Vivien Leigh as Muse (Part I)

It's no secret that Vivien Leigh's great beauty and talent have been inspiring artists of all mediums, since she first made headlines in 1935. Words of glory were thrown at her feet; roses and racehorses were named for her; she was photographed, sculpted, painted and forever immortalized. All because of The Mask of Virtue.

Vivien Leigh in The Mask of Virtue, 1935

It is an agreeable task to be able to welcome a new actress with unrestrained praise. 'The Mask of Virtue' obtained a personal triumph for Vivien Leigh, a discovery of Sydney Carroll. Miss Leigh is ravishingly pretty, which might not matter, but that her talent equals her beauty. She moves with grace. She is lovely in repose. Her voice is most attractive, and warmth, ardour and sincerity are not wanting in her acting. Vivien Leigh gave genuine life to the part of the girl, enchantingly reconciling her conflicting qualities. Her quiet dignity in the acceptance of a repugnant task, the growth of affection and the awakening to the sense of a triumph odious to her, were beautifully expressed and composed a performance that grew in loveliness and interest. --A.E. Wilson, The Star, May 1935

In this series of Vivien Leigh as Muse, we'll first look at a few of the items Sotheby's will be auctioning on Tuesday, September 26th. Among the Sotheby's items are photographs, caricatures, sketches and paintings of Vivien Leigh.

This first painting is by artist Dietz Edzard. The painting is oil on canvas and is sized at 28.5 inches by 21 inches. The estimated selling price is $10,600 to $15,900 (Sotheby's pdf catalog, page 21).

Miss Vivien Leigh in 'The Mask of Virtue,' by Dietz Edzard (from Sotheby's)

Edzard was a German born painter, who later moved to Paris and painted in the style of French Impressionism. Author Gerd Muehsam describes his style perfectly: Edzard has captured in his canvases the charm of the Parisian atmosphere. With the light, vibrant touch of his brush, he produced sparkling, and yet delicate, paintings of beautiful women, dancers and flowers. His brilliant delineations of circus life and the theatre, his spirited portrayals of Parisian cafe scenes have made him a favorite of art circles in this country and abroad. Edzard's buried at the Père Lachaise cemetery in Paris.

In July, 1935, a reporter happened to come across Vivien Leigh, in the Leicester Galleries. She was standing in front of her portrait. Vivien shared with the reporter that Mr. Edzard had painted her from sketches he'd made, while watching her perform in the play, The Mask of Virtue. In addition to the sketches, The Daily Express reported that Vivien sat for Edzard twice. Coincidentally, Vivien was also painted by Suzanne Eisendieck, who later married Edzard in 1938.

These next two art pieces are by Roger Furse. Roger Furse was a well-known friend and collaborator with both Vivien Leigh and Laurence Olivier. Depending on the project, he acted as set designer, costume designer and production designer. He worked on several of their plays and movies. Some of their collaborations include: Antony and Cleopatra, Caesar and Cleopatra, Macbeth, The Skin of Our Teeth, Duel of Angels, The Roman Spring of Mrs. Stone, The Prince and the Showgirl, Richard III, Spartacus, Henry V and Hamlet.

Roger Furse

Furse was nominated for a Tony award for Best Scenic Design, for Vivien's play, Duel of Angels, in 1961. He also picked up two Academy Awards for Laurence Olivier's film, Hamlet: Art Direction (B&W) and Costume Design (B&W).

Vivien Leigh as Jennifer Dubedat, in The Doctor's Dilemma

This charming sketch of Vivien Leigh, by Roger Furse, is from the upcoming auction. Sotheby's lists it as A Sketch From the Doctor's Dilemma, 1941. Furse signed the bottom of the sketch, with the following: Wishing you a great success, dear Vivien, Roger. It's pencil on paper and is 12 inches by 8.5 inches. The selling estimate is $800 to $1,100 (Sotheby's pdf catalog, page 26).

This watercolour on paper, by Roger Furse is titled Vivien Leigh Reading with Tissy in the Sotheby's catalog (pdf page 119). The selling estimate is $1,350 to $2,000. The portrait measures 15.75 inches by 13.75 inches.

I love how Furse took care to note Tissy's different eye color. Vivien's fur baby really did have one green eye and one blue eye!

Roger Furse greets Vivien as she arrives in Corfu, Greece, 1966.

Roger Furse and Vivien Leigh remained lifelong friends. In 1966, she travelled to Corfu, Greece, where Roger greeted her as she disembarked. She had come to look at land parcels as she was thinking of building a home near Benitses. Furse lived nearby with his second wife, Ines (pictured below).

