Editing Laurence Olivier (section)

===1938–1944: Hollywood and war years===
[[File:Laurence Olivier Merle Oberon Wuthering Heights.jpg|thumb|alt=studio still of young man and woman in outdoor setting|Olivier, with [[Merle Oberon]] in the 1939 film ''[[Wuthering Heights (1939 film)|Wuthering Heights]]'']]
In 1938 Olivier joined Richardson to film the spy thriller ''[[Q Planes]]'', released the following year. [[Frank Nugent]], the critic for ''[[The New York Times]]'', thought Olivier was "not quite so good" as Richardson, but was "quite acceptable".<ref name="NYT: Q Planes"/> In late 1938, lured by a salary of $50,000 ({{Inflation|US|50000|1938|r=-4|fmt=eq}}), the actor travelled to Hollywood to take the part of [[Heathcliff (Wuthering Heights)|Heathcliff]] in the 1939 film ''[[Wuthering Heights (1939 film)|Wuthering Heights]]'', alongside [[Merle Oberon]] and [[David Niven]].{{sfnm|1a1=Coleman|1y=2006|1p=105|2a1=Capua|2y=2003|2p=47}} In less than a month Leigh had joined him, explaining that her trip was "partially because Larry's there and partially because I intend to get the part of [[Scarlett O'Hara]]"—the role in ''[[Gone with the Wind (film)|Gone with the Wind]]'' in which she was eventually cast.{{sfn|Capua|2003|p=48}} Olivier did not enjoy making ''Wuthering Heights'', and his approach to film acting, combined with a dislike for Oberon, led to tensions on set.{{sfn|Coleman|2006|pp=107–108}} The director, [[William Wyler]], was a hard taskmaster, and Olivier learned to remove what Billington described as "the carapace of theatricality" to which he was prone, replacing it with "a palpable reality".{{sfn|Billington|2004}} The resulting film was a commercial and critical success that earned him a nomination for the [[Academy Award for Best Actor]] and created his screen reputation.{{sfn|Coleman|2006|p=102}}{{efn|[[Robert Donat]] won the award that year for his performance in ''[[Goodbye, Mr. Chips (1939 film)|Goodbye, Mr. Chips]]''.<ref name="Oscar: Wuthering"/>}} [[C. A. Lejeune|Caroline Lejeune]], writing for ''The Observer'', considered that "Olivier's dark, moody face, abrupt style, and a certain fine arrogance towards the world in his playing are just right" in the role,<ref name="Lejeune: Wuthering"/> while the reviewer for ''The Times'' wrote that Olivier "is a good embodiment of Heathcliff&nbsp;... impressive enough on a more human plane, speaking his lines with real distinction, and always both romantic and alive."<ref name="Times: Wuthering"/>

[[File:Laurence Olivier Joan Fontaine Rebecca.JPG|left|thumb|alt=young woman clinging as if for protection to slightly older man| Olivier with [[Joan Fontaine]] in the 1940 film ''[[Rebecca (1940 film)|Rebecca]]'']]
After returning to London briefly in mid-1939, the couple returned to America, Leigh to film the final takes for ''Gone with the Wind'', and Olivier to prepare for filming of [[Alfred Hitchcock]]'s ''[[Rebecca (1940 film)|Rebecca]]''—although the couple had hoped to appear in it together.{{sfn|Coleman|2006|p=132}} Instead, [[Joan Fontaine]] was selected for the role of Mrs de Winter, as the producer [[David O. Selznick]] thought that not only was she more suitable for the role, but that it was best to keep Olivier and Leigh apart until their divorces came through.{{sfn|Olivier|1992|p=77}} Olivier followed ''Rebecca'' with ''[[Pride and Prejudice (1940 film)|Pride and Prejudice]]'', in the role of [[Mr. Darcy]]. To his disappointment [[Elizabeth Bennet]] was played by [[Greer Garson]] rather than Leigh. He received good reviews for both films and showed a more confident screen presence than he had in his early work.{{sfn|Munn|2007|p=103}} In January 1940 Olivier and Esmond were granted their divorce. In February, following another request from Leigh, her husband also applied for their marriage to be terminated.{{sfn|Capua|2003|p=47}}

On stage, Olivier and Leigh starred in ''Romeo and Juliet'' on Broadway. It was an extravagant production, but a commercial failure.{{sfn|Beckett|2005|pp=53–54}} In ''The New York Times'' [[Brooks Atkinson]] praised the scenery but not the acting: "Although Miss Leigh and Mr Olivier are handsome young people they hardly act their parts at all."<ref name="romeo-new-york-times"/> The couple had invested almost all their savings in the project, and its failure was a grave financial blow.{{sfn|Holden|1988|pp=189–190}} They were married in August 1940, at the [[San Ysidro Ranch]] in [[Santa Barbara, California|Santa Barbara]].{{sfn|Olivier|1994|p=124}}

