Pour son retour au cinéma, elle affronte John Wayne dans Les espions s'amusent de Josef von Sternberg, joue dans Vacances à Paris (sous la direction de Blake Edwards) avec, pour la troisième fois, son époux Tony ; elle le retrouve encore, face à Kirk Douglas, dans l'épopée Les Vikings. 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 story, rather than the Greek tragedy that they envisioned. 1960 est l'année de la consécration. She became Lady Olivier. [36] They began living together, as their respective spouses had each refused to grant either of them a divorce. "Official biography of Olivier benefits from cache of actor's letters". Après avoir eu pour partenaire le chanteur Frank Sinatra pour le thriller Un crime dans la tête, et joué une nouvelle fois sous la direction de George Sidney dans le musical Bye Bye Birdie, elle retrouve Jerry Lewis pour Trois sur un sofa et tourne avec Paul Newman et Lauren Bacall dans le film noir nostalgique Détective privé, qui peut être considéré comme son dernier grand rôle au cinéma. "Actress Vivien Leigh Dies At 53 In London. [Note 4] Her irreverent and often bawdy sense of humour allowed her to establish a rapport with Marlon Brando, but she had an initial difficulty in working with director Elia Kazan, who was displeased with the direction that Olivier had taken in shaping the character of Blanche. Durante a rodaxe, o nome de Leigh foi cambiado primeiro a "Jeanette Reames" e logo a "Janet Leigh" e finalmente ao seu nome real, "Jeanette Morrison", porque "Janet Leigh" lembraba demasiado a Vivien Leigh. Elle compte parmi les bijoux de la Metro-Goldwyn-Mayer, dès le début des années 1940. Not for anyone's ear but your own: it's narrowed down to Paulette Goddard, Jean Arthur, Joan Bennett and Vivien Leigh". [53], In February 1940, Jill Esmond agreed to divorce Laurence Olivier, and Leigh Holman agreed to divorce Vivien, although they maintained a strong friendship for the rest of Leigh's life. [32] During this period, Leigh read the Margaret Mitchell novel Gone with the Wind and instructed her American agent to recommend her to David O. Selznick, who was planning a film version. [63] The couple had invested almost all of their combined savings of $40,000 in the project, and the failure was a financial disaster for them. Vivien Leigh was a British actress who achieved film immortality by playing two of American literature's most celebrated Southern belles, Scarlett O'Hara and Blanche DuBois. Ils divorceront en 1948. Elle entre alors dans le chœur d'une église presbytérienne[2]. [89] Tennessee Williams commented that Leigh brought to the role "everything that I intended, and much that I had never dreamed of". Leur mariage dure onze ans. [33] At the time, Myron Selznick—David's brother and Leigh's American theatrical agent—was the London representative of the Myron Selznick Agency. Leigh was filming Caesar and Cleopatra (1945) when she discovered she was pregnant, then had a miscarriage. After rejecting his many suggestions, she took "Vivian Leigh" as her professional name. All British films in this period were adversely affected by a Hollywood boycott of British films. Leigh found the role gruelling and commented to the Los Angeles Times, "I had nine months in the theatre of Blanche DuBois. [48][49] Leigh was sometimes required to work seven days a week, often late into the night, which added to her distress, and she missed Olivier, who was working in New York City. David Niven said she had been "quite, quite mad". Elle descend au Sugar Bowl Ski Lodge où le père de Janet travaille[2]. In 1969, critic Andrew Sarris commented that the success of the film had been largely due to "the inspired casting" of Leigh,[129] and in 1998, wrote that "she lives in our minds and memories as a dynamic force rather than as a static presence". She believed that comedy was more difficult to play than drama because it required more precise timing and said that more emphasis should be placed upon comedy as part of an actor's training. [68] Leigh performed for troops before falling ill with a persistent cough and fevers. B. Priestley denounced the play and Leigh's performance; and the critic Kenneth Tynan, who was to make a habit of dismissing her stage performances,[82] commented that Leigh was badly miscast because British actors were "too well-bred to emote effectively on stage". [111] In one unusual instance during the attempted rape scene, Leigh became distraught and hit Marvin so hard with a spiked shoe that it marked his face. Alfred Hitchcock, « le maître du suspense », la contacte et l'engage pour qu'elle interprète, dans Psychose, le rôle de Marion Crane, jeune femme au destin tragique qui meurt poignardée alors qu'elle prend une douche. [1] Although her career had periods of inactivity, in 1999 the American Film Institute ranked Leigh as the 16th greatest female movie star of classic Hollywood cinema. [72], With her doctor's approval, Leigh was well enough to resume acting in 1946, starring 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 commercial successes. She attended A Connecticut Yankee, one of O'Sullivan's films playing in London's West End, and told her parents of her ambitions to become an actress. He refused to allow her to join Olivier in Pride and Prejudice (1940), and Greer Garson played the role Leigh had wanted for herself. Le 5 octobre 1945, elle se marie avec le chef d'orchestre Stanley Reames[2]. [103], In 1958, considering her marriage to be over, Leigh began a relationship with actor Jack Merivale, who knew of Leigh's medical condition and assured Olivier that he would care for her. She secured the role of Scarlett soon after. "[50], Quoted in a 2006 biography of Olivier, Olivia de Havilland defended Leigh against claims of her manic behaviour during the filming of Gone with the Wind: "Vivien was impeccably professional, impeccably disciplined on Gone with the Wind. Great beauties are infrequently great actresses—simply because they don't need to be. [65] The film was popular in the United States and an