Roger Furse, Ines Furse, Vivien Leigh and Juli Damaskinos in Corfu.

Cecil Beaton was another well known collaborator of Vivien Leigh and Laurence Olivier's. Beaton had been photographing Vivien Leigh since the 1930s. In addition to being a photographer, Beaton also designed sets and costumes. A few of his collaborations with Vivien included Caesar and Cleopatra (film version), Anna Karenina and The School for Scandal.

Sotheby's is having a special sale on portraits of Vivien Leigh, from The Cecil Beaton Studio Archive. The prices start at £3,000. Here are two samples from that sale. Follow this link for all the details.

Vivien Leigh at the British embassy in Paris, in 1947 

Beaton said of Vivien, Vivien is almost incredibly lovely. Hollywood is at her feet. She is madly in love with her husband – who adores her… Her former husband dotes upon her & adores her still – she is unspoiled – has many loyal friends & only ambition to improve as an actress. The adulation of her beauty leaves her cold.

Beaton was also a frequent visitor to Notley Abbey, writing, The life they lead in the country is most suitable for Shakespearean actors. The whole atmosphere of the place is suitable for giving performances of Twelfth Night, A Midsummer Night's Dream and Hamlet.

Vivien Leigh as Anna Karenina, costume and photo by Cecil Beaton

Vivien is pictured in my favorite costume from Anna Karenina. In this photograph, Vivien's wearing a short waisted jacket, made from white silk and black velvet. Below the jacket is a white skirt, featuring multiple layers of organdy. The photos of Vivien, by Beaton, in this particular outfit, are my favorites from the film. To read more about the costumes of Anna Karenina, please click here.



Thanks for joining me today!
Michelle

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Fashion Friday: Sidewalks of London

In 1938, Vivien Leigh starred in St. Martin's Lane, along with Charles Laughton, Rex Harrison and Tyrone Guthrie. The movie centered around a group of street entertainers known as buskers, who took Vivien's character, Libby, into their group. The U.S. premiere didn't happen until 1940, retitled as Sidewalks of London, taking full advantage of Vivien's newfound stardom as Scarlett O'Hara, in Gone With the Wind.

Vivien Leigh in a publicity portrait for Sidewalks of London

The film received outstanding reviews:

Vivien Leigh has such a quality in her work that I feel she has only just begun. She has allure, charm, sex appeal and acting ability. --John Paddy Carstairs

Charles Laughton will easily clinch his hold on American theater-goers through his shining performance. Vivien Leigh's artistry easily matches that of Laughton as well as measuring up to the standard she set for herself as Scarlett O'Hara! --Daily Variety

A hit picture...literally spiked with good audience stuff. Splendid performances by Charles Laughton and Vivien Leigh. Audiences should take to this picture as ducks to to water! --Hollywood Reporter

For today's Fashion Friday post, I'll be showcasing two of the costumes Vivien Leigh wore in the movie. John Armstrong is the credited costume designer for the film; however, the costumes we'll be looking at today were designed by Victor Stiebel. Vivien had already been acquainted with Stiebel, for a few years, when she attended his showing, in 1938. From this show, she chose the following outfits for a few scenes, which appear in the latter half of the movie.

A sketch of Victor Stiebel's striped jacket for Vivien Leigh 

Vivien wears this delightful jacket and skirt ensemble, when she returns to the boardinghouse, looking for Charles. The linen jacket featured black and white stripes, while the skirt stayed the course in pure black. Stiebel decided to embrace the idea of a longer jacket and made it less tight on the body, than in previous seasons. The jacket featured a wide belt, emphasizing Vivien's small waist. The skirt also came out a little fuller than what was considered normal in 1938.

The ensemble's accessories included a black purse, gloves and a matching, straw hat that tied beneath the chin.

Unfortunately, I don't have photographs of Vivien from the movie wearing this outfit. I did do some screenshots from youtube. Warning-- they are really poor quality, however, you can still see how great Vivien looked in this outfit.

Victor Stiebel's advice on dressing well: My attitude towards dress designing has always been one, which, while fully appreciating the psychological confidence good clothes give to a woman, it really concentrates more on personalities. 

One fashion critic called Vivien's jacket a throwback to menswear from the turn of the century. I can kind of see the resemblance with the suit jacket on the left.

Vivien kept this particular outfit from the film and was photographed wearing it on a couple of different occasions. It even looks like the same blouse and brooch, too.

