Tamazight-NLP/NLLB-Seed_Standard-Moroccan-Tamazight huggingface dataset:
English: The members took further steps by registering their discontent with Will H. Hays, Chairman of the Motion Picture Producers and Distributors of America.
Tamazight: ⵙⵙⴽⵔⵏ ⵉⴳⵎⴰⵎⵏ ⵜⵉⵙⵓⵔⵉⴼⵉⵏ ⵢⴰⴹⵏ ⵉⴷⴷⵖ ⵣⵎⵎⴻⵎⵏ ⵜⴰⵖⵓⴼⴼⵉⵜ ⵏⵏⵙⵏ ⵙⴳ ⵡⵉⵍⵍ H. ⵀⴰⵢⵙ ⴰⵙⵍⵡⴰⵢ ⵏ ⵉⵎⵙⵢⴰⴼⵓⵜⵏ ⴷ ⵉⵏⴱⴹⴰ ⵏ ⵜⵡⵍⵍⴰⴼⵉⵏ ⵉⵜⵜⵎⵓⵙⵙⵓⵏ ⴳ ⵎⵉⵔⵉⴽⴰⵏ.
English: Hays was enthusiastic about the basic story, but did have specific issues that were dealt with before the film's release.
Tamazight: ⵉⵚⵚⵓⴱ ⵀⴰⵢⵙ ⵙ ⵜⵓⵍⵍⵉⵙⵜ ⵜⴰⴷⵙⵍⴰⵏⵜ, ⵎⴰⵛⴰ ⵖⵓⵔⵙ ⵉⵎⵓⴽⵔⵉⵙⵏ ⵉⵎⵥⵍⴰⵢ ⵏⵏⴰ ⵉⵜⵜⵓⴼⵙⴰⵢⵏ ⵓⵔⵜⴰ ⴷ ⵉⴼⴼⵉⵖ ⵓⴼⵉⵍⵎ.
English: He proposed to personally bankroll her next picture and conducted a thorough examination of her financial records.
Tamazight: ⵉⵙⵙⵓⵎⵔ ⴰⴷ ⵉⵙⵙⵥⵕⴼ ⵜⴰⵡⵍⵍⴰⴼⵜ ⵏⵏⵙ ⵜⵉⵎⴹⴼⵕⵜ ⴷ ⵉⵙⵙⴽⵔ ⵢⴰⵏ ⵓⵣⵣⵔⴰⵢ ⴰⵖⵣⵓⵔⴰⵏ ⵉⵡⴰⵔⵔⴰⵜⵏ ⵏⵏⵙ ⵉⵥⵕⴼⴰⵏⵏ.
English: Kennedy, however, advised her to hire Erich von Stroheim to direct another silent film, The Swamp, subsequently retitled Queen Kelly.
Tamazight: ⵉⵎⵉⵍ, ⵉⵙⵙⴼⴰⵡ ⵜⵜ ⴽⵉⵏⵉⴷⵉ ⵙ ⵓⵙⵎⵔⵙ ⵏ ⵉⵔⵉⴽ ⴼⵓⵏ ⵙⵜⵕⵓⵀⴰⵢⵎ ⴰⴷ ⵜⵙⵡⴰⵍⴰ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⵢⴰⴹⵏ ⵉⴼⵙⵜⴰⵏ, ⴰⵍⵎⴰ, ⵏⵏⴰ ⵎⵉ ⵉⵜⵜⵓⴳ ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ ⵉⵙⵎ ⵏ ⵜⴰⴳⵍⵍⵉⴷⵜ ⴽⵉⵍⵉ.
English: Stroheim worked for several months on writing the basic script.
Tamazight: ⵉⵙⵡⵓⵔⵉ ⵙⵜⵕⵓⵀⴰⵢⵎ ⴽⵉⴳⴰⵏ ⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵅⴼ ⵜⵉⵔⵔⴰ ⵏ ⵓⵙⵉⵏⴰⵕⵢⵓ ⴰⴷⵙⵍⴰⵏ.
English: Shooting was shut down in January, and Stroheim fired, after complaints by Swanson about him and about the general direction the film was taking.
Tamazight: ⵉⵜⵜⵓⵙⴱⴷⴷ ⵓⵙⵓⵍⴼ ⴳ ⵉⵏⵏⴰⵢⵔ, ⵉⵕⵥⵎ ⵙⵜⵕⵓⵀⴰⵢⵎ ⵉ ⵡⴰⴼⴰ, ⴹⴰⵕⵜ ⵜⵏⵓⵔⵣⵉⵏ ⵏ ⵙⵡⴰⵏⵙⵓⵏ ⵖⵉⴼⵙ ⴷ ⵓⵎⵏⵉⴷ ⴰⵎⴰⵜⴰⵢ ⵏⵏⴰ ⵢⵓⵎⵥ ⵓⴼⵉⵍⵎ.
English: The Trespasser in 1929 was a sound production, and garnered Swanson her second Oscar nomination.
Tamazight: ⵉⴳⴰ ⵓⴼⵉⵍⵎ The Trespasser ⵢⴰⵏ ⵓⴼⴰⵔⵙ ⵉⵖⵓⴷⴰⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1929, ⵉⵜⵜⵓⵙⵜⴰⵢ ⴷⴰⵔ ⵙⵡⴰⵏⵙⵓⵏ ⴰⴷ ⵢⴰⵎⵥ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵕ ⵜⵉⵙ ⵙⵏⴰⵜ ⵜⵉⴽⴽⴰⵍ.
English: The world premiere was held in London, the first American sound production to do so.
Tamazight: ⵉⵜⵜⵓⴳⴰ ⵓⵙⴼⵙⵔ ⴰⵎⴰⴹⵍⴰⵏ ⴰⵎⵣⵡⴰⵔⵓ ⴳ ⵍⵓⵏⴷⵓⵏ, ⵉⴳⴰ ⵜⴰⵢⴰⴼⵓⵜ ⵜⴰⴳⵕⴹⴰⵏⵜ ⵜⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⵉⵙⵙⴽⵔⵏ ⴰⵢⵏⵏⴰⵖ.
English: Perfect Understanding, a 1933 sound production comedy, was the only film produced by this company.
Tamazight: ⴰⵔⵎⴰⵙ ⵙ ⵜⴼⵉⵍⴰⵡⵜ, ⵜⴰⵎⵙⴹⵚⵉⵜ ⴷ ⵜⴰⵢⴰⴼⵓⵜ ⵜⴰⴳⵕⴹⴰⵏⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1933, ⵉⴳⴰ ⴰⴼⵉⵍⵎ ⴰⵎⵢⵉⵡⵏ ⵏⵏⴰ ⵜⵙⵢⴰⴼⵓ ⵜⵎⵙⵙⵓⵔⵜ ⴰⴷ.
English: She began appearing in stage productions and starred in The Gloria Swanson Hour on WPIX-TV in 1948.
Tamazight: ⵜⵙⵙⵏⵜⵉ ⵓⴼⵓⵖ ⴳ ⵓⴼⴰⵔⵙ ⵏ ⵓⵎⵣⴳⵓⵏ ⵜⵓⵔⴰⵔ ⵜⴰⵏⴰⴹⵜ ⵜⴰⵙⵔⴰⴳⵜ ⵏ ⴳⵍⵓⵔⵢⴰ ⵡⴰⵏⵙⵓⵏ ⴳ WPIX-TV ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1948.
English: The storyline of the film follows a faded silent movie actress Norma Desmond (Swanson), in love with a failed screenwriter Joe Gillis (William Holden).
Tamazight: ⴷⴰ ⵜⵙⴰⵡⴰⵍ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⵓⴼⵉⵍⵎ ⴰⴷ ⵅⴼ ⵢⴰⵜ ⵜⵙⵎⴷⴰⵢⵜ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵉⴼⵙⵜⴰⵏ ⵜⴰⵎⵙⴽⴽⴼⵜ ⵏⵓⵕⵎⴰ ⴷⵉⵙⵎⵓⵏⴷ (ⵙⵡⴰⵏⵙⵓⵏ), ⵉⵎⵢⴰⵔⴰⵏ ⴷ ⵓⵎⵉⵔⴰⵢ ⵏ ⵓⵙⵉⵏⴰⵔⵢⵓ ⴰⵏⴰⴳⵓⴼ ⵊⵓ ⴳⵉⵍⵉⵙ (ⵡⵉⵍⵢⴰⵎ ⵀⵓⵍⴷⵏ).
English: Norma plays a card game of bridge with a group of actors also known as "the Waxworks".
Tamazight: ⵏⵓⵕⵎⴰ ⴰⵔ ⵜⵜⵉⵔⵉⵔ ⵢⴰⵜ ⵜⵉⵔⴰⵔⵜ ⵏ ⵜⴽⴰⵕⴹⴰ ⵏ ⵜⵍⴳⴳⵯⵉⵜ ⵏⵜⵜⴰⵜ ⴷ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵉⵙⵎⴷⴰⵢⵏ ⵉⵜⵡⴰⵙⵙⵏ ⵙ ⵢⵉⵙⵎ ⵏ ""ⵜⵉⵡⵓⵔⵉⵡⵉⵏ ⵏ ⵓⴷⵇⵇⵉⵙ""."
English: Norma dreams of a comeback are subverted, and when Gillis tries to break up with her, she threatens to kill herself, but instead kills him.
Tamazight: ⵓⵛⴽⴰⵏⵜ ⵜⵡⵉⵔⴳⴰ ⵏ ⵓⴷⵡⴰⵍ ⵏ ⵏⵓⵕⵎⴰ, ⴷ ⵉⴳ ⵜⵔⴰ ⴳⵉⵍⵉⵙ ⴰⴷ ⵉⴷⵙ ⵜⴱⴹⵓ, ⴷⴰ ⵜⵜ ⵜⵙⴷⵉⴷⴷⵉⵢ ⴰⴷ ⵜⵏⵖ ⵉⵖⴼ ⵏⵏⵙ, ⵎⴰⵛⴰ ⵏⵜⵜⴰ ⴰⵢⴷ ⵜⵏⵇⵇⴰ.
English: Although Swanson had objected to enduring a screen test for the film, she had been glad to be making much more money than she had been in television and on stage.
Tamazight: ⵎⵇⵇⴰⵔ ⵢⵓⴳⵉ ⵙⵡⴰⵏⵙⵓⵏ ⴰⴷ ⵉⵥⵥⵉⴹⵕ ⵉ ⵓⵣⵣⵔⴰⵢ ⵏ ⵓⵎⵉⵥⴰⵕ ⵉ ⵓⴼⵉⵍⵎ, ⵎⴰⵛⴰ ⵜⵎⴷⵣ ⴽⵉⴳⴰⵏ ⴰⵛⴽⵓ ⵜⵓⵡⵉ ⵉⴷⵔⵉⵎⵏ ⵓⴳⴳⴰⵔ ⵏ ⵓⵢⵏⵏⴰ ⵜⴽⴽⴰ ⵜⴳⴰ ⴳ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⴷ ⵓⵎⵣⴳⵓⵏ.
English: Swanson later hosted Crown Theatre with Gloria Swanson, a television anthology series in which she occasionally acted.
Tamazight: ⵜⵙⵎⵔⵙ ⵙⵡⴰⵏⵙⵓⵏ ⴳ ⵢⴰⵜ ⵜⵉⵣⵉ ⵢⴰⴹⵏ ⴰⵎⵣⴳⵓⵏ ⵏ ⴽⵔⵓⵡⵏ ⵏⵜⵜⴰⵜ ⴷ ⴳⵍⵓⵔⵢⴰ ⵙⵡⴰⵏⵙⵓⵏ, ⴰⵙⴷⴷⵉ ⵏ ⵜⵎⵙⵜⴰⵢⵉⵏ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵏⵏⴰ ⴳ ⵜⵙⵡⵓⵔⵉ ⴽⵔⴰ ⵏ ⵜⵉⴽⴽⴰⵍ.
English: She was the "mystery guest" on What's My Line.
Tamazight: ⵏⵜⵜⴰⵜ ⴷ " ⵜⴰⵏⴱⴳⵉⵡⵜ ⵜⴰⵅⵏⴷⴰⵍⵍⴰⵙⵜ" ⵡⴰⵜⵣ ⵎⴰⵢ ⵍⴰⵢⵏ.
English: She made a notable appearance in a 1966 episode of The Beverly Hillbillies, in which she plays herself.
