Some context: Vivien Leigh (born Vivian Mary Hartley, and also known as Lady Olivier after 1947; 5 November 1913 - 8 July 1967) was an English stage and film actress. She won two Academy Awards for Best Actress, for her iconic 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. She also won a Tony Award for her work in the Broadway musical version of Tovarich (1963). After completing her drama school education, Leigh appeared in small roles in four films in 1935 and progressed to the role of heroine in Fire Over England (1937).
Hollywood was in the midst of a widely publicized search to find an actress to portray Scarlett O'Hara in David O. Selznick's production of Gone with the Wind (1939). At the time, Myron Selznick--David's brother and Leigh's American theatrical agent--was the London representative of the Myron Selznick Agency. In February 1938, Leigh made a request to Myron Selznick that she be considered to play the part of Scarlett O'Hara.  David O. Selznick watched her performances that month in Fire Over England and A Yank at Oxford and thought that she was excellent but in no way a possible Scarlett because she was "too British". Leigh travelled to Los Angeles, however, to be with Olivier and to try to convince David Selznick that she was the person for the part. Myron Selznick also represented Olivier and when he met Leigh, he felt that she possessed the qualities that his brother was searching for. 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." 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. Not for anyone's ear but your own: it's narrowed down to Paulette Goddard, Jean Arthur, Joan Bennett and Vivien Leigh". The director, George Cukor, concurred and praised Leigh's "incredible wildness". She secured the role of Scarlett soon after.  Filming proved difficult for Leigh. Cukor was dismissed and replaced by Victor Fleming, with whom Leigh frequently quarrelled. She and Olivia de Havilland secretly met with Cukor at night and at weekends for his advice about how they should play their parts. 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. 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. On a long-distance telephone call to Olivier, she declared: "Puss, my puss, how I hate film acting! Hate, hate, and never want to do another film again!"  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. She had two great concerns: doing her best work in an extremely difficult role and being separated from Larry [Olivier], who was in New York."  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. Being a film star - just a film star - is such a false life, lived for fake values and for publicity. Actresses go on for a long time and there are always marvellous parts to play." The film won 10 Academy Awards including a Best Actress award for Leigh, who also won a New York Film Critics Circle Award for Best Actress.
What was her role in Gone with the Wind?
A: the part of Scarlett O'Hara.

Some context: Anquetil was the son of a builder in Mont-Saint-Aignan, in the hills above Rouen in Normandy, north-west France. He lived there with his parents, Ernest and Marie, and his brother Philippe and then at Boisguillaume in a two-storey house, "one of those houses with exposed beams that tourists think are pretty but those who live there find uncomfortable." In 1941, his father refused contracts to work on military installations for the German occupiers and his work dried up. Other members of the family worked in strawberry farming and Anquetil's father followed them, moving to the hamlet of Bourguet, near Quincampoix.
Anquetil unfailingly beat Raymond Poulidor in the Tour de France and yet Poulidor remained the more popular. Divisions between their fans became marked, which two sociologists studying the impact of the Tour on French society say became emblematic of France old and new.  The extent of those divisions is shown in a story, perhaps apocryphal, told by Pierre Chany, who was close to Anquetil:  The Tour de France has the major fault of dividing the country, right down to the smallest hamlet, even families, into two rival camps. I know a man who grabbed his wife and held her on the grill of a heated stove, seated and with her skirts held up, for favouring Jacques Anquetil when he preferred Raymond Poulidor. The following year, the woman became a Poulidor-iste. But it was too late. The husband had switched his allegiance to Gimondi. The last I heard they were digging in their heels and the neighbours were complaining.  Jean-Luc Boeuf and Yves Leonard, in their study, wrote:  Those who recognised themselves in Jacques Anquetil liked his priority of style and elegance in the way he rode. Behind this fluidity and the appearance of ease was the image of France winning and those who took risks identified with him. Humble people saw themselves in Raymond Poulidor, whose face - lined with effort - represented the life they led on land they worked without rest or respite. His declarations, full of good sense, delighted the crowds: a race, even a difficult one, lasts less time than a day bringing in the harvest. A big part of the public therefore finished by identifying with the one who symbolised bad luck and the eternal position of runner-up, an image that was far from true for Poulidor, whose record was particularly rich. Even today, the expression of the eternal second and of a Poulidor Complex is associated with a hard life, as an article by Jacques Marseille showed in Le Figaro when it was headlined "This country is suffering from a Poulidor Complex".
Was there any other significance?
A:
Those who recognised themselves in Jacques Anquetil liked his priority of style and elegance in the way he rode.