Victor Stiebel, the famous dress designer, gives his recipe for chic. Here it is. Black — except for dramatic occasions. Simplicity always. Money spent, on the woman herself, rather than the actual garment. He says clothes should be a frame for well-groomed hair, hands and face. He gives full marks to the dress which makes you remember the woman and not what she had on. (unk newspaper cutting)

A sketch of Victor Stiebel's dress featured in Sidewalks of London

As you can see from the stylish models pictured below, wearing a large bouquet of flowers across your bodice was quite fashionable. The models, pictured at the fashion show, wear eerily similar gowns. The first gown was designed by Motley, who, coincidentally, designed several of Vivien's costumes for plays. The second gown was designed by Victor Stiebel and it's the one Vivien chose for her character.

When you show up at a party thinking you'll be the only girl with a tree on her chest...

Stiebel's gown originally came with a tulle veil, made from three different pastel colors, that clung to the head via an apple blossom crown. Alas, the veil didn't make the cut and wasn't in the movie. 

Photo by Angus McBean

This is actually one of my favorite dresses that Vivien wears in the film. The dress was made from slipper satin, which is defined on wikipedia as a stiff and medium-to heavy-weight fabric. The material is tightly woven and slightly lighter than duchess satin.

Here's a close-up look at the detail on the bodice. There was actually a lot of talk about how Stiebel's low bodices, such as the one pictured here, managed to stay up without straps. The bodice with no visible means of support is waspish.

The gown was a lovely silver in color, though one fashion critic called it a dreary oyster grey. The bodice featured the gown's only decoration: apple tree leaves in full blossom.

I'm including this next screenshot to show the length and movement of the gown's full skirt. Also, to simply show how lush and gorgeous the satin material looked.

Thanks for joining me for today's Fashion Friday post!


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Vivien Leigh's "Gone With The Wind" Script Is Up For Auction

In recent years, a plethora of items related to Gone With the Wind have turned up on the auction block. This year is no different. On September 26, Sotheby's will be auctioning off items personally owned by the movie's star, Vivien Leigh. One item, in particular, will be drawing the attention of Gone With the Wind collectors: Vivien's leather-bound script, gifted to her by the producer, David O. Selznick.

Vivien Leigh as Scarlett & Leslie Howard as Ashley

David O. Selznick gave these presentation scripts as Christmas gifts, in 1939, to select members of the cast and crew of Gone With the Wind, along with a few people outside the film. There were two styles of these hardbound scripts: one screenplay was covered in cloth and morocco leather; the other, in leather only. The four main cast members (Clark Gable, Olivia de Havilland, Leslie Howard and Vivien) all received ones bound in full leather.

Leslie Howard's leather-bound presentation script

These presentation scripts were maroon in color, with GONE WITH THE WIND, 'SCREEN PLAY' and the recipient's name gilt-stamped onto the cover. Selznick inscribed each copy with a personalized note to the recipient, found inside on the front end paper. These beautifully bound scripts were given the date of January 24th, 1939 and contained the finalized script of the film. Black and white stills from the movie were interspersed with the script.

Vivien Leigh's script is not the first one from the movie to be auctioned. Selznick handed out a few dozen of these scripts and many of them have been on the auction block. Walter Plunkett's, Hattie McDaniel's and Clark Gable's scripts have all been sold via auction houses.

Vivien Leigh and Hattie McDaniel

Hattie McDaniel's script was made from cloth and leather. It's been on the auction block at least twice. In December 2010, Hattie's screenplay sold for $18,300 and then in April 2015, it sold again for $28,750. The seller noted that the covers had come unbound from the spine, along with leather loss and a stain on the front. Selznick's personal note to Hattie reads, For Hattie McDaniel, who contributed so greatly! With gratitude and admiration, David, Christmas, 1939.

Selznick's inscription to Hattie

Walter Plunkett, the costume designer for Gone With the Wind, also received a presentation script made from cloth and leather. At an auction, in April 2015, Plunkett's personalized screenplay sold for $22,500. Selznick's inscription reads, For Walter Plunkett, With appreciation of, and for, his brilliant execution of a difficult job. David O. Selznick, Christmas, 1939.

Walter Plunkett's cloth and leather bound GWTW script

Gone With the Wind's publicist, William R. Ferguson, received one of these cloth and leather bound books, too. It's signed, For Bill Ferguson, in memory of Atlanta. With appreciation, David Selznick. Ferguson's copy sold at auction, in October 2014, for $23,000.