Tamazight: ⵜⴳⴰ ⵢⴰⵏ ⵡⵓⴼⵓⵖ ⴰⵏⵎⵖⵓⵔ ⴳ ⵢⴰⵜ ⵜⵏⴷⵔⵜ ⴳ ⴱⵓⴼⵔⵍⵢ ⵀⵉⵍⴱⵉⵍⵉ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1966, ⴳ ⵜⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵉⵖⴼ ⵏⵏⵙ.
English: Actor and playwright Harold J. Kennedy, who had learned the ropes at Yale and with Orson Wells' Mercury Theatre, suggested Swanson do a road tour of "Reflected Glory", a comedy that had run on the Broadway stage with Tallulah Bankhead as its star.
Tamazight: ⴰⵙⵎⴷⴰⵢ ⴷ ⵓⵎⵉⵔⴰⵢ ⵏ ⵓⵎⵣⴳⵓⵏ ⵀⴰⵕⵓⵍⴷ ⵊ. ⴽⵉⵏⵉⴷⵉ, ⵏⵏⴰ ⵉⵍⵎⴷⵏ ⵉⵙⴷⴷⵉⵜⵏ ⵏ ⵜⵏⵣⵓⵍⵉⵏ ⴳ ⵢⴰⵍ ⴷ ⵓⵎⵣⴳⵓⵏ ⵏ ⵓⵕⵙⵓⵏ ⵡⵉⵍ ⵎⵉⵔⴽⵓⵔⵉ, ⵉⵜⵜⵔ ⵙⴳ ⵙⵡⴰⵏⵙⵓⵏ ⴰⴷ ⵉⵙⵙⴽⵔ ⵢⴰⵏ ⵓⵙⵙⵓⵜⵍ ⴳ "ⵔⵉⴼⵍⵉⴽⵜ ⴳⵍⵓⵕⵉ", ⵢⴰⵜ ⵜⴽⵓⵎⵉⴷⵉⵢⵜ ⵏⵏⴰ ⵉⵜⵜⵓⵙⵎⵔⵙⵏ ⴳ ⵜⵎⵓⵖⵍⵉⵜ ⵏ ⴱⵕⵓⴷⵡⴰⵢ ⴷ ⵜⵉⵜⵔⵉⵜ ⵏⵏⵙ ⵜⴰⵍⵓⵍⴰ ⴱⴰⵏⴽⵀⵉⴷ.
English: After her success with Sunset Boulevard, she starred on Broadway in a revival of Twentieth Century with José Ferrer, and in Nina with David Niven.
Tamazight: ⴹⴰⵕⵜ ⵓⵎⵓⵔⵙ ⵏⵏⵙ ⴷ ⵙⵓⵏⵙⵉⵜ ⴱⵓⵍⵉⴼⴰⵔ, ⵜⴳⴰ ⵜⴰⵏⴰⴹⵜ ⴳ ⴱⵔⵓⵡⴷⵡⴰⵢ ⴳ ⵓⵙⵙⵉⴷⵔ ⵏ ⵜⴰⵙⵓⵜ ⵜⵉⵙⵙ ⵙⵉⵎⵔⴰⵡ ⴷ ⵊⵓⵣⵉ ⴼⵉⵔⵔⵉⵔ, ⴰⵡⴷ ⴳ ⵏⵉⵏⴰ ⵏⵜⵜⴰⵜ ⴷ ⴷⴰⵖⵉⴷ ⵏⵉⴼⵏ.
English: As a Republican she supported the 1940 and 1944 campaigns for president of Wendell Willkie and the 1964 presidential campaign of Barry Goldwater.
Tamazight: ⴷ ⵜⴰⴳⴷⵓⴷⴰⵏⵜ, ⵜⵓⵡⵙ ⵉⵎⵣⵉⵣⵣⵉⵍⵏ ⵏ 1940 ⴷ 1944 ⵏ ⵓⵙⵍⵡⴰⵢ ⵏ ⵡⵉⵏⴹⵍ ⵡⵉⵏⴽⵉ ⴷ ⵓⵎⵣⵉⵣⵣⵍ ⵏ ⵓⵙⵍⵡⴰⵢ ⴱⴰⵔⵔⵉ ⴳⵓⵍⴷⵡⴰⵜⵔ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1964.
English: Taking medication given to her by Beery, purported to be for morning sickness, she aborted the fetus and was taken unconscious to the hospital.
Tamazight: ⵉⵙⵢ ⵏ ⵓⵙⴰⴼⴰⵔ ⵏⵏⴰ ⴰⵙ ⵜⴼⴽⴰ ⴱⵉⵔⵉ, ⵏⵏⴰ ⵙ ⵜⵜⵉⵏⵉⵏ ⵉⴳⴰ ⵡⵉⵏ ⵜⵔⴰⵔⵉⵜ ⵏ ⵜⵉⴼⴰⵡⵜ, ⵉⵖⵔⵉ ⴰⵙ ⵓⵔⴱⴰ ⵜⵙⵅⴼ ⵜⵜⵢⴰⵙⵉ ⵖⵔ ⵓⵙⴳⵏⴰⴼ.
English: In 1923, she adopted 1-year-old Sonny Smith, whom she renamed Joseph Patrick Swanson after her father.
Tamazight: ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1923, ⵜⵓⵙⵉ ⵚⵓⵏⵉ ⵙⵎⵉⵜ ⵖⵔ ⵉⵍⵍⴰ 1 ⵓⵙⴳⴳⵯⴰⵙ, ⵜⵙⵏⴼⵍ ⴰⵙ ⵉⵙⵎ ⵙ ⵊⵓⵣⵉⴼ ⴱⴰⵜⵔⵉⴽ ⵙⵡⴰⵏⵙⵓⵏ ⵅⴼ ⵉⵙⵎ ⵏ ⴱⴰⴱⴰⵙ.
English: She had conceived a child with him before her divorce from Somborn was final, a situation that would have led to a public scandal and possible end of her film career.
Tamazight: ⵜⵓⵙⵉ ⵙⴳ ⴷⵉⴳⵙ ⵢⴰⵏ ⵓⵔⴱⴰ ⵓⵔⵜⴰ ⵉⵙⵎⵉⴷ ⵓⵕⵥⵥⵓⵎ ⵏⵏⵙ ⴷ ⵙⵓⵎⴱⵓⵔⵏ, ⴰⵙⵓⵔⵙ ⴰⴷ ⵉⴽⴽⴰ ⵉⵔⴰ ⴰⴷ ⵢⴰⵡⵉ ⵙ ⵢⴰⵏ ⵓⵣⵡⴰⵔ ⴰⵎⴰⵜⴰⵢ ⵏⵖⴷ ⴰⴽⴽⵯ ⵜⵉⴳⵉⵔⴰ ⵏ ⵜⵖⴰⵔⴰⵙⵜ ⵏⵏⵙ ⴳ ⵙⵙⵉⵏⵉⵎⴰ.
English: Following a four-month recuperation from her abortion, they returned to the United States as European nobility.
Tamazight: ⴹⴰⵕⵜ ⴽⴽⵓⵥ ⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵏ ⵜⵓⵊⵉⵜ ⵏⵏⵙ ⵙⴳ ⵓⵖⵔⵉ ⵏⵏⵙ, ⴰⵖⵓⵍⵏ ⵙ ⵉⵡⵓⵏⴰⴽ ⵉⵎⵓⵏⵏ ⴷ ⵉⵎⵟⵕⵕⵃⵏ ⵏ ⵓⵕⵓⴱⴱⴰ.
English: He became a film executive representing Pathé (USA) in France.
Tamazight: ⵢⴰⵖⵓⵍ ⵉⴳⴰ ⴰⵏⵎⵀⴰⵍ ⴰⵎⵣⵣⴳⴰⵔ ⵏ ⵓⴼⵉⵍⵎ ⵏ ⴱⴰⵜⵉ (USA) ⴳ ⴼⵔⴰⵏⵚⴰ.
English: Swanson described herself as a "mental vampire", someone with a searching curiosity about how things worked, and who pursued the possibilities of turning those ideas into reality.
Tamazight: "ⵜⴳⵍⵎ ⵙⵡⴰⵏⵙⵓⵏ ⵉⵖⴼ ⵏⵏⵙ ⵉⵙ ⵜⴳⴰ ""ⵜⴰⵎⵙⵙⵓⵎⵎⵜ ⵏ ⵉⴷⴰⵎⵎⵏ ⵜⵓⵏⴳⵉⵎⵜ"", ⴰⴼⴳⴰⵏ ⵖⵔ ⵜⵍⵍⴰ ⵜⴷⵡⵡⴰⵢⵜ ⴳ ⵓⵔⵣⵣⵓ ⵅⴼ ⵜⵎⴰⵎⴽⵜ ⵙ ⵙⵡⵓⵔⵉⵏ ⵉⵙⴽⴽⵉⵏⵏ, ⴰⵔ ⵉⵔⵣⵣⵓ ⵉⵙ ⵉⵥⴹⴰⵕⴰ ⵏ ⴰⴷ ⵉⵔⴰⵔ ⵜⴰⵏⴰⵢⵉⵏ ⴷⵖ ⴰⴷ ⴳⵏⵜ ⵜⵉⴷⵜⵜ.
English: They met by chance in Paris when Swanson was being fitted by Coco Chanel for her 1931 film Tonight or Never.
Tamazight: ⵎⵍⴰⵍⴰⵏ ⵙ ⵓⵙⴰⵎⴰ ⴳ ⴱⴰⵔⵉⵣ ⴳ ⵜⵍⵙⴰ ⵙⵡⴰⵏⵙⵓⵏ ⴽⵓⴽⵓ ⵛⴰⵏⵉⵍ ⴳ ⵓⵙⵓⵊⴷ ⵏ ⵓⴼⵉⵍⵎ ⵏⵏⵙ ⵉⴹ ⴰ ⵏⵖ ⴷⵊⵓⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1931.
English: Her friends, some of whom openly disliked him, thought she was making a mistake.
Tamazight: ⵖⴰⵍⵏ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⵏⵏⵙ, ⵏⵏⴰ ⴷ ⵉⴼⴼⵖⵏ ⵉⵙ ⵜ ⵓⵔ ⵃⵎⵉⵍⵏ, ⵉⵙ ⵜⴳⴰ ⴰⵣⴳⴳⴰⵍ.
English: Swanson had initially thought she was going to be able to retire from acting, but the marriage was troubled by Davey's alcoholism from the start.
Tamazight: ⵜⵖⴰⵍ ⵙⵡⴰⵏⵙⵓⵏ ⵜⵉⵣⵡⵓⵔⵉ ⵉⵙ ⵇⴰⴷ ⵜⵉⵖⵉⵢ ⵉ ⵜⴰⵏⴰⴼⵜ ⵙⴳ ⵓⵙⵎⴷⵉ, ⵎⴰⵛⴰ ⵉⵡⵍ ⵉⵔⵡⵉ ⵙ ⵜⵉⵙⵙⵉ ⵏ ⴷⴰⴼⵉ ⵙⴳ ⵜⵉⵣⵡⵓⵔⵉ.
English: He was the co-author (ghostwriter) of Billie Holiday's autobiography Lady Sings the Blues, the author of Sugar Blues, a 1975 best-selling health book still in print, and the author of the English version of Georges Ohsawa's You Are All Sanpaku.
Tamazight: ⵉⴳⴰ ⵢⴰⵏ ⵓⵎⵙⵙⵓⴼⵖ ⴰⵎⵙⵙⵓⵔ (ⴰⵎⵙⵙⵓⴼⵖⵎⴰⵔⵓⵔ) ⵏ ⵜⵔⵉⴷⵔⵜ ⵏ ⴱⵉⵍⵉ ⵀⵓⵍⵉⴷⴰⵢⵙ ⵍⴰⵢⴷⵉ ⵙⵉⵏⴳⵣ ⴷⵓ ⴱⵍⵓⵣ, ⴰⵎⵙⵙⵓⴼⵖ ⵏ ⵓⴷⵍⵉⵙ ⵛⵓⴳⴰⵔ ⴱⵍⵓⵣ, ⴰⴷⵍⵉⵙ ⵏ ⵓⴷⵡⴰⵙ ⵉⵏⵣⴰⵏ ⴽⵉⴳⴰⵏ ⴳ 1975 ⵉⵙⵓⵍ ⴰⵔ ⵉⵜⴼⴼⵖ, ⴷ ⵓⵎⵙⵙⵓⴼⵖ ⵏ ⵜⵓⵏⵖⵉⵍⵜ ⵜⴰⵏⴳⵍⵉⵣⵉⵢⵜ ⵙⴳ ⵓⴷⵍⵉⵙ ⵢⵓ ⴰⵔ ⴰⵍ ⵙⴰⵏⴱⴰⴽⵓ ⵏ ⵊⵓⵕⵊ ⵓⵙⴰⵡⴰ.
