, and moved her to aim even higher. In turn, she inspired him. This beautiful, sensual, witty woman not only sparked his intellect and libido, but also his personality.
Eventually Leigh returned to work, but she never regained her stature as Olivier's superstar equal. When he was knighted in 1947, she fell further into her husband's shadow. This was more than a blow to her ego. Vivien's fading fame cut right to her heart
But even if Leigh could have settled for second billing in their marriage, fate and her own frail health intervened. In addition to her physical ailments, Leigh began to suffer serious mood swings that were later diagnosed as manic-depression. One night she'd be the hyper-active life of the party; the next she'd be lost in dark clouds of despair. With their once idyllic home life in upheaval, Olivier increasingly sought refuge in his work at the theater.
And yet they stayed together more than ten years afterward, as if clinging to the memory of the great passion that had flamed so brightly and then burned out - as if each realized that the other had indeed been the love of a lifetime. Then too, they were bound by a public who still saw them as the King and Queen. So they carried on as 'the Oliviers,' successfully performing together on stage, while living ever more separately at home.
Their marriage would endure another miscarriage, more bouts of manic-depression, and less meaningful opportunities for the now middle-aged Leigh. Finally, in 1957, it was Olivier who could no longer continue. By then he'd become involved with actress Joan Plowright. He left Leigh in 1958; they divorced in 1960. Olivier married Plowright three months later.
She also found romance with actor Jack Merivale, a friend since 1940. But her manic-depressive interludes never really left her, nor did her incipient TB, which fatally flared up again in 1967. She died at her home on the night of July 7. Hearing the news in his hospital room, where he was being treated for cancer, Olivier immediately discharged himself, and rushed to Leigh's deathbed. 'I stood and prayed for forgiveness for all the evils that had sprung up between us,' he later wrote. 'It has always been impossible for me not to believe that I was somehow the cause of Vivien's disturbances.'
But if Leigh had ever shared that belief, she had long since forgiven him. She would go to her grave still loving Olivier, telling writer Radie Harris shortly before her death that she'd 'rather have lived a short life with Larry than face a long life without him.'
Olivier would outlive Leigh for 22 years, during which he remained devotedly married to Plowright. Yet in the end, it was clear that he'd never gotten over Vivien either: In 1986, a visitor to his home found the 80-year-old Olivier sitting alone, watching Leigh in an old film on television. 'This, this was love,' he said, in tears. 'This was the real thing.'

FILMOGRAPHY


1934 Things Are Looking Up (as schoolgirl)
1935 The Village Squire (as Rose Venables); Gentleman's Agreement (Pearson) (as Phil Stanley); Look Up and Laugh (as Marjorie Belfer)
1936 Fire over England (as Cynthia)
1937 Dark Journey (as Madeleine Godard); Storm in a Teacup (Saville and Dalrymple) (as Victoria Grow); 21 Days (Twenty-One Days Together; The First and the Last) (Dean) (as Wanda)
1938 st.martin’s lane; a yank at oxford;
1939
gone with the wind(US)
1940 waterloo bridge
1941 Lady Hamilton
1945 caesar and cleopatpa
1948 Anna Karenina
1951 a streetcar named desire
1955 the deep blue sky
1961 the roman spring of mrs stone
1965 ship of fools

GONE WITH THE WIND




The film rights to Gone With the Wind were purchased by David O. Selznick in 1937 for $50,000. He immediately set out a publicized nationwide search for Scarlett O'Hara. Because Selznick was contracted to start filming with Clark Gable as Rhett Butler as soon as Clark had finished his current film, the best Scarlett that had shown up by that point would end up playing the role - they had no other choice. By December 1938 - there were four actresses left in the running: Jean Arthur, Joan Bennett, Katherine Hepburn, and Loretta Young. Vivien Leigh however, had just arrived in Hollywood and visited the set the first night of shooting…


The film rights to Gone With the Wind were purchased by David O. Selznick in 1937 for $50,000. He immediately set out a publicized nationwide search for Scarlett O'Hara. Because Selznick was contracted to start filming with Clark Gable as Rhett Butler as soon as Clark had finished his current film, the best Scarlett that had shown up by that point would end up playing the role - they had no other choice. By December 1938 - there were four actresses left in the running: Jean Arthur, Joan Bennett, Katherine Hepburn, and Loretta Young. Vivien Leigh however, had just arrived in Hollywood and visited the set the first night of shooting…

During its production, Vivien Leigh worked very hard and long hours from early morning until late evening, in addition to practicing a Southern accent for four hours each day. Her hair was not altered or cut for the film, but padding was added to enhance her bosom. Press and film articles said her parents were of French and Irish decent to connect her real life to the role of Scarlett. It took a total of 122 days on set for her to complete her part, six days of filming a week, sometimes working twenty solid hours and then returning to the set after only four hours sleep. She disliked kissing Clark Gable because of his false teeth and found much of the dialogue 'ridiculous' thinking no one would believe a lot of the scenes they shot. It was exhausting for everyone involved. One scene in particular - Melanie's death - was shot near the end of production after a long day of shooting.


The film itself was cut from 6 hours down to under 4 (the length it remains today), and received a standing ovation from crying and cheering audience members that gala night. In addition to great acclaim and press coverage worldwide, Margaret Mitchell said she was very pleased with the results, especially David O. Selznick's determination to get the perfect cast. After all the hard work - 1400 interviews, 400 readings, 90 professional screen tests, and $100,000 spent on finding her - the world had found their Scarlett in the shape of Vivien Leigh.

The film itself was a grand achievement; over 5000 items had been designed for the wardrobe, half a million feet of film shot (approximately 85 hours of raw footage), and 90 sets built (the 'City of Atlanta' set alone having over 50 buildings). 60 million people waited anxiously across the United States to see it that winter, and the book remained a consistent best-seller. A legend had been born, and in many ways, Hollywood would never again top the spectacle, excitement, or phenomenon that Gone With The Wind achieved.

WATERLOO BRIDGE



Waterloo Bridge, a popular Broadway drama written by Robert E. Sherwood and directed by Mervyn LeRoy became Vivien's first film in North America after the success of Gone With The Wind. A simple tale of love gained and lost, it tells the story of a chance encounter between a dancer and officer during World War I who meet on Waterloo Bridge during an air raid - with tragic results. The film has many admirerers despite its sad ending - mainly due toVivien's strong performance as the ballerina turned prostitute.
Vivien's first role after becoming the most famous actress in the world in 1939, Waterloo Bridge was a success at the box office and nominated for 2 Academy Awards - best music and best cinematography. It is known mainly for its lead performances, and the fact that it is Vivien's only other Hollywood film in her 20's. It was also considered a personal favourite by both Vivien and Robert Taylor.