Walter Plunkett and Olivia de Havilland

Sidney Howard, the only credited screenwriter for Gone With the Wind, passed away in August, 1939. His all leather copy was presented to his widow, Polly Damrosch. Selznick didn't inscribe this one. However, Polly gave the script to her nephew, writing, With love to Blaine on Jennifer's birthday, March 23rd, 1940, from Polly. This script hit the auction block in 2008, selling for $3,250; and then again in 2014, this time selling for $62,500. 

Norma Shearer, a would-be Scarlett at one time, received one of the special, leather bound screenplays. David wrote, For Norma, the ever appreciative. With gratitude for her never-failing encouragement, and with affection. David, Christmas, 1939. Norma's script fetched $14,640, at an auction, in 2011.

A few of the other recipients included William Kurtz, John Hertz, Will Price, William B. Hartsfield and the book's author, Margaret Mitchell. Mitchell's leather-bound, presentation script is kept in Atlanta. The Atlanta Fulton Public Library placed it on display for the 75th anniversary of the book's publication.

William B. Hartsfield's personalized screenplay was presented to him during Gone With the Wind's 21st anniversary, by David Selznick. The event was held in Atlanta and attended by Vivien Leigh, Olivia de Havilland and Selznick (read more about that event here). Hartsfield was Atlanta's mayor during the film's original premiere in 1939 and also during the film's anniversary celebration. Inside the script, David wrote, March 10, 1961, To Mayor William B. Hartsfield with the affection and gratitude of the "Gone With The Wind Company," including his admirers. David O. Selznick. The script was also signed by Vivien Leigh, Olivia de Havilland, Butterfly McQueen and Samuel Yupper, a friend of Mitchell's. It sold at auction, in 1995, for $8,625.

Will Price bequeathed his Gone With the Wind script to writer Carla Carlisle (Country Life, Sept 6, 2017). Will was the Southern voice coach for the cast. Selznick wrote, For Will Price, who literally shoved the South down our throats. With good wishes always, David Selznick.

Leslie Howard's script recently hit the auction block, in November 2016, as part of TCM Presents... Lights, Camera, Action, with an estimate of $80,000 to $120,000. It remained unsold. Selznick's inscription reads, For Leslie, with the profound, (but probably futile), hope that he'll finally read it. Christmas, 1939. Howard was kind of famous on set, for never having read Gone With the Wind, even after Selznick told him to at least read Ashley's scenes that were making it into the movie.

In 1996, Clark Gable's personalized screenplay sold for a whopping $244,500! The winning bid was placed by Steven Spielberg. The leather-bound script was inscribed to Gable by David Selznick, who referenced how the public, almost unanimously, chose Clark Gable to play Rhett Butler, For Clark, who made the dream of fifty million Americans (who couldn't be- and weren't- wrong!) and one producer come true! With gratitude for a superb performance and a happy association, David, Christmas, 1939. Gable later recalled how he didn't want the role of Rhett Butler, It wasn't that I didn't appreciate the compliment the public was paying me, it was simply that Rhett was too big an order. I didn't want any part of him, Rhett was too much for any actor to tackle in his right mind.

Clark Gable as Rhett and Vivien Leigh as Scarlett

Now, on September 26th, Vivien Leigh's leather-bound, personalized script will go on the auction block. Sotheby's selling estimate is between $13,300 to $19,900. However, this is not the first time Vivien's family has attempted to sell her screenplay.

In 2006, Bonhams listed the book, citing the provenance as by direct family descent (most likely Vivien's daughter, Suzanne Farrington). The selling estimate was given as $80,000 to $120,000. The script didn't sell and remained with the family.

Vivien Leigh's leather-bound presentation script

Unfortunately, David's inscription to Vivien is missing from the book. Sotheby's catalog states (pages 36-37 pdf) ...Vivien's copy now has a jagged-edged stub where the inscribed leaf has been cut out with a pair of scissors. We'll probably never know what happened to David's note to Vivien. Perhaps a guest or fan took it home as a souvenir or one of Vivien's grandchildren accidentally tore it out. Then there's always the possibility that Vivien removed the inscription herself, if she were truly mad at David Selznick.

In 1945, Selznick filed an injunction against Vivien, attempting to prevent her from appearing in the play, The Skin of Our Teeth. Sir Walter Monckton, Selznick's attorney, argued that The screen personality of a leading lady is a very valuable commodity to be treated rather as an exotic plant. Under the terms of his contract with Miss Leigh, Mr. Selznick claimed the right to decide how 'the exotic plant' was to be exposed so that it could not be subjected to unwise exposure. ...A screen personality is something so expensive and so valuable that a person investing in it large sums of money will naturally say, 'I want to prevent you from entering into adventures otherwise than with my consent.'  