English: Swanson and her husband first got to know John Lennon and Yoko Ono because they were fans of Dufty's work.
Tamazight: ⵜⵎⵢⴰⵙⵙⴰⵏ ⵙⵡⴰⵏⵙⵓⵏ ⴷ ⵓⵔⴳⴰⵣ ⵏⵏⵙ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⵅⴼ ⵊⵓⵏ ⵍⵉⵏⵓⵏ ⴷ ⵢⵓⴽⵓ ⵓⵏⵓ ⴰⵛⴽⵓ ⴳⴰⵏ ⵙⴳ ⵉⵎⴰⵔⴰⵢⵏ ⵏ ⵜⵡⵓⵔⵉ ⵏ ⴷⵓⴼⵜⵉ.
English: She was cremated and her ashes interred at the Episcopal Church of the Heavenly Rest on Fifth Avenue in New York City, attended by only a small circle of family.
Tamazight: ⵙⵖⵓⵙⵏ ⴰⵎⵜⵜⵉⵏ ⵏⵏⵙ ⴰⴷⵔⵏ ⴰⵙ ⵉ ⵢⵉⵖⴷ ⵏⵏⵙ ⴳ ⵍⴽⴰⵏⵉⵙⴰ ⵜⴰⴽⵀⵀⴰⵏⵜ ⵉ ⵓⵙⴳⵓⵏⴼⵓ ⵏ ⵉⴳⵏⵏⴰ ⴳ ⵓⵙⵓⴽ ⵡⵉⵙ ⵙⵎⵎⵓⵙ ⴳ ⵏⵢⵓⵢⵓⵕⴽ ⵙⵉⵜⵉ, ⵙ ⵢⵉⵍⵉ ⵏ ⵢⴰⵜ ⵜⵎⵜⴻⵜⵜⴰⵢⵜ ⵜⴰⵎⵥⵥⵢⴰⵏⵜ ⴳ ⵜⴰⵡⵊⴰ ⵏⵏⵙ.
English: In 1974, Swanson was one of the honorees of the first Telluride Film Festival.
Tamazight: ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1974, ⵉⴳⴰ ⵙⵡⴰⵏⵙⵓⵏ ⵢⴰⵏ ⵙⴳ ⵡⵉⵏⵏⴰ ⵉⵜⵜⵓⵙⵎⵖⵔⵏ ⴳ ⵓⵏⵎⵓⴳⴳⴰⵔ ⴰⵎⵣⵡⴰⵔⵓ ⵜⵉⵍⵓⵕⴰⵢⴷ ⵏ ⵙⵙⵉⵏⵉⵎⴰ.
English: Due to the erotic nature of her performances, Nielsen's films were censored in the United States, and her work remained relatively obscure to American audiences.
Tamazight: ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⴳⴰⵎⴰ ⵉⵙⵙⵔⵄⴰⴱⵏ ⴳ ⵜⴰⴳⴳⴰⵢⵜ ⵏⵏⵙ, ⵜⵜⵓⵙⴱⴷⴷⴰⵏ ⵉⴼⵉⵍⵎⵏ ⵏ ⵏⵉⵙⵍⵏⵏ ⴳ ⵉⵡⴰⵏⴽⵏ ⵉⵎⵓⵏⵏ, ⵜⵇⵇⵉⵎ ⵜⵡⵓⵔⵉ ⵏⵏⵙ ⵜⴳ ⵜⵓⴼⴼⵉⵔⵜ ⵏ ⵓⴳⴷⵓⴷ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ.
English: Nielsen's family moved several times during her childhood while her father sought employment.
Tamazight: ⵜⵎⵎⵓⵜⵜⵉ ⵜⴰⵡⵊⴰ ⵏ ⵏⵉⵍⵙⵏⵏ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⴰⵍ ⴳ ⵜⵎⵥⵉ ⵏⵏⵙ ⴳ ⵜⵉⵣⵉ ⵏⵏⴰ ⴳ ⵉⵔⵣⵣⵓ ⴱⴰⴱⴰⵙ ⵜⴰⵡⵓⵔⵉ.
English: Nielsen's father died when she was fourteen years old.
Tamazight: ⵉⵎⵎⵓⵜ ⴱⴰⴱⴰⵙ ⵏ ⵏⵉⵍⵙⵏⵏ ⴷⴷⴰⴳ ⵖⵓⵔⵙ ⴽⴽⵓⵥ ⴷ ⵎⵔⴰⵡ ⵏ ⵓⵙⴳⴳⵯⴰⵙ.
English: In 1901, 21-year-old Nielsen became pregnant and gave birth to a daughter, Jesta.
Tamazight: ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1901, ⵜⵓⵙⵉ ⵏⵉⵍⵙⵏⵏ ⵖⵔ ⵜⵍⵍⴰ 21 ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⴰⴷⵉⵙ ⵜⴰⵔⵓ ⵜⴰⵔⴱⴰⵜ, ⵊⵉⵙⵜⴰ.
English: Nielsen graduated from the Theater school in 1902.
Tamazight: ⵜⵓⵎⵥ ⵏⵉⵍⵙⵏⵏ ⴰⵙⵍⴽⵉⵏ ⴳ ⵜⵉⵏⵎⵍ ⵏ ⵓⵎⵣⴳⵓⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1902.
English: Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life.
Tamazight: ⵜⴱⴰⵢⵏ ⵜⵎⴰⵎⴽⵜ ⵜⴰⴼⵔⴰⵔⵜ ⵏ ⵓⵙⵎⴷⵉ ⵏ ⵏⵉⵍⵙⵏⵏ ⴳ ⵓⵙⵡⵍⴼ ⵏⵏⵙ ⵉⵎⵓⵔⵙⵏ ⵉ ⵢⴰⵜ ⵜⵎⵟⵟⵓⴹⵜ ⵜⴰⵄⵔⵔⵉⵎⵜ ⵜⴰⴱⵓⵊⴰⴷⵉⵢⵜ ⵉⵜⵜⵓⵙⴹⵎⵄⵏ ⴳ ⵢⴰⵜ ⵜⵓⴷⵔⵜ ⵏ ⵓⵅⵓⴱ.
English: Nielsen and Gad married, then made four more films together.
Tamazight: ⵜⵎⵢⴰⵡⴰⵍ ⵏⵉⵍⵙⵏⵏ ⴷ ⴳⴰⴷ, ⵙⵙⵓⴼⵖⵏ ⴷ ⴰⴽⴽⵯ ⴽⴽⵓⵥ ⵏ ⵉⴼⵉⵍⵎⵏ ⵢⴰⴹⵏ.
English: I realised that the age of short film was past.
Tamazight: ⵙⵙⵏⵖ ⵎⴰⵙ ⴷ ⵉⵣⵔⵉ ⵓⵣⵎⵣ ⵏ ⵓⴼⵉⵍⵎ ⴰⴳⵣⵣⴰⵍ.
English: It was international film sales that provided Union with eight Nielsen films per year.
Tamazight: ⵎⵏⵣⵉⵡⵜ ⵏ ⵓⴼⵉⵍⵎ ⴰⴳⵔⴰⵖⵍⴰⵏ ⴰⵢⴷ ⵉⵙⵎⵔⵙⵏ ⵜⴰⵔⴰⴱⴱⵓⵜ ⵏ ⵜⴰⵎ ⵏ ⵓⴼⵉⵍⵎ ⵏ ⵏⵉⵍⵙⵏⵏ ⵉ ⵓⵙⴳⴳⵯⴰⵙ.
English: I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world."
Tamazight: ⵙⵙⵎⵔⵙⵖ ⵉⵙⴳⴳⵓⵔⵏ ⵏⵏⴰ ⵉⵍⵍⴰⵏ – ⴷ ⵙⵏⴼⵍⵖ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⴳⴳⵓⵔⵏ ⵉⵎⴰⵢⵏⵓⵜⵏ – ⴰⴼⴰⴷ ⴰⴷ ⴰⵡⵉⵖ ⵉⴼⵉⵍⵎⵏ ⵏ ⵏⵉⵍⵙⵏⵏ ⵉ ⵓⵎⴰⴹⴰⵍ."
English: In a Russian popularity poll of 1911, Nielsen was voted the world's top female movie star, behind Linder and ahead of her Danish compatriot Valdemar Psilander.
Tamazight: ⴳ ⵢⴰⵏ ⵓⵙⵖⵍ ⵏ ⵜⴰⵏⵏⴰⵢⵜ ⵜⴰⵎⴰⵜⴰⵢⵜ ⴳ ⵔⵓⵙⵢⴰ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1911, ⵜⵜⵓⵙⵜⴰⵢ ⵏⵉⵍⵙⵏⵏ ⴷ ⵜⵉⵜⵔⵉⵜ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵜⴰⵎⵓⴼⴰⵢⵜ ⴳ ⵓⵎⴰⴹⴰⵍ, ⴹⴰⵕⵜ ⵍⵉⵏⴷⵔ ⴷ ⴷⴰⵜ ⵏ ⵜⵏⴰⵎⵓⵔⵜ ⵏⵏⵙ ⵜⴰⴷⴰⵏⵉⵎⴰⵔⴽⵉⵢⵜ ⴼⴰⵍⴷⵉⵎⴰⵔ ⴱⵙⵉⵍⴰⵏⴷⵔ.
English: In 1921, Nielsen, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet.
Tamazight: ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1921, ⵏⵉⵍⵙⵏⵏ, ⵙ ⵜⵏⴳⵔⴰⵏⵜ ⵏ ⵜⵎⵙⵙⵓⵔⵜ ⵏⵏⵙ ⵏ ⵓⴱⵟⵟⵓ ⵏ ⵉⴼⵉⵍⵎⵏ ⴰⵙⵟⴰ ⴼⵉⵍⵎⵣ, ⵜⴼⴼⵖⴷ ⴳ ⵙⵉⴼⵏ ⴳⵔⴰⴷ ⴷ ⵀⴰⵢⵏⵣ ⵛⴰⵍ ⵜⵙⵙⴷⵔⵓ ⵀⴰⵎⵍⵜ.
English: However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film.
Tamazight: ⵉⵎⵉⵍ, ⵜⵉⵡⵓⵔⵉⵡⵉⵏ ⵜⵉⵎⴰⵙⵙⴰⵏⵉⵏ ⵣⵓⵏⴷ ⴰⴼⵉⵍⵎ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵏⵏⴰ ⵜⴼⵙⵔ ⵜⵎⵙⵙⵓⵔⵜ ⴼⵉⵍⵎⴰⵔⵛⵉⴼ ⵓⵙⵜⵔⵉⵢⴰ ⴳ 2010 ⵓⵔ ⴷⴰ ⵜⴱⴷⴷⵔ ⵣⵓⵏⴷ ⴰⴼⵉⵍⵎ ⴰⴷ.
English: She worked in German films until the start of sound movies.
Tamazight: ⵜⵙⵡⵓⵔⴰ ⴳ ⵉⴼⵉⵍⵎⵏ ⵉⵍⵎⴰⵏⵉⵢⵏ ⴰⵔ ⵜⵉⵣⵡⵓⵔⵉ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⴳⵕⴹⴰⵏⵏ.
English: Thereafter, Nielsen acted only on stage.
Tamazight: ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ, ⵏⵉⵍⵙⵏⵏ ⵜⵙⵎⴷⵉ ⵖⴰⵙ ⴳ ⵓⵎⵣⴳⵓⵏ.
English: Understanding the implications, Nielsen declined and left Germany in 1936.
Tamazight: ⴳ ⵜⵔⵎⵙ ⵜⵓⵙⵓⵔⵜ ⵏ ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ, ⵜⵓⴳⵉ ⵏⵉⵍⵙⵏⵏ ⵢⴼⴼⵖ ⴰⵍⵎⴰⵏⵢⴰ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1936.
English: They were divorced by 1919 when Nielsen married the Swedish shipbuilder Freddy Windgårdh.
Tamazight: ⵎⵢⴰⵕⵥⴰⵎⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1919 ⵍⵍⵉ ⴳ ⵜⵜⴰⵀⵍ ⵏⵉⵍⵙⵏⵏ ⴰⵙⵡⵉⴷⵉⵢ ⵉⵜⵜⵚⴽⵓⵏ ⵉⵖⵕⵕⴰⴱⵓⵜⵏ ⴼⵔⵉⴷⵉ ⵡⵉⵏⴷⴳⴰⵕⴷ.