outstanding success in the Soviet Union. ", "Peter Brook's Titus Andronicus, August 1955 (quoting Kenneth Tynan). Depuis, elle ne peut plus prendre de douche[4]. "[1], Merivale proved to be a stabilising 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". Elle ne tournera que le film fantastique Fog (1980) au cours de la décennie des années 1980. En 1954, elle joue dans quatre films. At the time, the public strongly identified Leigh with her second husband, Laurence Olivier, who was her spouse from 1940 to 1960. [95] Olivier returned her to their home in Britain, where, between periods of incoherence, Leigh told him she was in love with Finch and had been having an affair with him. [102] She joined Olivier for a European tour of Titus Andronicus, but the tour was marred by Leigh's frequent outbursts against Olivier and other members of the company. [24] She was cast in the play The Mask of Virtue, directed by Sidney Carroll in 1935, and received excellent reviews, followed by interviews and newspaper articles. She was the only child of Ernest Richard Hartley, a British broker, and his wife, Gertrude Mary Frances (née Yackjee; she also used her mother's maiden name of Robinson). "[51], Gone with the Wind brought Leigh immediate attention and fame, but she was quoted as saying, "I'm not a film star—I'm an actress. Elle y trouve un de ses meilleurs rôles, y exprimant sa fantaisie, son sens du swing, sa drôlerie ainsi que l'étendue de son registre dramatique et émotionnel. Shortly after, her father enrolled Vivian at the Royal Academy of Dramatic Art (RADA) in London. [98], Also in 1953, Leigh recovered sufficiently to play The Sleeping Prince with Olivier, and in 1955 they performed a season at Stratford-upon-Avon in Shakespeare's Twelfth Night, Macbeth, and Titus Andronicus. Hate, hate, and never want to do another film again! Later in life, she performed as a character actress in a few films. 1 1 1. Elle est notamment connue pour son interprétation de Marion Crane dans le film Psychose d’Alfred Hitchcock (1960). Leigh appeared with Robert Taylor, Lionel Barrymore and Maureen O'Sullivan in A Yank at Oxford (1938), which was the first of her films to receive attention in the United States. En 1947, l'actrice Norma Shearer se rend dans une station de ski dans la région de Truckee avec son époux Marty Arouge pour passer ses vacances[2]. In 1959, when she achieved a success with the Noël Coward comedy Look After Lulu!, a critic working for The Times described her as "beautiful, delectably cool and matter of fact, she is mistress of every situation". [97] Leigh's romantic relationship with Finch began in 1948, and waxed and waned for several years, ultimately flickering out as her mental condition deteriorated. [138] The British Library in London purchased the papers of Olivier from his estate in 1999. Vivien Leigh (/liː/; 5 November 1913 – 8 July 1967; born Vivian Mary Hartley and styled as Lady Olivier after 1947) was a British actress. [25] John Betjeman, the future poet laureate, described her as "the essence of English girlhood". Richard Quine lui offre, en 1955, l'un de ses rôles les plus importants, avec le film musical Ma sœur est du tonnerre avec Jack Lemmon. [43] According to legend, Myron Selznick took Leigh and Olivier to the set where the burning of the Atlanta Depot scene was being filmed and stage-managed an encounter, where he introduced Leigh, derisively addressing his younger brother, "Hey, genius, meet your Scarlett O'Hara. [81], When the West End production of Streetcar opened in October 1949, J. [64], The Oliviers filmed That Hamilton Woman (1941) with Olivier as Horatio Nelson and Leigh as Emma Hamilton. Dans ce film réalisé par John Carpenter, elle donne pour la première fois la réplique à sa fille, Jamie Lee Curtis. [22] She continued with the play but, when Korda moved it to a larger theatre, Leigh was found to be unable to project her voice adequately or to hold the attention of so large an audience, and the play closed soon after. Goldwyn and the film's director, William Wyler, offered Leigh the secondary role of Isabella, but she refused, preferring the role of Cathy, which went to Merle Oberon. [136], In 1969, a plaque to Leigh was placed in the Actors' Church, St Paul's, Covent Garden, London. As work progressed, however, he became "full of admiration" for "the greatest determination to excel of any actress I've known. [123] The ceremony was conducted as a memorial service, with selections from her films shown and tributes provided by such associates as George Cukor, who screened the tests that Leigh had made for Gone with the Wind, the first time the screen tests had been seen in 30 years. Cette même année, elle rompt son contrat avec la MGM et tourne de nouveau avec Roy Rowland dans le film policier Sur la trace du crime au côté de Robert Taylor. [132] Discussing the subsequent film version, Pauline Kael wrote that Leigh and Marlon Brando gave "two of the greatest performances ever put on film" and that Leigh's was "one of those rare performances that can truly be said to evoke both fear and pity. Shortly after filming commenced, she had a nervous breakdown and Paramount Pictures replaced her with Elizabeth Taylor. En 1952, le réalisateur George Sidney lui offre son premier grand rôle au cinéma dans le film de cape et d'épée Scaramouche, avec Stewart Granger et Eleanor Parker. En novembre 1990, elle présente Psychose 4 avant sa projection à la télévision. In December 1939, film critic Frank Nugent wrote in The New York Times, "Miss Leigh's Scarlett has vindicated the absurd talent quest that indirectly turned her up. 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 sharing the spotlight with Olivier. [104], In 1960, she and Olivier divorced and Olivier soon married actress Joan Plowright. He came to believe that Leigh's interpretation, in which Lady Macbeth uses her sexual allure to keep Macbeth enthralled, "made more sense ... than the usual battle-axe" portrayal of the character.
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