Vivien's attorney, Valentine Holmes, contested this testimony. He said that it was against public policy to have restrictive clauses in a contract that prevented anyone working in 'war time.' No injury to Mr. Selznick could occur through letting her act for eight weeks in the play, but considerable damage and inconvenience would be caused to a number of completely innocent people if she was prevented. He went on with Vivien's affidavit. It had been decided under American law that a contract such as hers with Mr. Selznick was unenforceable after seven years, and in view of that decision, Mr. Selznick had for some months been urging her to enter into a new agreement. She refused as it would involve her in film appearances over a number of years and separate her for long periods from her husband. Vivien won the injunction.

Vivien Leigh as Scarlett O'Hara

It'll be very interesting to see how much Vivien's personalized screenplay will sell for at auction, especially if two buyers get into a bidding war. There are many Gone With the Wind fans, including myself, who would love to have it as part of their collection.

Detail of the front cover of Vivien's script

Detail of the front cover of Vivien's script

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Fashion Friday: Scarlett's Red Dress

Today's Fashion Friday post is about Scarlett's scandalous, red ball gown. Rhett forces her to wear the dress to Ashley's surprise birthday party. Earlier in the day, Scarlett and Ashley were caught hugging by India Wilkes. Scarlett doesn't want to go to the party, but Rhett won't have anything to do with her cowardice.

Rhett (Clark Gable) embraces Scarlett (Vivien Leigh)

Rhett: You're not ready for Melanie's party.
Scarlett: I've got a headache, Rhett. You go without me and make my excuses to Melanie.
Rhett: What a white, livered, little coward you are! Get up. You're going to that party and you'll have to hurry.
Scarlett: Has India dare--?
Rhett: Yes, my dear, India has. Every woman in town knows the story and every man, too.
Scarlett: You should have killed them, spreading lies.
Rhett: I have a strange way of not killing people who tell the truth. No time to argue. Now get up.
Scarlett: I won't go. I can't go until this, this, misunderstanding is cleared up.
Rhett: You're not going to cheat Miss Melly out of the satisfaction of publicly ordering you out of her house.
Scarlett: There was nothing wrong. India hates me so. I- I can't go, Rhett. I couldn't face them!
Rhett: If you don't show your face tonight, you'll never be able to show it in this town as long as you live. And while that wouldn't bother me, you're not going to ruin Bonnie's chances. You're going to that party, if only for her sake. Get dressed.

GWTW Publicity Photo

Rhett: Wear that. Nothing modest or matronly will do for this occasion. And put on plenty of rouge. I want you to look your part tonight.

Scarlett and Rhett arrive at Ashley's birthday party

Rhett: Good night, Scarlett
Scarlett: But, Rhett, you've-- 
Rhett: You go into the arena alone. The lions are hungry for you.
Scarlett: Oh, Rhett don't leave me. Don't.
Rhett: You're not afraid? (and then walks away)

As most fans of Gone With the Wind know, all of Scarlett's costumes were designed by the amazing Walter Plunkett. David Selznick, the film's producer, brought Plunkett on board as early as 1936. Walter was a native Californian, who'd been designing costumes for the movies since 1926. The imdb website credits him as costume designer on almost 300 movies.

For his research on Gone With the Wind, Plunkett traveled to the Southern U.S., visiting Atlanta, Savannah and Charleston, in search of inspiration for his costumes. He met with Margaret Mitchell, who gave him a list of books to help guide him in his fashion search. He also met with the Daughters of the Confederacy, where one of the ladies gave him fabric samples of dresses worn during the time of the Civil War (1861 to 1865).

Walter Plunkett and Vivien Leigh

In the book, Gone With the Wind, Margaret Mitchell imagined Scarlett's dress of shame as jade green. [Rhett] drew out her new jade green watered silk dress. It was cut low over the bosom and the skirt was draped back over an enormous bustle and on the bustle was a huge bunch of pink velvet roses. However, the final product was re-imagined in red.

In a memo to Raymond Klune, the production manager, David Selznick wrote: ...The third part of the picture should, by its colors alone, dramatize the difference between Scarlett and the rest of the people-- Scarlett extravagantly and colorfully costumed against the drabness of the other principals and of the extras. ...This picture in particular gives us the opportunity occasionally-- as in our opening scenes and as in Scarlett's costumes-- to throw a violent dab of color at the audience to sharply make a dramatic point.