English: They began a long-term common-law marriage that lasted from 1923 until the late 1930s.
Tamazight: ⵙⵙⵏⵜⴰⵏ ⵉⵡⵍ ⵉⵖⵣⵣⵉⴼⵏ ⵙⴳ 1923 ⴰⵔ ⵜⵉⴳⵉⵔⴰ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ 1930.
English: Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American dancer, actor, singer, choreographer, and television presenter.
Tamazight: ⴼⵔⵉⴷ ⴰⵙⵜⵉⵔ (ⵉⵍⵓⵍ ⴼⵔⵉⴷⵉⵔⵉⴽ ⵓⵙⵜⵉⵔⵍⵉⵜⵣ; 10 ⵎⴰⵢⵢⵓ 1899 – 22 ⵢⵓⵏⵢⵓ 1987) ⵉⴳⴰ ⴰⵎⵕⴽⴰⴹ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ, ⴰⵙⴽⴱⴰⵕ, ⴰⵎⵖⵏⴰⵊ, ⴰⴽⵓⵕⵉⴳⵔⴰⴼ, ⴷ ⴰⵎⵙⵎⵏⵉⴷ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ.
English: He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and numerous recordings.
Tamazight: ⵢⵓⵔⴰⵔ ⴳ ⵡⵓⴳⴳⴰⵔ ⵏ 10 ⵏ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵏ ⵓⵥⴰⵡⴰⵏ ⴳ ⴱⵕⵓⴷⵡⴰⵢ ⴷ ⵡⵉⵙⵜ ⵉⵏⴷ, ⵉⵙⵙⴽⵔ 31 ⵏ ⵓⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ, ⴽⴽⵓⵥ ⵏ ⵉⵙⴰⵢⵙⵏ ⵉⵎⵥⵍⴰⵢ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ, ⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵣⵎⵎⵉⵎⵏ.
English: Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace.
Tamazight: ⵜⵍⵓⵍⴰ ⵉⵎⵎⴰⵙ ⵏ ⴰⵙⵜⵉⵔ ⴳ US ⵙⴳ ⵍⵓⵜⵔⴰⵏ ⵊⵉⵔⵎⴰⵏ ⵉⵎⵣⵣⴰ ⵙⴳ ⵓⵏⵇⴰⵔ ⵏ ⴱⵔⵓⵙⵢⴰ ⴷ ⴰⵍⵣⴰⵚ.
English: Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company.
Tamazight: ⵉⵔⵣⴰ ⴼⵔⵉⵜⵣ ⵜⴰⵡⵓⵔⵉ ⴳ ⵜⵙⴱⴱⴰⴱⵜ ⵏ ⵓⵙⵎⵜⵏ ⴷ ⵉⵎⵎⴰⵜⵜⵉ ⵙ ⵓⵎⴰⵀⴰ, ⵏⵉⴱⵔⴰⵙⴽⴰ, ⴳ ⵉⵙⵡⵓⵔⵉ ⴷ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵙⵜⵓⵕⵣ ⴱⵔⵉⵡⵉⵏ.
English: Johanna planned a "brother and sister act", common in vaudeville at the time, for her two children.
Tamazight: "ⵜⵙⵖⵉⵡⵙ ⵊⵡⴰⵏⴰ ⵉ ""ⵓⴳⵎⴰ ⴷ ⵓⵍⵜⵎⴰ"", ⵉⵜⵜⵡⴰⵙⵙⵏ ⴳ ⴼⵓⴷⴼⵉⵍ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ, ⵅⴼ ⵙⵉⵏ ⵡⴰⵔⵔⴰⵡ ⵏⵏⵙ.
English: They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts.
Tamazight: ⵙⵙⵏⵜⵉⵏ ⴰⵙⵎⵓⵜⵜⴳ ⴳ ⵜⵉⵏⵎⵍ ⴰⵍⴼⵉⵏ ⵎⴰⵙⵜⵕ ⵏ ⵓⵎⵣⴳⵓⵏ ⴷ ⵜⴽⴰⴷⵉⵎⵉⵢⵜ ⵏ ⵜⵥⵓⵔⵉⵡⵉⵏ ⵜⵉⴷⵍⵙⴰⵏⵉⵏ.
English: They were taught dance, speaking, and singing in preparation for developing an act.
Tamazight: ⵙⵙⵍⵎⴷⵏ ⴰⵙⵏ ⴰⵔⴽⴽⵙ ⴷ ⵡⴰⵡⴰⵍ ⴷ ⵓⵖⵏⵏⵊ ⴰⴼⴰⴷ ⵙⴱⵓⵖⵍⵓⵏ ⴰⵙⴽⴱⵕ.
English: In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller.
Tamazight: ⴳ ⵢⴰⵏ ⵓⵙⵇⵙⴰⵢ, ⵜⴰⵔⴱⴰⵜ ⵏ ⴰⵙⵜⵉⵔⵣ, ⴰⴼⴰ ⴰⵙⵜⵉⵔ ⵎⴽⵉⵏⵣⵉ, ⵜⵖⴹⴼ ⵉⵙ ⴷⴰ ⵜⴳⴳⴰⵏ ⵉ ⴼⵔⵉⴷ ⵢⴰⵜ ⵜⵛⴰⵛⵜ ⴰⴼⴰⴷ ⵉⵖⵣⵉⴼ.
English: As a result of their father's salesmanship, Fred and Adele landed a major contract and played the Orpheum Circuit in the Midwest, Western and some Southern cities in the US.
Tamazight: ⴰⵛⴽⵓ ⵉⵙⵙⵏ ⴱⴰⴱⴰⵙⵏ ⴰⴷ ⵉⵣⵣⵏⵣ, ⵢⵓⵎⵥ ⴼⵔⵉⴷ ⴷ ⴰⴷⵉⵍ ⵢⴰⵜ ⵜⵎⵖⵓⵏⵜ ⵜⴰⵎⵇⵇⵔⴰⵏⵜ ⵓⴽⴰⵏ ⵓⵔⴰⵔⵏ ⴳ ⵓⵙⴰⵔⴰ ⵏ ⵓⵕⴼⵓⵎ ⴳ ⵎⵉⴷⵡⵉⵙⵜ, ⵡⵉⵙⵜⵉⵔⵏ ⴷ ⴽⵔⴰ ⵏ ⵜⵎⴷⵉⵏⵉⵏ ⴳ US.
English: In 1912, Fred became an Episcopalian.
Tamazight: ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1912, ⵉⴳⴰ ⴼⵔⵉⴷ ⴰⴱⵉⵙⴽⵓⴱⴰⵍⴰⵏ.
English: From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle.
Tamazight: ⵙⴳ ⵓⵕⴽⴽⴰⴹ ⵏ ⴼⵓⴷⴼⵉⵍ ⵓⵕⵉⵍⵢⵓ ⴽⵓⴽⵉⵢⴰ, ⵍⵎⴷⵏ ⵉⵕⴽⴰⴹⵏ ⵏ ⵜⵜⴰⵏⴳⵓ, ⴷ ⵉⵕⴽⴰⴹⵏ ⵢⴰⴹⵏ ⵏⵏⴰ ⵙ ⵜⵜⵡⴰⵙⵙⵏ ⴼⵉⵔⵏⵓⵏ ⴷ ⵉⵔⵉⵏ ⴽⴰⵙⵜⵍ.
English: He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916.
Tamazight: ⵉⵎⵍⴰⵍⴰ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⴷ ⵊⵓⵕⵊ ⴳⵉⵔⵛⵡⵉⵏ, ⵏⵏⴰ ⵉⵜⵜⴰⵡⵙⵏ ⴳ ⵓⵖⵏⵏⵊ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵓⴼⵙⴰⵔ ⵏ ⵓⵥⴰⵡⴰⵏ ⵉⴳⴰⵏ ⵜⵉⵏ ⵊⵉⵕⵓⵎ H. ⵔⵉⵎⵉⴽⵙ, ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1916.
English: Of their work in The Passing Show of 1918, Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."
Tamazight: ⵙⴳ ⵜⵡⵓⵔⵉ ⵏⵏⵙⵏ ⴳ ⴷⵓ ⴱⴰⵙⵙⵉⵏ ⵛⵓⵡ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1918, ⵢⵓⵔⴰ ⵀⵉⵢⵡⵓⴷ ⴱⵕⵓⵏ: ""ⵢⴰⵏ ⵢⵉⴹ ⴳ ⵉⴳⴳⵓⵜ ⵓⵕⴽⴽⴹ ⵉⵖⵓⴷⴰⵏ, ⵉⴱⴰⵢⵏⴷ ⴼⵔⵉⴷ ⴰⵙⵜⵉⵔ ... ⵏⵜⵜⴰ ⴷ ⵜⵎⵙⵙⵓⵔⵜ ⵏⵏⵙ, ⴰⴷⵉⵍ ⴰⵙⵜⵉⵔ, ⵙⴱⴷⴷⴰⵏ ⴰⴼⵙⴰⵔ ⵣⵉⴽⴽ ⵜⴰⵍⴳⴳⵯⴰⵜ ⵙ ⵢⴰⵏ ⵓⵕⴽⴽⴹ ⵉⵍⴻⵍⵍⵉ ⵉⵖⵓⴷⴰⵏ.
English: But by this time, Astaire's dancing skill was beginning to outshine his sister's.
Tamazight: ⵎⴰⵛⴰ ⴳ ⵜⵉⵣⵉ ⴰⴷ, ⴰⵙⵜⵉⵔⵙ ⵢⴰⵖⵓⵍ ⴰⵔ ⵉⵜⵜⴰⴼ ⵓⵍⵜⵎⴰⵙ ⴳ ⵓⵕⴽⴽⴹ.
English: Astaire's tap dancing was recognized by then as among the best.
Tamazight: ⵇⵔⵔⴰⵏ ⵉⵙ ⵉⴳⴰ ⵓⵕⴽⴽⴹ ⵏ ⴰⵙⵜⵉⵔⵙ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ ⵢⴰⵏ ⵙⴳ ⵉⵎⴰⴼⴰⵢⵏ.
English: After the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but Paramount deemed them unsuitable for films.
Tamazight: ⵍⵍⵉ ⴳ ⵉⵇⵇⵏ ⴼⴰⵏⵉ ⴼⴰⵢⵙ, ⴰⵢⵜ ⴰⵙⵜⵉⵔ ⴷⴷⴰⵏ ⵙ ⵀⵓⵍⵉⵡⵓⴷ ⴰⴷ ⵙⵙⴽⵔⵏ ⵉⵔⵉⵎ ⴰⵎⵉⵥⴰⵕ (ⵉⵊⵍⴰ ⴷⵖⵉ) ⴳ ⴱⴰⵔⴰⵎⵓⵏⵜ ⴱⵉⴽⵜⵛⵓⵔ, ⵎⴰⵛⴰ ⵉⴳⴰⵜⵏ ⴱⴰⵔⴰⵎⵓⵏⵜ ⵉⵙ ⵓⵔ ⴷ ⵓⵙⵉⵏ ⵉ ⵉⴼⵉⵍⵎⵏ.
English: The end of the partnership was traumatic for Astaire but stimulated him to expand his range.
Tamazight: ⵓⵔ ⵜⵃⵍⵉ ⵜⴳⵉⵔⴰ ⵏ ⵜⵓⵙⵙⵓⵔⵜ ⵉ ⴰⵙⵜⵉⵔ ⵎⴰⵛⴰ ⵜⵙⵙⵉⴽⵎⵜ ⴰⴷ ⵉⵜⵜⵡⴰⵙⵙⵏ ⴽⵉⴳⴰⵏ.
English: They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady.
Tamazight: ⴽⵔⴰⵏ ⵜ ⵉⴷⵙⵏ ⵡⵓⵙⵙⴰⵏ ⵉ MGM ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1933 ⵅⴼ ⵡⵓⴼⵓⵖ ⵏⵏⵙ ⴳ ⵀⵓⵍⵉⵡⵓⴷ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ ⵉⵎⵓⵔⵙⵏ ⴷⴰⵏⵙⵉⵏ ⵍⴰⵢⴷⵉ.
English: He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!'
Tamazight: ⵢⵓⵔⴰ ⵓⵎⵙⴽⴰⵔ ⵏⵜⵡⵓⵔⵉⵡⵉⵏ ⵏⵏⵙ, ""ⵓⵔ ⵉⴳⵉⵢⵖ ⴰⴷ ⴰⵙⵉⵖ ⵜⴰⵡⵍⴰⴼⵜ ⵢⴰⴹⵏ ⴷⵉⴷⵙ, ⵉⵎⵎⴰ ⴳ ⵜⵡⵏⴳⵉⵎⵜ ⵏ 'ⵜⴰⵔⴰⴱⴱⵓⵜ', ⵜⴳⴰ 'ⵓⴼⵓⵖ!'"
