She then won the Academy Award for Best Actress twice, for her performances as Scarlett O'Hara in Gone with the Wind (1939) and Blanche DuBois in the film version of A Streetcar Named Desire (1951), a role she had also played on stage in London's West End in 1949.

During her 30-year career, she played roles ranging from the heroines of Noël Coward and George Bernard Shaw comedies to classic Shakespearean characters such as Ophelia, Cleopatra, Juliet and Lady Macbeth.

She earned a reputation for being difficult to work with, and for much of her life she had bipolar disorder, as well as recurrent bouts of chronic tuberculosis, which was first diagnosed in the mid-1940s and ultimately led to her death at age 53.

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).

[9] Gertrude Hartley tried to instill an appreciation of literature in her daughter and introduced her to the works of Hans Christian Andersen, Lewis Carroll and Rudyard Kipling, as well as stories of Greek mythology and Indian folklore.

"[30] In the autumn of 1935 and at Leigh's insistence, John Buckmaster introduced her to Laurence Olivier at the Savoy Grill, where he and his first wife Jill Esmond dined regularly after his performance in Romeo and Juliet.

"[44] The following day, Leigh read a scene for Selznick, who organized a screen test with director George Cukor and wrote to his wife, "She's the Scarlett dark horse and looks damn good.

[47][48] Leigh befriended Clark Gable, his wife Carole Lombard and Olivia de Havilland, but she clashed with Leslie Howard, with whom she was required to play several emotional scenes.

On 31 August 1940, Olivier and Leigh were married at the San Ysidro Ranch in Santa Barbara, California, in a ceremony attended only by their hosts, Ronald and Benita Colman and witnesses, Katharine Hepburn and Garson Kanin.

The New York press publicised the adulterous nature of the beginning of Olivier and Leigh's relationship and questioned their ethics in not returning to the UK to help with the war effort.

[66] Winston Churchill arranged a screening for a party that included Franklin D. Roosevelt and, on its conclusion, addressed the group, saying, "Gentlemen, I thought this film would interest you, showing great events similar to those in which you have just been taking part."

Olivier later came to recognise the symptoms of an impending episode—several days of hyperactivity followed by a period of depression and an explosive breakdown, after which Leigh would have no memory of the event, but would be acutely embarrassed and remorseful.

The tour was an outstanding success and, although Leigh was plagued with insomnia and allowed her understudy to replace her for a week while she was ill, she generally withstood the demands placed upon her, with Olivier noting her ability to "charm the press".

[78] The success of the tour encouraged the Oliviers to make their first West End appearance together, performing the same works with one addition, Antigone, included at Leigh's insistence because she wished to play a role in a tragedy.

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.

[d] 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.

[92] The reviews there were also mostly positive, but film critic Kenneth Tynan angered them when he suggested that Leigh's was a mediocre talent that forced Olivier to compromise his own.

[93] Tynan's diatribe almost precipitated another collapse; Leigh, terrified of failure and intent on achieving greatness, dwelt on his comments and ignored the positive reviews of other critics.

[98][permanent dead link‍] 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.

John Gielgud directed Twelfth Night and wrote, "... perhaps I will still make a good thing of that divine play, especially if he will let me pull her little ladyship (who is brainier than he but not a born actress) out of her timidity and safeness.

[103] 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".

[105] In his autobiography, Olivier discussed the years of strain they had experienced because of Leigh's illness: "Throughout her possession by that uncannily evil monster, manic depression, with its deadly ever-tightening spirals, she retained her own individual canniness—an ability to disguise her true mental condition from almost all except me, for whom she could hardly be expected to take the trouble.

"[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".

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.

On the night of 7 July 1967, Merivale left her as usual at their Eaton Square flat to perform in a play, and he returned home just before midnight to find her asleep.

[120] According to the provisions of her will, Leigh was cremated at the Golders Green Crematorium and her ashes were scattered on the lake at her summer home, Tickerage Mill, near Blackboys, East Sussex, England.

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.

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".

"[133] Her greatest critic was Kenneth Tynan who ridiculed Leigh's performance opposite Olivier in the 1955 production of Titus Andronicus, commenting that she "receives the news that she is about to be ravished on her husband's corpse with little more than the mild annoyance of one who would have preferred foam rubber.

[142] In 2013, an archive of Leigh's letters, diaries, photographs, annotated film and theatre scripts and her numerous awards was acquired by the Victoria and Albert Museum in London.