Front of Scarlett's Red Ball Gown (from the HRC)

The red ball gown recently went through a restoration by the Harry Ransom Center. The conservationists discovered that additional feathers had been added to the gown, which they subsequently removed. There were also weights in the gown's hem, (which is pretty common in skirts and dresses to keep hems from flying up on windy days and to keep trains in place), which over the years had caused damage. They were removed to prevent further tearing of the dress.

Detail of the glass beading on the bodice (from the HRC)

This sleeveless, silk velvet gown is embellished with glass teardrop beads and round, red faceted beads at the neckline and a profusion of ostrich feathers around the shoulders. Rhett's choice of an ostentatious gown in an immodest burgundy-red color is intended to humiliate Scarlett. -description of dress from the Harry Ransom Center.

Back side of Scarlett's Red Ball Gown (from the HRC)

Thanks for joining me for today's Fashion Friday post!

Screen Album, 1940

The 1940 summer edition of Screen Album promised to have 100 new pictures and 1,000 new facts, inside its covers, of the day's leading actors and actresses. Both Vivien Leigh and Laurence Olivier were featured. They each received one full page, which contained one photograph and a biographical article.

I've typed up both articles, which are definitely products of their time, so they should be read with a big grain of salt. Enjoy!

Vivien Leigh on the cover of Screen Album

~~~Vivien Leigh~~~

Vivien Leigh was the 29th, and last contestant, in Selznick's two year search for Scarlett. Two weeks before, she'd arrived in Hollywood, a modern version of the scarlett woman opposite Laurence Olivier... The story starts on Guy Fawkes Day in Darjeeling, India, with the birth of Vivian Mary Hartley, November 5, 1913. Mother Hartley was on vacation from Calcutta's heat. Her stockbroker husband stayed behind to watch the market.  At six, Vivien was transported to a convent near London. The Indian climate's no recipe for an English complexion. After eight years of British fog, she crossed the channel to a French convent. At sixteen, she was graduated, stage struck, from Mlle Manileve's School for Young Ladies in Paris. She underwent at eighteen months of finishing at Baroness von Roeder's Bavarian seminary before entering the Academy of Dramatic Arts in London.

A lighter moment at a hunt ball produced Barrister Herbert Leigh Holman. In three weeks, Miss Hartley was Mrs. Holman. Three more weeks and she was back at the Academy to finish her course. A year later, daughter Suzanne was born. Herbert made a good living, augmented  by a private income. Herbert's wife could afford to harass the agents til she got the right roles. So, as Vivien with an E and, because she loved her husband, surnamed Leigh, she visited agents. Two small film roles got her a part in a play, which led to discovery in the mask of virtue.

She was Vivien now, with the 'e' for glamour and the Leigh for the love of her husband. Hollywood shoved contracts at the most talked about actress since Bankhead. Vivien politely declined in favor of two films per year with Korda. The Holmans, meanwhile, were as happily married as an English lawyer and London celebrity could be. Then came Korda's Fire Over England and-- Laurence Olivier. They'd met a year before in mediocre film. Nothing happened. Now Leigh forgot home and husband to be Shakespeare's mad heroine to Olivier's melancholy Dane. Under love's stimulating influence, their careers went soaring swiftly skyward.

They kissed and parted when the Gold Coast lured Larry in the fall of '38. Vivien languished-- but not for long. December 1st saw them reunited in Hollywood. Sly Larry took her to dinner with agent Myron Selznick, brother of producer David. The brothers Selznick saw the spittin' image of Scarlett O'Hara-- 5'3", 106 pounds, reddish-brown hair that photographs black and green eyes. The identity of Scarlett was revealed to the world. But were their faces scarlet when they discovered the scandal to be hidden from the newshawks! The lovers were warned never to be seen together. A watchman patrolled Leigh's home. It was no use. Neither made any effort to keep their love affair secret. Inseparable, Larry coached his Vivien, taught her how to outwit Gable, the scene stealer.

Atlanta premiere time came and Leigh's ultimatum that she wouldn't join the fun unless Larry came, too. Larry went. Mysteriously absent from New York's premiere, Leigh was with Olivier. News of her divorce broke soon after GWTW. Holman named Olivier co-respondent in an uncontested suit, January 5, 1940. He was awarded custody of Suzanne, now in a convent. On January 29th, Vivien Leigh was named as co-respondent in the Olivier case. Simon Olivier was given to his mother. And it's off with the old, on with the new.