English: The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical.
Tamazight: ⵜⵓⵡⵙ ⵜⵎⵙⵙⵓⵔⵜ ⴷ ⵓⵙⵖⵉⵡⵙ ⵏ ⵉⵕⴽⴰⴹⵏ ⴰⵙⵜⵉⵔ ⴷ ⵀⵉⵔⵎⵙ ⴱⴰⵏ, ⴳ ⵓⵙⵡⵔⵔⵉ ⵏ ⵓⵕⴽⴰⴹ ⴷ ⴰⴼⵔⴷⵉⵙ ⵉⵙⵜⴰⵡⵀⵎⵎⴰⵏ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵀⵓⵍⵉⵡⵓⴷ ⵏ ⵓⵥⴰⵡⴰⵏ.
English: Six out of the nine Astaire–Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time.
Tamazight: ⴳⴰⵏⵜ ⵚⴹⵉⵚ ⵙⴳ ⵜⵥⴰ ⵏ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵏ ⵓⵥⴰⵡⴰⵏ ⵏ ⴰⵙⵜⵉⵔ–ⵕⵓⵊⵉⵔ ⴰⵙⴰⴳⵎ ⴰⵎⵇⵇⵔⴰⵏ ⵏ ⵉⴷⵔⵉⵎⵏ ⵉ RKO; ⵓⵡⵉⵏⴷ ⵉⴼⵉⵍⵎⵏ ⴽⵓⵍⵍⵓⵜⵏ ⵢⴰⵏ ⵡⵓⴷⴷⵓⵔ ⴳ ⵜⵥⵓⵕⵉ ⵏⵏⴰ ⵖⵎⵙⵏ ⵉⵙⵜⵓⴷⵢⵓⵏⵜ ⴽⵓⵍⵍⵓ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ.
English: This gave the illusion of an almost stationary camera filming an entire dance in a single shot.
Tamazight: ⵉⴼⴽⴰ ⵎⴰⵢⴰⴷ ⵢⴰⵏ ⵓⴷⵎⵓ ⵉⵙ ⵜⵍⵍⴰ ⵍⴽⴰⵎⵉⵕⴰ ⵜⵉⵎⵏⵜⵉⵜ ⴰⵔ ⵜⵙⵡⵍⴰⴼ ⴰⵕⴽⴰⴹ ⵉⵙⵎⴷⵏ ⴳ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ.
English: Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety.
Tamazight: ⵜⴰⵎⴰⵎⴽⵜ ⵏ ⵓⵙⵏⵙⵍ ⵏ ⵓⵕⴽⴰⴹ ⵏ ⴰⵙⵜⵉⵍ ⵢⵓⴷⵊⴰ ⵉⵎⵥⵔⵉ ⴰⴷ ⵉⴹⴼⵓⵕ ⵉⵎⵕⴽⴰⴹⵏ ⴷ ⵓⵙⵖⵉⵡⵙ ⵏ ⵜⵎⵕⴽⴰⴹⵉⵏ ⴽⵓⵍⵍⵓ.
English: Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film.
Tamazight: ⵉⵙⵍⵍⵡⵓ ⵡⵉⵙ ⵙⵉⵏ ⵏ ⴰⵙⵜⵉⵔ ⴷⵉⴳⵙ ⴰⵎⵏⴰⴹ ⵏ ⵓⵔⴽⴰⴹ; ⵉⵙⴷⴷⵉⴷ ⴰⴷ ⴳⵏ ⵉⵖⵏⵏⵉⵊⵏ ⵉⵕⵓⵜⵉⵏⵉⵢⵏ ⴷ ⵡⵉⵏ ⵓⵕⴽⴰⴹ ⵜⵓⵟⵟⵓⵜ ⵢⴰⵎⵓⵏ ⴳ ⵉⴼⵉⵍⴰⵏ ⵏ ⵓⴼⵉⵍⵎ.
English: One would be a solo performance by Astaire, which he termed his "sock solo."
Tamazight: ⵢⴰⵏ ⴷⵉⴳⵙⵏ ⵇⴰⴷ ⵉⴳ ⴰⵙⴽⴰⵔ ⴰⵎⵥⵍⴰⵢ ⵏ ⴰⵙⵜⵉⵔ, ⵎⵉ ⵉⴳⴰ ⵙ ⵡⴰⵙⵙⴰⵖ "ⵙⵓⴽ ⵙⵓⵍⵓ."
English: I think Ginger Rogers was.
Tamazight: ⵄⵏⵉⵖ ⵊⵉⵏⵊⵔ ⵕⵓⵊⵉⵔ ⵉⴳⴰ ⵖⵉⴽⴰⵏⵏ.
English: She faked it an awful lot.
Tamazight: ⵜⵔⵡⵉ ⵜⵜ ⵜⵀⵢⵢⴰ ⴰⵕⴽⴰⴹ.
English: In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson.
Tamazight: ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1976, ⴰⵎⵙⵎⵏⵉⴷ ⵏ ⵉⵖⴰⵡⴰⵙⵏ ⵉⵎⵙⴰⵡⴰⵍⵏ ⵉⴱⵕⵉⵜⴰⵏⵉⵢⵏ ⵎⴰⵙⵙ ⵎⴰⵢⴽⵍ ⴱⴰⵕⴽⵏⵙⵓⵏ ⵉⵙⵇⵇⵙⴰ ⴰⵙⵜⵉⵔ ⵅⴼ ⵓⵎⵙⵙⵓⵔ ⵖⵓⵔⵙ ⵢⵓⴼⵏ ⴳ ⵓⵕⴽⴽⴹ ⴳ ⴱⴰⵕⴽⵏⵙⵓⵏ.
English: Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership.
Tamazight: ⵎⵇⵇⴰⵔ ⵎⵓⵔⵙⵏ, ⵓⵔ ⵉⵔⵉ ⴰⵙⵜⵉⵔ ⴰⴷ ⵉⵣⴷⵉ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⵙ ⵓⵥⵍⴰⵢ ⴷ ⴰⵡⵜ ⵢⴰⵜ ⵜⴰⵙⵙⵓⵔⵜ.
English: Throughout this period, Astaire continued to value the input of choreographic collaborators.
Tamazight: ⴳ ⵜⵉⵣⵉ ⴰⴷ, ⵉⵙⵙⵓⴷⴰ ⴰⵙⵜⵉⵍ ⴳ ⵓⵙⵓⵜⴳ ⵏ ⵉⴹⵉⵚ ⵏ ⵉⵎⵢⴰⵡⴰⵙⵏ ⵉⴽⵓⵔⵉⴳⵔⴰⴼⵉⵢⵏ.
English: They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine."
Tamazight: ⵓⵔⴰⵔⵏ ⴳ ⴱⵕⵓⴷⵡⴰⵢ ⵎⵉⵍⵓⴷⵉ ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1940, ⴳ ⵙⵎⴷⵢⴰⵏ ⴰⵕⵓⵜⵉⵏ ⵏ ⵓⵕⴽⴰⴹ ⵉⵜⵜⵡⴰⵙⵙⵏⵏ ⵏ ⴽⵓⵍ ⴱⵓⵔⵜⵔⵣ ⴳ "ⴱⵉⴳⴰⵏ ⴷⵓ ⴱⵉⴳⵉⵏ."
English: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946).
Tamazight: ⵢⵓⵔⴰⵔ ⵜⴰⵙⴳⴰ ⵏ ⴱⵉⵏⴳ ⴽⵔⵓⵙⴱⵉ ⴳ ⵀⵓⵍⵉⴷⴰⵢ ⴳ (1942) ⴷ ⴹⴰⵕ ⴰⵙ ⴱⵍⵓ ⵙⴽⵉⵙ (1946).
English: The latter film featured "Puttin' On the Ritz", an innovative song-and-dance routine indelibly associated with him.
Tamazight: ⴰⴼⵙⴰⵔ ⵏ ⵓⴼⵉⵍⵎ ⴰⵎⴳⴳⴰⵔⵓ ""ⴱⵓⵜⵉⵏ ⵓⵏ ⴷⵓ ⵔⴰⵢⵜⵣ"", ⵉⴳⴰ ⴰⵕⵓⵜⵉⵏ ⵉⵜⵜⵓⵙⵍⵍⵡⴰⵏ ⵉ ⵉⵖⵏⵏⵉⵊⵏ ⴷ ⵓⵕⴽⴰⴹ ⵏⵏⴰ ⴷⵉⴳⵙ ⵉⵙⵍⵖⵏ ⴰⴱⴷⴰ.
English: The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom.
Tamazight: ⴰⴼⵉⵍⵎ ⴰⵎⵣⵡⴰⵔⵓ, ⵓⵔ ⵙⴰⵔ ⵜⴳⵉⴷ ⴰⵎⴳⵍⵓ ⴰⴱⴷⴰ (1941), ⵢⵓⵖⵓⵍ ⵀⴰⵢⵓⵔⵜ ⴷ ⵉⵜⵔⵉ.
English: It featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire.
Tamazight: ⵢⵓⵍⵙ ⵉ ⵜⵣⵍⵉⵜ ⵏ ⴽⵉⵔⵏ ""ⴰⵎ ⵓⵍⴷⴼⴰⵛⵢⵓⵏⵉⴷ,"" ⵏⵏⴰ ⵉⴳⴰⵏ ⴰⵙⴳⵓⵎ ⵏ ⵓⵙⵎⵖⵔ ⵏ ⵊⵉⵕⵓⵎ ⵕⵓⴱⵉⵏⵣ ⴳ ⵏⵢⵓ ⵢⵓⵕⴽ ⵙⵉⵜⵢ ⴱⴰⵍⵉ ⵉ ⴰⵙⵜⵉⵔ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1983.
English: Astaire choreographed this film alone and achieved modest box office success.
Tamazight: ⵉⵙⵖⵉⵡⵙ ⴰⵙⵜⵉⵔ ⵖⴰⵙ ⵏⵜⵜⴰ ⴰⴼⵉⵍⵎ ⴰⴷ ⵏⵏⴰ ⵉⵎⵓⵔⵙⵏ ⴽⵉⴳⴰⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ.
English: The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet.
Tamazight: ⵉⵜⵜⵡⴰⵙⵙⵏ ⵓⴼⵉⵍⵎ ⴰⵎⴰⵔⵓⵔ ⵢⵓⵍⴰⵏⴷⴰ ⴷ ⵓⵎⵅⵅⴰⵔ (1945) ⵉⵙⵎⵏⴰⴷⵏ ⵢⴰⵏ ⵓⴱⴰⵍⵉ ⴰⵙⵓⵔⵢⴰⵍⵉⵢ ⵏ ⵜⵣⵣⵓⴳⵔⴰ.
English: Always insecure and believing his career was beginning to falter, Astaire surprised his audiences by announcing his retirement during the production of his next film Blue Skies (1946).
Tamazight: ⴰⴱⴷⴰ ⵓⵔ ⵢⵓⵎⵉⵏ ⴳ ⵉⵖⴼ ⵏⵏⵙ ⵢⵉⵖⵉⵍ ⵉⵙ ⴷⴰ ⵜⵜⵎⴷⵓ ⵜⴰⵣⵣⵓⵍⵜ ⵏⵏⵙ, ⴰⵙⵜⵉⵔ ⵉⵙⵙⵔⵄⴱ ⴰⵢⴷⵓⴷ ⵏⵏⵙ ⴳ ⵉⴱⵔⵔⵃ ⵙ ⵜⴰⵏⴰⴼⵜ ⵏⵏⵙ ⴳ ⵓⴼⴰⵔⵙ ⵏ ⵓⴼⵉⵍⵎ ⵏⵏⵙ ⴱⵍⵓ ⵙⴽⵉⵙ (1946).
English: Both of these films revived Astaire's popularity and in 1950 he starred in two musicals.
Tamazight: ⵔⵓⵔⴰⵏ ⴷ ⵉⴼⵉⵍⵎⵏ ⵙ ⵙⵉⵏ ⵜⴰⵎⴷⵏⴰⵏⵜ ⵏ ⴰⵙⵜⵉⵔ ⴷ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1950 ⵢⴰⵔⵉⵔ ⴳ ⵙⵏⴰⵜ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵜⵉⵥⴰⵡⴰⵏⵉⵏ.