The war in Europe had been under way for a year and was going badly for Britain. After his wedding Olivier wanted to help the war effort. He telephoned [[Duff Cooper]], the [[Ministry of Information (United Kingdom)|Minister of Information]] under [[Winston Churchill]], hoping to get a position in Cooper's department. Cooper advised him to remain where he was and speak to the film director [[Alexander Korda]], who was based in the US at Churchill's behest, with connections to British Intelligence.{{sfnm|1a1=Coleman|1y=2006|1pp=139–140|2a1=Munn|2y=2007|2p=105}}{{efn|Korda acted both as a cover for British Intelligence in the US, and as part of an unofficial propaganda machine to sway the still-neutral Americans.{{sfnm|1a1=Coleman|1y=2006|1pp=139–140|2a1=Munn|2y=2007|2p=105}}}} Korda—with Churchill's support and involvement—directed ''[[That Hamilton Woman]]'', with Olivier as [[Horatio Nelson]] and Leigh in the [[Emma, Lady Hamilton|title role]]. Korda saw that the relationship between the couple was strained. Olivier was tiring of Leigh's suffocating adulation, and she was drinking to excess.{{sfn|Korda|1981|p=158}} The film, in which the threat of [[Napoleon]] paralleled that of [[Hitler]], was seen by critics as "bad history but good British propaganda", according to the BFI.<ref name="BFI: Hamilton"/>

Olivier's life was under threat from the Nazis and pro-German sympathisers. The studio owners were concerned enough that [[Samuel Goldwyn]] and [[Cecil B. DeMille]] both provided support and security to ensure his safety.{{sfn|Munn|2007| pp=117–119}} On the completion of filming, Olivier and Leigh returned to Britain. He had spent the previous year learning to fly and had completed nearly 250 hours by the time he left America. He intended to join the Royal Air Force but instead made another propaganda film, ''[[49th Parallel (film)|49th Parallel]]'', narrated short pieces for the Ministry of Information, and joined the [[Fleet Air Arm]] because Richardson was already in the service. Richardson had gained a reputation for crashing aircraft, which Olivier rapidly eclipsed.{{sfn|Miller|1995|p=79}} Olivier and Leigh settled in a cottage just outside [[RNAS Worthy Down]], where he was stationed with a training squadron; Noël Coward visited the couple and thought Olivier looked unhappy.{{sfn|Coward|1983|p=8}} Olivier spent much of his time taking part in broadcasts and making speeches to build morale, and in 1942 he was invited to make another propaganda film, ''[[The Demi-Paradise]]'', in which he played a Soviet engineer who helps improve British-Russian relationships.{{sfn|Coleman|2006|pp=152–153}}

[[File:Foreign Correspondents Visit British Film Studios, Denham, Buckinghamshire, England, UK, 1943 D16277.jpg|thumb|alt=group of journalists visiting film studios| Overseas newspaper correspondents visit the set of ''[[Henry V (1944 film)|Henry V]]'' at Denham Studios in 1943]]
In 1943, at the behest of the Ministry of Information, Olivier began working on ''[[Henry V (1944 film)|Henry V]]''. Originally he had no intention of taking the directorial duties, but ended up directing and producing, in addition to taking the title role. He was assisted by an Italian internee, [[Filippo Del Giudice]], who had been released to produce propaganda for the Allied cause.{{sfn|Munn|2007|pp=128–129}} The decision was made to film the battle scenes in neutral Ireland, where it was easier to find the 650 extras. [[John Betjeman]], the press attaché at the British embassy in Dublin, played a key liaison role with the Irish government in making suitable arrangements.{{sfn|Jackson|2007|p=171}} The film was released in November 1944. Brooke, writing for the BFI, considers that it "came too late in the Second World War to be a call to arms as such, but formed a powerful reminder of what Britain was defending."<ref name="BFI: Henry"/> The music for the film was written by [[William Walton]], "a score that ranks with the best in film music", according to the music critic [[Michael Kennedy (music critic)|Michael Kennedy]].{{sfn|Kennedy|2004}} Walton also provided the music for Olivier's next two Shakespearean adaptations, ''[[Hamlet (1948 film)|Hamlet]]'' (1948) and ''[[Richard III (1955 film)|Richard III]]'' (1955).<ref name="D Tel: Walton"/> ''Henry V'' was warmly received by critics. The reviewer for ''The Manchester Guardian'' wrote that the film combined "new art hand-in-hand with old genius, and both superbly of one mind", in a film that worked "triumphantly".<ref name="Guard: Henry"/> The critic for ''The Times'' considered that Olivier "plays Henry on a high, heroic note and never is there danger of a crack", in a film described as "a triumph of film craft".<ref name="Times: Henry"/> There were Oscar nominations for the film, including Best Picture and Best Actor, but it won none and Olivier was instead presented with a "Special Award".<ref name="Oscar: Henry"/> He was unimpressed, and later commented that "this was my first absolute fob-off, and I regarded it as such."{{sfn|Coleman|2006|p=169}}