~~~Laurence Olivier~~~

Like so many Britons of talent, Olivier is not really English. The first Olivier in England was French Huguenot. Since then the loyal Oliviers have married French and the name is pronounced O-leev-yay. To make your flesh creep, Olivier tells you his father was a priest, legitimizes himself then by adding "Episcopalian." Priest Gerard Olivier had three children: Gerard, Jr., Larry and Sybille. When his childish treble still had a five year future, Larry was stuffed into an Eton collar and sent after Gerard to choir school. Here they studied catechism, singing and frivolously enough, acting.

At 10, Larry was Brutus to Gerard's Caesar. Four years later, at Stratford-Upon-Avon, the school celebrated Shakespeare's birthday with a presentation of The Taming of the Shrew. Then, at an exclusive public school, Larry had Heathcliff pummeled into his personality. The boys distrusted this choir school exotic who recited catechism and poetry with such fine feeling. Larry's mother had just died and the sensitive kid needed sympathy. He got beatings. His father's remarriage was another bitter blow. Larry went on the stage, resolved never to take another penny of his father's money.

Like any self-made man, Larry speaks proudly of his first humble job. "We called ourselves the Lavatory Players," he says. "We toured God's country. Dressing rooms were scarce and lavatories gave you privacy." Larry soon quit the lavatory squad, but there were those among his new associates who would gladly have kicked him back-- and locked the door. This was Larry's jinx phase. If he took a part, then the play folded, and vice versa. Ruefully, he recalls quitting Journey's End to contest the Beau Brummel role with Maurice Evans. Laurence won and Evans stepped into Journey's End. Brummel folded in a week and JE was a two season sensation.

His unholy talent expanded in America. He made a picture with Ann Harding. She folded. Same thing happened to Elissa Landi. Finally, they gave him Garbo in Queen Christina. Garbo sulked like a girl whose parents have picked her a distasteful bridegroom. Finally, she walked out on him altogether, saying, as she departed, "Life is a pain." She wanted and got Gilbert as a leading man. But at the same time, she'd not only saved herself from the hellbent Landi-Harding path, but broken Olivier's spell.

The last act in this jinx drama was Olivier's expiation. He produced a show himself. Despite a Priestly script and stellar performances by Ralph Richardson and Greer Garson, it flopped-- and the ghosts of plays and players were laid forever from Olivier's conscience.

In '36, he made Fire Over England with MRS. Vivien Leigh Holman. Together they journeyed to Denmark, he to be Hamlet and she to be Ophelia, at Elsinore, original site of the play. On broadway, he met another girl, Miss Jill Esmond. It was lightning love, hitting hard and burning out quickly. Wooed back to Hollywood for Wuthering Heights, his Juliet joined him to do Scarlett opposite Gable. They played Romeo and Juliet on Broadway-- to a poor press and a packed house. With Vivien as Juliet, he really meant that balcony scene. Ordinarily though, this 33 year old professional goes about love scenes thoughtfully. "Kissing," he says, "is a job." By marrying Leigh he'll achieve a very happy medium between business and pleasure.

Fashion Friday: A Top Ten List

Vivien Leigh loved fashion. She enjoyed clothing and all the accessories associated with dressing like a true star. She had a great sense of style and had a lot of fabulous fashion moments throughout her lifetime. To celebrate her style during the 50th anniversary of her passing, I've put together a top ten list of my favorite fashions that Vivien wore in real life.

1. Vivien's Wedding Dress

Vivien Leigh married her first husband, Leigh Holman, in a Roman Catholic ceremony on December 20th, 1932 at St. James Church, in London. Vivien's father, Ernest Hartley, walked her down the aisle. For this special occasion, Vivien wore a gorgeous, long-sleeved gown made from white satin. She carried a bouquet of roses mixed with baby's breath and fern leaves. Her hair was styled in the latest fashion, covered by a crocheted Juliet cap with a floor-length veil attached. Vivien's wedding band was an eternal ring of diamonds.

2. Tennis Match

In late fall of 1939, Vivien Leigh and Laurence Olivier stepped up their fashion game at a tennis match in Hollywood. Vivien wore a hat with a swooping scarf, while her hair was caught up in a fetching net a la Scarlett O'Hara in Gone With the Wind. Olivier looked quite debonair in a stylish suit.

3. Hollywood Premiere of Gone With the Wind

On December 28th, 1939, Gone With the Wind finally had its premiere in Hollywood. The premiere was held at Fox's Carthay Circle Theater. For this special night, Vivien chose to wear a fuchsia colored evening gown. The gown's bodice and matching purse were both studded with matching fuchsia sequins. More sequins decorated the hood and its veil. Vivien Leigh's dress was designed for her by Walter Plunkett, who had also created her Atlanta premiere outfit. It's a shame there are no (known) color photos of Vivien in this dress. The fuchsia color would be amazing against her dark hair.