English: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Tamazight: ⵣⵣⵉⵖ ⴳ ⴷ ⵜⵔⵓⵔⴰ ⴽⵕⴰⴹⵜ ⵜⴳⵓⵔⵉⵡⵉⵏ ⵉⴳⵣⵣⵓⵍⵏ ⴽⵉⴳⴰⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ, ⵎⴰⵛⴰ ⵍⵉⵜⵙ ⴷⴰⵏⵙ ⵜⴳⴰ ⵜⴰⴳⴰⵡⵉⵜ ⵜⴰⵥⵕⴼⴰⵏⵜ.
English: But because of its high cost, it failed to make a profit on its first release.
Tamazight: ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵜⵖⵍⵉ ⵏⵏⵙ, ⵓⵔ ⵜⵥⴹⴰⵕ ⴰⴷ ⴷ ⵜⵔⴰⵔ ⵡⴰⵍⵓ ⴳ ⵡⵓⴼⵓⵖ ⵏⵏⵙ ⴰⵎⵣⵡⴰⵔⵓ.
English: Then, his wife Phyllis became ill and suddenly died of lung cancer.
Tamazight: ⵉⵎⵉⴽⴽ ⵜⴰⴹⵏ ⵜⵎⵟⵟⵓⴹⵜ ⵏⵏⵙ ⴼⵉⵍⵉⵙ ⵙ ⵏⵉⵜ ⵜⵎⵎⵓⵜ ⵙ ⵍⴽⵓⵏⵙⵉⵔ ⵏ ⵜⵓⵔⵉⵏ.
English: Daddy Long Legs only did moderately well at the box office.
Tamazight: ⵜⵖⵓⴷⴰ ⵛⵡⵉⵢ ⵜⴼⵔⵉ ⵏ ⵉⴹⴰⵕⵏ ⵏ ⴱⴰⴱⴰ ⵉⵖⵣⵣⴰⴼⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ.
English: Similarly, Astaire's next project – his final musical at MGM, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office.
Tamazight: ⵓⵍⴰ, ⴰⵙⵏⵜⵉ ⵢⴰⴹⵏ ⵏ ⴰⵙⵜⵉⵔ – ⵉⴳⴰⵏ ⴰⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ ⵏⵏⵙ ⴰⵎⴳⴳⴰⵔⵓⴳ MGM, ⵙⵉⵍⴽ ⵙⵜⵓⴽⵉⵏⴳ (1957), ⵏⵏⴰ ⴳ ⵢⴰⵎⵓ ⵏⵜⵜⴰ ⴷ ⴽⵢⴷ ⵛⴰⵔⵉⵙ, ⵉⵕⵥⴰ ⴰⵡⴷ ⴳ ⴽⵉⴳⴰⵏ ⵏ ⵉⴷⵔⵉⵎⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ.
English: The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year."
Tamazight: ⴰⵎⵣⵡⴰⵔⵓ ⴳ ⵉⵖⴰⵡⴰⵙⵏ ⴰⴷ, ⵢⴰⵏ ⵢⵉⴹ ⴷ ⴼⵔⵉⴷ ⴰⵙⵜⵉⵔ ⴳ 1958, ⵢⵓⵡⵉ ⵜⵥⴰ ⵏ ⵜⵙⵎⵖⵓⵔⵉⵏ ⵏ ⵉⵎⵎⵉ, ⴳ ⵉⵍⵍⴰ ""ⵓⵙⵡⵓⵔⵉ ⴰⵎⵓⴼⴰⵢ ⵏ ⵓⵙⵎⴷⴰⵢ ⴰⵎⵥⵍⴰⵢ"" ⴷ ""ⵓⵖⴰⵡⴰⵙ ⴰⵎⵓⴼⴰⵢ ⴰⵎⵥⵍⴰⵢ ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⴰⴷ.""
English: The choice had a controversial backlash because many believed his dancing in the special was not the type of "acting" for which the award was designed.
Tamazight: "ⴰⵙⵜⴰⵢ ⴰⴷ ⵖⵓⵔⵙ ⵜⵎⵔⴰⵔⵓⵜ ⵜⵓⴽⵕⵉⴹⵜ ⵉⵙⵙⵔⵄⴰⴱⵏ ⴰⵛⴽⵓ ⴽⵉⴳⴰⵏ ⵉⵖⴰⵍ ⵎⴰⵙ ⴷ ⴰⵕⴽⴽⴹ ⵏⵏⵙ ⴳ ⵓⵎⵉⵥⴰⵕ ⴰⵎⵥⵍⴰⵢ ⵓⵔ ⵉⴳⵉ ⵙⴳ ⵡⴰⵏⴰⵡ ⵏ ⵓⵙⵎⴷⵢⴰ ⵏⵏⴰ ⵅⴼ ⵜⵜⵓⵙⵖⴰⵡⵙ ⵜⵙⵎⵖⵓⵔⵜ."
English: They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage.
Tamazight: ⵔⵓⵔⴰⵏⴷ ⴰⵖⵔⴰⵡ ⵏ ⵓⴼⵉⴷⵢⵓ ⴰⵥⵖⵓⵔⴰⵏ, ⵉⵙⵎⵓⵜⵜⵉ ⵜⵓⵎⴰⵢⵉⵏ ⵏⵏⵙ ⵙ ⵢⴰⵜ ⵜⴰⵍⵖⴰ ⵜⴰⵜⵔⴰⵔⵜ ⵉⵇⵇⵏ ⴰⵙ ⵜⵉⵕⵥⵉⵡⵉⵏ ⵏⵏⴰ ⴳ ⵓⵔ ⵉⵃⵍⵉ ⵓⵖⵔⴰⵡ ⵙ ⵜⵡⵍⴰⴼⵉⵏ ⴳ ⵓⵖⵔⴰⵡ ⵏ ⵙⵙⵉⵏⵉⵎⴰ.
English: Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969.
Tamazight: ⵉⴼⴼⵖⴷ ⴰⵙⵜⵉⵔ ⴳ ⵜⵎⵍⴰⵍⵉⵏ ⵓⵔ ⵉⴳⵉⵏ ⵜⵉⵕⴽⴽⴰⴹⵉⵏ ⴳ ⴽⵕⴰⴹ ⵉⴼⵉⵍⵎⵏ ⵢⴰⴹⵏ ⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵙⴷⴷⵉⵜⵏ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵙⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1957 ⴰⵔ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1969.
English: Astaire's dance partner was Petula Clark, who played his character's skeptical daughter.
Tamazight: ⴰⵎⵙⵙⵓⵔ ⵏ ⴰⵙⵜⵉⵔ ⴳ ⵓⵕⴽⴰⴹ ⵜⴳⴰ ⵜⵜ ⴱⵉⵜⵓⵍⴰ ⴽⵍⴰⵔⴽ, ⵏⵏⴰ ⵢⵓⵔⴰⵔⵏ ⴰⵡⵔⵉⴽ ⵏⵏⵙ ⵜⴰⵔⴱⴰⵜ ⵜⴰⵎⵛⴽⴰⴽⵜ.
English: Astaire continued to act in the 1970s.
Tamazight: ⵉⵙⵙⵓⴷⴰ ⴰⵙⵜⵉⵔ ⴳ ⵜⵡⵓⵔⵉ ⴳ 1970s.
English: In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film.
Tamazight: ⴳ ⵜⵔⴰⴱⴱⵓⵜ ⵜⵉⵙ ⵙⵏⴰⵜ, ⵖⵓⵔⵙ ⵙⴰⵎⵔⴰⵡ ⴷ ⵚⴹⵉⵚ ⵏ ⵓⵙⴳⴳⵯⴰⵙ, ⵉⵙⵎⵔⵙ ⴰⵕⴽⴰⴹ ⵉⴳⵣⵣⵓⵍⵏ ⵏⵜⵜⴰ ⴷ ⴽⵉⵍⵉ, ⴰⴼⵙⴰⵔ ⵏⵏⵙ ⵏ ⵓⵕⴽⴰⴹ ⴰⵎⴳⴳⴰⵔⵓ ⴳ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ.
English: In 1978, he co-starred with Helen Hayes in a well received television film A Family Upside Down in which they played an elderly couple coping with failing health.
Tamazight: ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1978, ⵉⴷⵔⴰ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵎⵇⵇⵔⴰⵏⵜ ⴷ ⵀⵉⵍⵉⵏ ⵀⴰⵢⵙ ⴳ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⴰⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏⵉⵢ ⵏⵏⴰ ⵉⵙⵙⵓⵙⵎⵏ ⴽⵉⴳⴰⵏ ⴰ ⴼⴰⵎⵉⵍⵉ ⵓⴱⵙⴰⵢⴷ ⴷⴰⵡⵏ ⵏⵏⴰ ⴳ ⴰⵓⵔⴰⵔⵏ ⵙⵉⵏ ⵉⵡⵙⵙⴰⵔⵏ ⵢⵓⵡⵍⵏ ⴰⵔ ⵜⵜⵏⴰⵖⵏ ⴷ ⵢⴰⵏ ⵡⴰⴷⴷⴰⴷ ⴰⴷⵓⵙⴰⵏ ⵓⵔ ⵉⵃⵍⵉⵏ.
English: Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series and the producers were delighted at the opportunity to create an entire episode to feature him.
Tamazight: ⵉⵜⵜⵔ ⴰⵙⵜⵉⵔ ⵙⴳ ⵓⵎⵙⴽⴰⵔ ⵏⵏⵙ ⴰⴷ ⵢⴰⵎⵥ ⵢⴰⵜ ⵜⵉⵍⴰⵍⵜ ⴳ ⴳⴰⵍⴰⴽⵜⵉⴽⴰ ⴰⵛⴽⵓ ⵔⴰⵏ ⵡⴰⵢⵢⴰⵡⵏ ⵏⵏⵙ ⴰⵙⴷⴷⵉ ⴷ ⵉⵎⵙⵢⴰⴼⵓⵜⵏ ⵎⴷⵣⵏ ⵙ ⵓⵣⵎⵣ ⵏ ⵓⵙⵏⵓⵍⴼⵓ ⵏ ⵢⴰⵜ ⵜⵏⴷⵔⵜ ⵉⵙⵎⴷⵏ ⴰⴷ ⵜ ⵙⵢⵓⵙⵙⵏⵏ.
English: Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature The Belle of New York, it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was reshot.
Tamazight: ⴹⴰⵕⵜ ⵢⴰⵏ ⵓⵣⵎⵣ ⵉⵖⵣⵣⵉⴼⵏ ⵏ ⵓⵙⵎⴰⴷ ⵏ ⵓⵙⵡⵍⴼ ⵏ ⵓⵎⴹⴰⵏ ⵏ ⵓⵕⴽⴽⴹ ⴰⵎⵢⵉⵡⵏ "ⵔⵉⵖ ⴰⴷ ⴳⵖ ⴰⵔⴳⴰⵣ ⴰⵎⵕⴽⴰⴹ" ⵉⵜⵜⵓⵙⵎⴰⴷⵏ ⵉ ⵓⴼⵉⵍⵎ ⴰⵖⵣⵣⴰⴼ ⴳ 1952 ⵜⵉⵎⵃⵍⵉⵜ ⵏ ⵏⵢⵓⵢⵓⵕⴽ, ⵉⵜⵜⵓⵖⵜⵙ ⵎⴰⵙ ⴷ ⵜⵉⵎⵍⵙⴰ ⵏ ⴰⵙⵜⵉⵔ ⵜⵉⵎⴰⵏⵓⵣⵉⵏ ⴷ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵓⵎⵣⴳⵓⵏ ⵜⴰⵎⵓⵃⵓⵍⵜ ⴷ ⴰⴷ ⴰⵍⵙⵏ ⵉ ⵓⵙⵡⵍⴼ ⵏ ⵓⵙⵏⵙⵍ ⴽⵓⵍⵍⵓ.
English: Frame for frame, the two performances are identical, down to the subtlest gesture.
Tamazight: ⴰⵙⴰⵜⵉ ⵉ ⵓⵙⴰⵜⵉ, ⵉⴼⵙⴰⵔⵏ ⵙ ⵙⵉⵏ ⴰⴽⵙⵓⵍⵏ, ⴰⵔ ⵜⵉⴼⵔⴰⵙ ⵜⵉⵎⵥⵥⵢⴰⵏⵉⵏ.
English: His was a uniquely recognizable dance style that greatly influenced the American Smooth style of ballroom dance and set standards against which subsequent film dance musicals would be judged.
