If you were to combine the compliments from Hollywood directors about a star, it would result in a description of a “wild dark horse, who kept her beauty in check.”
Beauty
According to legend, while pregnant with Mrs. Hartley’s daughter and accompanying her husband, an English cavalry officer, during his service in India, she was captivated daily by the phenomenal views of the Himalayas. Their unique beauty was passed down to the girl born on November 5, 1913. Little Vivian, from the Indian town of Darjeeling, inherited English, Irish, French, and Armenian blood from her parents, eventually becoming one of the brightest actresses in Britain and Hollywood.
And it was this beauty, which was supposed to aid her artistic career, that Vivian Leigh considered her greatest obstacle. Neither the Royal Academy of Dramatic Art in London, her thirty years of stage experience, nor two prestigious awards for Best Actress could change the bias of directors who believed that beauty and talent were incompatible. Thus, the stunning actress had to work twice as hard on her transformations.
These efforts did not go unnoticed by critics, who acknowledged that “her beauty often overshadowed her acting achievements.” The perceptive George Cukor (the first director of the legendary film “Gone with the Wind”) called Vivian “a convincing actress who restrains her beauty.” According to contemporary Garson Kanin, “great beauties are not expected to be great actresses, but Vivian is made of different stuff: serious and persistent, ambitious and inspired.”
Vivian Leigh as Blanche DuBois in “A Streetcar Named Desire” (1951)
For her role as Blanche DuBois in “A Streetcar Named Desire” (1951), the 36-year-old actress readily agreed to aging makeup that concealed the charm of Scarlett O’Hara from “Gone with the Wind” (1939). The Oscars for both roles confirm their equal authenticity. As for the fate of the golden statuettes, it is known that one of them was used by the actress as a doorstop in her bathroom, while another was sold by her descendants at auction in the early 1990s for $563,000.
Temperament
Vivian Leigh’s impulsiveness and obsession marked both her work and personal life: she earned a reputation as a “difficult” partner. This was not only related to the creative process but also tied to her emotional intensity as an actress. Mood swings and bursts of aggression, followed by exhaustion and memory loss, revealed a mentally troubled individual in Vivian.
Among all her partners, her second husband and colleague Laurence Olivier often encountered the symptoms of Vivian’s bipolar affective disorder: they lived and performed together. Their romance began after working together on the film “Fire Over England,” where the actors passionately portrayed lovers. By that time, both were already married with children. Vivian Leigh’s daughter stayed with her lawyer father after the parents’ divorce, while Laurence Olivier’s son remained with his mother. Their divorces did not happen immediately, so they formalized their relationship in 1940, and their new marriage ended twenty years later, in 1960. Although fidelity was not a topic in this union, a framed portrait of her ex-husband remained by Leigh’s bedside even after their divorce. Likewise, the title of “Lady Olivier” along with his surname was retained: Vivian Leigh held the status of “Lady Olivier” from 1947 until the end of her life.
Vivian Leigh and Laurence Olivier in “Gold Coast,” June 1948
In his autobiography, the “former” mentioned that as early as the 1940s, his then-wife informed him of the end of their marital relationship. She suffered from depression due to a miscarriage and the discovery of tuberculosis, which ultimately led to her demise at the age of 53.
Coughing fits (as Leigh’s left lung was affected) prevented her from performing on stage, but during periods of remission after treatment, the actress would return to work with renewed vigor. However, she often miscalculated her strength, so during tours, she was supported by a stand-in actress. There were times when Vivian would refuse to perform amid a scandal, leading to mutual “fisticuffs.” Olivier would “bring his wife back to her senses” with a slap, only to receive one in return. After exchanging “feelings,” Leigh would take the stage. Addressing the press, the exhausted couple confessed, “Perhaps you still don’t understand that you’re dealing with cooling corpses.”
Fate
Regardless, it was with Olivier that Leigh starred in her favorite film, “Lady Hamilton,” in 1941, where Vivian embodied Emma Hamilton, and Laurence played Horatio Nelson. After this work, the acting couple gained fame as favorites of Winston Churchill. The British leader was always pleased to see the couple at his dinner parties, calling the leading actress and her character a model to emulate.
Vivian Leigh and Laurence Olivier in “Lady Hamilton” (1941)
Vivian considered her most challenging work to be the controversial theatrical production and later film based on Tennessee Williams’ play. “A Streetcar Named Desire” tackled themes of chaotic relationships, rape, and homosexuality, requiring “well-mannered” British actors to step beyond acceptable emotions. “Vivian would crawl over shards of broken glass if it would help her better embody the character,” remarked director Elia Kazan, with whom she initially had difficulty connecting. Ultimately, the director achieved a level of performance from Leigh that he had never dreamed of. And Vivian, having performed in 326 shows and the film version over nine months, stated that Blanche DuBois still controlled her – it was this role that brought her closer to madness.
Vivian Leigh in 1958
On July 7, 1967, actor John Merivale, who accompanied the actress after her separation from Olivier, returned home after a performance and found Vivian’s lifeless body on the floor by her bed. On the day of her funeral, all London theaters dimmed their lights for an hour. According to the actress’s will, she was cremated, and her ashes were scattered by the wind: the urn was released over a lake near her family home in East Sussex.