4. The Oscars, 1940

Vivien wore a stunning, floor-length gown by Irene as she attended her first Oscar ceremony, in February, 1940. Irene Lentz was a fashion designer, whose salon was located inside the Bullocks-Wilshire department store. In addition to designing costumes for the movies, Irene also designed for private customers, which included many of Hollywood's top stars such as Carole Lombard, Marlene Dietrich, Claudette Colbert and Loretta Young. In the fall of 1939, Irene held a fashion show for one of her collections. The gown Vivien chose for the Oscars was listed as item number fourteen with the simple description of red poppy evening gown. The green printed chiffon dress featured the aforementioned red poppies with hints of yellow, gray and blue mixed into the gown's color palette. Vivien won the Best Actress Oscar for her role of Scarlett O'Hara in Gone With the Wind. Vivien's chiffon gown featured spaghetti straps, side cut-outs and a low-cut bodice. Her topaz pendant, set in yellow gold, hung from a slender chain around her neck, drawing attention to the deep V of the dress. Vivien chose costume jewelry to complete her look, a bracelet and large ring, to match the tone set by the pendant.

5. Vivien's Head Scarf, 1946

In 1946, Vivien and Laurence Olivier travelled to the United States. Olivier was coming with the Old Vic Company to perform in New York City. For the trans-Atlantic journey, Vivien swept her hair up into this nifty head scarf, which was then dubbed the Bedouin Bonnet by the press.

Vivien and Larry image from Frivolous Whim on Tumblr

6. White Sunglasses

Vivien owned at least two pairs of white sunglasses. In this first picture, Vivien and Laurence Olivier are seen in Tasmania, in 1948. How cute does Vivien look all wrapped up? The second picture, containing a slightly different style of sunglasses, is of Vivien in Portofino.

7. Australia

The Oliviers, along with the Old Vic Company, traveled to Australia to perform in several plays, in 1948. Vivien and Larry were treated like rock stars. Crowds lined up to see this British couple in person. After arriving in Perth, they attended a reception held for them by the British Council. Vivien wore this charming dress to the party. I'm not 100% positive, but I believe the dress was designed by Hardy Amies. The dress was made from white muslin and featured a blue floral motif. The lapels of the dress were pinned together by a brooch, featuring rubies and diamonds in a platinum setting. Vivien's large hat, belt, purse, sandals and gloves with a scalloped trim, were all in corresponding white. Check out that bow!

8. Suzanne's Wedding, 1957

Vivien's only child, Suzanne Holman, was married in December, 1957. For her daughter's wedding, Vivien chose to wear a silk coat.  But not any silk coat. This coat featured a leopard pattern, which had been hand painted onto the material. Vivien topped it off with a matching hat and fur scarf. Her outfit, according to one newspaper, put all the mink coats and smart costumes in the shade.

9.  Gone With the Wind's 21st Anniversary

Gone With the Wind celebrated its 21st anniversary in March, 1961. The celebrations were held in Atlanta, Georgia, in conjunction with the Civil War Centennial. Newspapers around the world ran headlines such as Scarlett turns 21. The three day event took place from Wednesday, March 8th to Friday, March 10th. On Thursday, March 9th, a costume ball was held at the Biltmore Hotel. Vivien wore an original ball gown, specially created for her, for the 21st anniversary gala.

The gown was based on the barbecue dress Vivien wore as Scarlett O'Hara in 1939. Vivien's modern day, white gown had a billowing skirt, which trailed behind Vivien when she walked. The dress featured a green velvet waistband, with flowing ribbons down the backside of the skirt. The very fitted bodice showed off the gown’s gorgeous embroidery. Green-blue sprays of flowers were embroidered onto the gown and peppered with pearls and rhinestones. Vivien’s accessories for the evening included a three strand pearl necklace with a diamond drop pin around her neck, while diamond hair barrettes adorned her coiffure. She topped the gown off with long gloves and a fox fur wrap, both white to match her dress.

10. Shakespeare's birthday

To mark William Shakespeare's 400th birthday in 1964, Vivien Leigh attended an outdoor celebration for the Bard. The party took place on an overcast day at the partially finished Yvonne Arnaud Theatre in Guildford. For this special occasion, Vivien chose to wear a hot pink, two piece outfit. The boxy shaped jacket featured five buttons down the front, pocket flaps and side buttons. Vivien accented her outfit with a fur stole around her neck, gloves and a black velvet hair band a la Alice In Wonderland.

Thanks for joining me for today's Fashion Friday post!