Tamazight: ⵜⴰⵎⴰⵎⴽⵜ ⵏⵏⵙ ⴳ ⵓⵕⴽⴰⴹ ⵜⵜⵅⵣⵙⵙⵣⵏ ⵙ ⵓⵥⵍⴰⵢ ⴷ ⵜⵟⵟⴰⵚ ⵜⴰⵎⴰⵎⴽⵜ ⵜⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢⵜ ⵙⵎⵓⵜ ⵉ ⵓⵕⴽⴰⴹ ⵏ ⵜⴷⴰⵍⴰ ⵉⵙⵔⵙ ⵉⵙⴱⴷⴰⴷⵏ ⵏⵏⴰ ⵅⴼ ⵔⴰⴷ ⵜⵜⵓⵏⴱⴰⴹⵏⵜ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵜⵉⵥⴰⵡⴰⵏⵉⵏ ⵏ ⵓⵕⴽⴰⴹ ⵏ ⵉⴼⵉⵍⵎⵏ ⴷ ⵉⴷⴷⴰⵏ.
English: He notes Astaire's dance style was consistent in subsequent films made with or without the assistance of Pan.
Tamazight: ⵉⵙⵙⴽⵏ ⵎⴰⵙ ⴷ ⵜⴰⵎⴰⵎⴽⵜ ⵏ ⵓⵕⴽⴰⴹ ⵏ ⴰⵙⵜⵉⵔ ⵜⵇⵇⵉⵎⴰ ⴳ ⵉⴼⵉⵍⵎⵏ ⵉⵜⵜⵓⴼⴰⵔⵙⵏ ⵏⵏⴰ ⴷ ⵉⴹⴼⴰⵕⵏ ⵙ ⵓⵎⵢⴰⵡⴰⵙ ⵏ ⴱⴰⵏⵏⵖ ⴱⵍⴰ ⵏⵏⵙ.
English: However, this was almost always confined to the area of extended fantasy sequences, or "dream ballets".
Tamazight: ⵉⵎⵉⵍ, ⵉⵇⵇⵉⵎⴰ ⵓⵢⵏⵏⴰⵖ ⴰⴱⴷⴰ ⵉⵏⴳⵔ ⵉⵙⵏⵙⵍⵏ ⵉⵎⴰⵔⵓⵔⵏ, ⵏⵖ ⴷ "ⴱⴰⵍⵉ ⴷⵔⵉⵎ".
English: Later in life, he admitted, "I had to do most of it myself."
Tamazight: "ⴳ ⵢⴰⵏ ⵓⵣⵎⵣ ⴰⵎⴹⴼⵕ ⴳ ⵜⵓⴷⵔⵜ ⵏⵏⵙ, ⵉⵇⵔⵔⴰ, ⴰⵎⴰⵜⴰ ⴷⵉⴽⵙⵏⵜ """ⵉⵅⵙⵙ ⴰⴷ ⵜⵏⵜ ⵙⵙⴽⵔⵖ ⵉ ⵉⵖⴼ ⵉⵏⵓ."""
English: Many dance routines were built around a "gimmick," like dancing on the walls in Royal Wedding or dancing with his shadows in Swing Time.
Tamazight: ⵜⵜⵓⵚⴽⴰⵏ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵉⵥⴰⵕ ⵏ ⵓⵕⴽⴽⴹ ⵅⴼ "ⴳⵉⵎⵎⵉⴽ," ⵣⵓⵏⴷ ⴰⵕⴽⴽⴹ ⵅⴼ ⵉⴳⵓⴷⴰⵔ ⴳ ⵜⵎⵖⵔⴰ ⵏ ⵓⴳⵍⵍⵉⴷ ⵏⵖⴷ ⴰⵕⴽⴰⴹ ⴳ ⵙ ⵉⵎⵓⵍⴰ ⵏⵏⵙ ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵊⵄⵍⵓⵍⵍ.
English: They would work with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators.
Tamazight: ⴰⵔ ⵙⵡⵓⵔⵉⵏ ⴷ ⴰⵎⵖⵏⵏⵊ ⵏ ⵓⴱⵢⴰⵏⵓ ⴰⵏⴰⵔⴰⵎ (ⵙ ⵓⵎⴰⵜⴰ ⴰⵎⵙⵏⴰⵢ ⵀⴰⵍ ⴱⵓⵕⵏ) ⵏⵏⴰ ⵉⵜⵜⴰⵡⵉⵏ ⵉⵙⵏⴼⵍⵏ ⵉ ⵉⵎⵣⴷⴰⵢⵏ ⵏ ⵓⵥⴰⵡⴰⵏ.
English: With all the preparation completed, the actual shooting would go quickly, conserving costs.
Tamazight: ⵉⴳ ⵙⵎⴷⵏ ⵉⵙⵎⵓⵜⵜⵓⴳⵏ, ⴷⴰ ⵙⵙⵏⵜⴰⵢⵏ ⴰⵙⵓⵍⴼ ⵏ ⵜⵉⴷⵜⵜ ⴼⵉⵙⴰⵄ, ⴰⵢⴰⵏⵏ ⴰⴷ ⵉⵙⵙⴷⵔⵓⵙⵏ ⴰⵜⵉⴳⵏ.
English: He will not even go to see his rushes... He always thinks he is no good."
Tamazight: ⵓⵔ ⵉⵏⵏⵉ ⴰⴷ ⵉⴷⴷⵓ ⴰⵔ ⴷ ⵉⵥⵕ ⴰⴼⴼⴰⴼⵏ ⵏⵏⵙ... ⴷⴰ ⵉⵜⵜⵉⵖⵉⵍ ⴰⴱⴷⴰ ⵉⵙ ⵓⵔ ⵉⵃⵍⵉ."
English: Michael Kidd, Astaire's co-choreographer on the 1953 film The Band Wagon, found that his own concern about the emotional motivation behind the dance was not shared by Astaire.
Tamazight: ⵢⵓⴼⴰ ⵎⴰⵢⴽⵍ ⴽⵉⴷ, ⴰⵎⵙⵖⵉⵡⵙ ⵏ ⵉⵕⴽⴰⴹⵏ ⵢⴰⵎⵓⵏ ⴳ ⴰⵙⵜⵉⵔ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵜⵓⵍⴷⵉⵜ ⵏ ⵜⵔⴰⴱⴱⵓⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1953, ⵎⴰⵙ ⴷ ⴰⵎⵏⵓⵙ ⵏⵏⵙ ⵜⴼⵔⴰⵙ ⴹⴰⵕⵜ ⵓⵕⴽⴰⴹ ⵓⵔ ⵜ ⴷⵉⴷⵙ ⵉⴷⵔⵉ ⴰⵙⵜⵉⵔ.
English: Let's add the looks later.' "
Tamazight: ⴰⴷⵊⴰⵜ ⴰⵖ ⵜⵉⴼⵔⵉⵙⵉⵏ ⴰⵔⴷ ⵓⴽⴰⵏ.' "
English: Irving Berlin considered Astaire the equal of any male interpreter of his songs—"as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song.
Tamazight: ⵉⵙⴰⴽⵙⵓⵍ ⵉⵔⴼⵉⵏⴳ ⴱⵉⵔⵍⵉⵏ ⴰⵙⵜⵉⵔ ⴷ ⴽⵔⴰⵏ ⵓⵎⵙⵓⵖⵍ ⴰⵡⵜⵎⴰⵏ ⵏ ⵉⵖⵏⵏⵉⵊⵏ ⵏⵏⵙ—"ⵙ ⵜⵕⵡⵉ ⵏ ⵊⵓⵍⵙⵓⵏ, ⴽⵕⵓⵙⴱⵉ ⵏⵖⴷ ⵙⵉⵏⴰⵜⵔⴰ, ⵓⵔ ⵉⴷ ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⴳⵕⴹ ⵏⵏⵙ, ⵎⴰⵛⴰ ⵙ ⵜⴰⵏⵏⴰⵢⵜ ⵏⵏⵙ ⵉ ⵓⴼⵙⴰⵔ ⵏ ⵓⵖⵏⵏⵉⵊ.
English: In his heyday, Astaire was referenced in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters.
Tamazight: ⴳ ⵓⵙⵡⵉⵔ ⵏⵏⵙ ⴰⵏⴰⴼⵍⵍⴰ, ⵙⴰⵡⵍⵏ ⵅⴼ ⴰⵙⵜⵉⵔ ⴳ ⵉⵡⴰⵍⵉⵙⵏ ⵏ ⵉⵎⵢⵓⵔⴰ ⴷ ⵉⵎⵙⵏⴰⵢⵏ ⴽⵓⵍ ⴱⵓⵔⵜⵔ, ⵍⵓⵕⵏⵣ ⵀⴰⵕⵜ ⴷ ⵉⵔⵉⴽ ⵎⴰⵛⵡⵉⵜⵣ ⵉⵙⵓⵍ ⴷⴰ ⵢⴰⴽⴽⴰ ⵓⵍⵎⴰⵏ ⵉ ⵉⵎⵢⵓⵔⴰ ⵏ ⵉⵖⵏⵏⵉⵊⵏ ⵉⵜⵔⴰⵔⵏ.
English: During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson.
Tamazight: ⴳ 1952, ⵉⵣⵎⵎⴻⵎ ⴰⵙⵜⵉⵔ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⴰⵙⵜⵉⵔ,ⵢⴰⵏ ⵡⴰⵍⴱⵓⵎ ⵏ ⴽⴽⵓⵥ ⵏ ⵜⴼⵓⵍⵉⵏ ⴷ ⵢⴰⵜ ⵜⵙⵎⵎⵓⵙⵜ ⵉⵙⵡⴰⴷⵙ ⵓⵙⴽⴰⵕ ⵃⵉⵜⵉⵔⵙⵓⵏ.
English: Bogart began acting in Broadway shows, beginning his career in motion pictures with Up the River (1930) for Fox and appeared in supporting roles for the next decade, sometimes portraying gangsters.
Tamazight: ⵉⵙⵙⵏⵜⵉ ⴱⵓⴳⴰⵔⵜ ⴳ ⵓⵙⵎⴷⵢⴰ ⴳ ⵉⵎⵉⵥⴰⵕ ⵏ ⴱⵕⵓⴷⵡⴰⵢ, ⵉⵙⵙⵏⵜⵉ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⴳ ⵉⵡⵍⴰⴼⵏ ⵉⵜⵜⵎⵓⵙⵙⵓⵏ ⴷ ⴰⵙⵉⴼ ⴰⵎⴰⵜⵓⵢ (1930) ⵉ ⴼⵓⴽⵙ ⴷ ⵉⵙⵙⵏⵜⵉ ⵜⵉⵍⴰⵍ ⵏ ⵜⵏⴰⵍⵉⵜ ⴳ ⵎⵔⴰⵡ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⴷ ⵉⴷⴷⴰⵏ, ⴰⵔ ⵉⵙⵡⵍⴰⴼ ⴽⵔⴰ ⵏ ⵜⵉⴽⴽⴰⵍ ⵉⵎⵔⵜⵜⴰⵍⵏ.
English: Bogart's private detectives, Sam Spade (in The Maltese Falcon) and Phillip Marlowe (in 1946's The Big Sleep), became the models for detectives in other noir films.
Tamazight: ⴳⴰⵏ ⵉⵎⵔⵣⴰ ⵉⵎⵍⴰⵢ ⵏ ⴱⵓⴳⴰⵔⵜⵙ, ⵙⴰⵎ ⵙⴱⴱⵉⴷ (ⴳ ⵓⴼⵉⵍⵎ ⵍⴱⴰⵣ ⴰⵎⴰⵍⵜⵉⵢ) ⴷ ⴼⵉⵍⵉⴱ ⵎⴰⵍⵓⵡ (ⵉⴹⵙ ⴰⵅⴰⵜⴰⵔ ⴳ 1946), ⴷ ⵉⵎⴷⵢⴰⵜⵏ ⵏ ⵉⵎⵔⵣⴰ ⴳ ⵉⴼⵉⵍⵎⵏ ⵏ ⵏⵓⵢⵕ ⵢⴰⴹⵏ.
English: Soon after the principal photography for The Big Sleep (1946, their second film together), he filed for divorce from his third wife and married Bacall.
Tamazight: ⵢⴰⵏ ⵓⵣⵎⵣ ⵉⴷⵔⵓⵙⵏ ⴹⴰⵕⵜ ⵓⵙⵡⵍⴼ ⴰⴷⵙⵍⴰⵏ ⵏ ⵉⴹⵙ ⴰⵅⴰⵜⴰⵔ (ⴰⴼⵉⵍⵎ ⵏⵏⵙⵏ ⵙ ⵙⵉⵏ, 1946), ⵉⵙⵙⵓⵜⵔ ⵙⴳ ⵜⵎⵟⵟⵓⴹⵜ ⵏⵏⵙ ⵜⵉⵙ ⴽⵕⴰⴹⵜ ⵢⴰⵡⵍ ⴱⴰⴽⴰⵍ.
English: He reprised those unsettled, unstable characters as a World War II naval-vessel commander in The Caine Mutiny (1954), which was a critical and commercial hit and earned him another Best Actor nomination.
Tamazight: ⵢⵓⵍⵙ ⴰⵙⵎⴷⵢⴰ ⵉ ⵉⵡⵔⵉⴽⵏ ⵓⵔ ⵉⵏⵥⵉⵥⵏ ⴷ ⴰⵎⵓⵣⵔ ⵏ ⵓⵖⵔⵔⴰⴱⵓ ⴳ ⵉⵎⵏⵖⵉ ⴰⵎⴰⴹⵍⴰⵏ II ⴳ ⴰⵖⵡⵡⵖ ⵏ ⴽⵉⵢⵏ (1954), ⵏⵏⴰ ⵉⵍⴰⵏ ⴰⵎⵓⵔⵙ ⴰⵏⵙⴱⴰⴱ ⴷ ⵓⵥⵕⴼⴰⵏ ⵏⵏⴰ ⵎⵉ ⵉⵜⵜⵉⴼⴽⴰ ⵓⵙⵜⴰⵢ ⵢⴰⴹⵏ ⵏ ⵓⵙⵎⴷⵢⴰ ⴰⵎⵓⴼⴰⵢ.
English: The name "Bogart" derives from the Dutch surname, "Bogaert".
Tamazight: ⵉⵙⵎ "ⴱⵓⴳⴰⵔⵜ" ⴷ ⴰⵏⴰⴼⵓⵖ ⵏ ⵜⵏⵇⵇⵓⴱⵜ ⵜⴰⵀⵓⵍⴰⵏⴷⵉⵢⵜ "ⴱⵓⴳⴰⵔⵜ".
English: Maud was an Episcopalian of English heritage, and a descendant of Mayflower passenger John Howland.
Tamazight: ⵉⴳⴰ ⵡⴰⵣ ⵢⴰⵏ ⵓⴽⵀⵀⴰⵏ ⵙⴳ ⵡⴰⵢⴷⴰ ⴰⵏⴳⵍⵉⵣⵉⵢ ⵙⴳ ⵎⴰⵢⴼⵍⵄⵡⵉⵔ ⴱⴰⵙⴰⵏⵊⵉⵔ ⵊⵓⵏ ⵀⵓⵡⵍⴰⵏⴷ.
English: Clifford McCarty wrote that Warner Bros. publicity department had altered it to January 23, 1900 "to foster the view that a man born on Christmas Day couldn't really be as villainous as he appeared to be on screen".
Tamazight: ⵢⴰⵔⵓ ⴽⵍⵉⴼⵓⵕⴷ ⵎⴰⴽⴰⵔⵜⵉ ⵎⴰⵙ ⴷ ⵜⴰⵣⵓⵏⵉ ⵏ ⵓⵙⵓⵙⵙⵏ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵡⴰⵕⵏⵔ ⴱⵕⵓⵙ. ⵉⵜⵜⵓⵙⵏⴼⵍ ⵖⵔ 23 ⵉⵏⵏⴰⵢⵔ, 1900 ""ⴰⴷ ⵢⴰⵡⵙ ⴰⵎⵏⴰⴷ ⵏⵏⴰ ⵉⵜⵜⵉⵏⵉⵏ ⵉⵙ ⴷ ⴰⵔⴳⴰⵣ ⵉⵍⵓⵍⵏ ⴳ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⵄⵉⵙⴰ ⵓⵔ ⵉⵏⵏⵉ ⴰⴷ ⵉⴳ ⵢⴰⵏ ⵓⵔ ⵉⵃⵍⵉⵏ ⵎⴽⵉ ⵏⵏⴰ ⵉⵙⵎⵏⵉⴷ ⵓⵎⵉⵥⴰⵕ""."
English: Lauren Bacall wrote in her autobiography that Bogart's birthday was always celebrated on Christmas Day, saying that he joked about being cheated out of a present every year.
Tamazight: ⵜⴰⵔⵓ ⵍⵓⵔⵉⵏ ⴱⴰⴽⴰⵍ ⴳ ⵜⵔⵉⴷⵉⵔⵜ ⵏⵏⵙ ⵜⴰⵏⵉⵎⴰⵏⵜ ⵎⴰⵙ ⴷⴰ ⵉⵜⵜⵓⵙⴼⵓⴳⵍⵓ ⵙ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⴱⵓⴳⴰⵔⵜ ⴳ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⵄⵉⵙⴰ, ⵜⵏⵏⴰ ⵎⴰⵙ ⴷⴰ ⵉⵜⵜⴹⵚⴰ ⵅⴼ ⵜⵓⴽⴽⵏⴷⴰ ⵏⵏⵙ ⴳ ⵜⵔⵣⵣⵉⴼⵜ ⵏ ⴽⵓ ⴰⵙⴳⴳⵯⴰⵙ.
English: Maud was a commercial illustrator who received her art training in New York and France, including study with James Abbott McNeill Whistler.
Tamazight: ⵜⴳⴰ ⵎⵓⴷ ⵜⴰⵏⴼⵔⵉⵙⵜ ⵜⴰⵏⵙⴱⴰⴱⵜ ⵉⵜⵜⵓⵙⵎⵓⵜⵜⴳⵏ ⴳ ⵏⵢⵓⵢⵓⵕⴽ ⴷ ⴼⵕⴰⵏⵙⴰ, ⴰⵡⴷ ⵜⵉⵖⵔⵉ ⴷ ⵊⵉⵎⵙ ⴰⴱⴱⵓⵜ ⵎⴽⵏⵉⵍ ⵡⵉⵙⵜⵍⵕ.
English: She earned over $50,000 a year at the peak of her career – a very large sum of money at the time, and considerably more than her husband's $20,000.
Tamazight: ⵜⵓⵡⵉ ⵓⴳⴳⴰⵔ ⵏ $50,000 ⵉ ⵓⵙⴳⴳⵯⴰⵙ ⴳ ⵉⵅⴼ ⵏ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ – ⴷ ⴰⵎⴹⴰⵏ ⴰⵅⴰⵜⴰⵔ ⵏ ⵉⴷⵔⵉⵎⵏ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ, ⵓⴳⴳⴰⵔ ⵏ $20,000 ⵏ ⵉⵔⴳⴰⵣ ⵏⵏⵙ.
English: He had two younger sisters: Frances ("Pat") and Catherine Elizabeth ("Kay").
Tamazight: ⵍⵍⴰⵏⵜ ⵖⵓⵔⵙ ⵙⵏⴰⵜ ⵜⴰⵡⵎⴰⵜⵉⵏ ⵜⵉⵎⵥⵥⵢⴰⵏⵉⵏ: ⴼⵕⴰⵏⵙⵉⵙ ("ⴱⴰⵜ") ⴷ ⴽⴰⵜⵔⵉⵏ ⵉⵍⵉⵣⴰⴱⵉⵜ ("ⴽⴰⵢ").
English: A kiss, in our family, was an event.
Tamazight: ⵜⵉⵎⵉⵜⵜ, ⴳ ⵜⴰⵡⵊⴰ ⵏⵏⵖ, ⵜⵙⵜⴰⵡⵀⵎⵎⴰ.
English: He inherited a tendency to needle, a fondness for fishing, a lifelong love of boating, and an attraction to strong-willed women from his father.
Tamazight: ⵉⴽⴽⵓⵙ ⵙⴳ ⴱⴰⴱⴰⵙ ⴰⵃⴰⵕⵙ ⵙ ⵜⵉⵙⵙⵎⵉ, ⵉⵎⵎⵓⵜ ⵅⴼ ⵓⴳⵎⴰⵔ ⵏ ⵉⵙⵍⵎⴰⵏ, ⵜⴰⵢⵔⵉ ⵏ ⵜⵏⴰⴽⴰ ⵏ ⵉⵖⵔⵔⵓⴱⴰ ⴰⴱⴷⴰ, ⴷ ⵓⵍⴷⴰⵢ ⵏ ⵜⵡⵜⵎⵉⵏ ⵉⴷ ⵎ ⵜⵉⵔⴰⵜ ⵉⴷⵓⵙⵏ.
English: Bogart later attended Phillips Academy, a boarding school to which he was admitted based on family connections.
Tamazight: ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ ⵢⵓⴷⴼ ⴱⵓⴳⴰⵔⵜ ⵙ ⵜⴽⴰⴷⵉⵎⵉⵢⵜ ⵏ ⴼⵉⵍⵉⴱⵙ, ⵉⴳⴰⵏ ⵜⵉⵏⵎⵍ ⵜⴰⴳⵯⵏⵙⴰⵏⵜ ⴳ ⵜ ⵓⵙⵉⵏ ⵙ ⵉⵎⵢⴰⵙⵙⴰⵜⵏ ⵏ ⵜⴰⵡⵊⵉⵡⵉⵏ.
English: Several reasons have been given; according to one, he was expelled for throwing the headmaster (or a groundskeeper) into Rabbit Pond on campus.
Tamazight: ⵜⵜⵓⴼⴽⴰⵏⵜ ⴽⵉⴳⴰⵏ ⵏ ⵜⵎⵏⵜⵉⵍⵉⵏ; ⵏⵉⵍ ⵢⴰⵜ ⴷⵉⴳⵙⵏⵜ, ⵥⵥⵄⵏ ⵜ ⵉⴷⴷⵖ ⵉⴳⵔ ⴰⵏⵎⵀⴰⵍ ⵏ ⵜⵉⵏⵎⵍ (ⵏⵖⴷ ⴰⵏⴹⴰⴼ) ⵙ ⴰⴳⵍⵎⴰⵎ ⵏ ⵉⵇⵏⵉⵏⵏ ⴳ ⵜⵙⴷⴰⵡⵉⵜ.
English: He then volunteered for the Coast Guard Temporary Reserve in 1944, patrolling the California coastline in his yacht, the Santana.
Tamazight: ⵉⵎⵉⴽ ⵉⵎⵅⵙ ⵉ ⵉⵏⴹⴰⴼⵏ ⵏ ⵢⵉⵍⵍ ⵉⴽⵓⴷⴰⵏⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1944, ⵉⵙⵙⴽⵔ ⴽⵔⴰ ⵏ ⵜⵎⵜⴻⵜⵜⴰⵢⵉⵏ ⴳ ⵢⵉⵍⵍ ⵏ ⴽⴰⵍⵉⴼⵓⵕⵏⵢⴰ ⵙ ⵓⵖⵔⵔⴰⴱⵓ ⵏⵏⵙ, ⵙⴰⵎⴰⵏⵟⴰ.
English: In one, his lip was cut by shrapnel when his ship (the ) was shelled.
Tamazight: ⴳ ⵢⴰⵜ ⴷⵉⴳⵙⵏⵜ, ⵉⵜⵜⵓⴹⴰⵚ ⵡⴰⵏⵛⵓⵛ ⵏⵏⵙ ⵙ ⵉⴼⵟⵟⵉⵡⵊ ⵍⵍⵉ ⴳ ⵉⵜⵜⵡⴰⵜ ⵓⵖⵕⵕⴰⴱⵓ ⵏⵏⵙ.
English: While changing trains in Boston, the handcuffed prisoner reportedly asked Bogart for a cigarette.
Tamazight: ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵙⵏⴼⵍ ⵏ ⵉⵍⴰⵡⴰⵢⵏ ⴳ ⴱⵓⵙⵟⵓⵏ, ⵉⵜⵜⵔ ⴰⵙ ⵓⵏⵃⴱⴰⵙ ⵎⵉ ⵜⵜⵓⴽⵔⴰⴼⵏ ⵉⴼⴰⵙⵙⵏ ⴰⴳⵉⵕⵕⵓ ⵉ ⴱⵓⴳⴰⵔⵜ.
English: By the time Bogart was treated by a doctor, a scar had formed.
Tamazight: ⴳ ⵜⵉⵣⵉ ⵏⵏⴰ ⴳ ⵉⵙⵙⵓⵊⵉ ⵓⵎⵙⴳⵏⴰⴼ ⴱⵓⴳⴰⵔⵜ, ⵉⵜⵜⵓⵙⴽⴰⵔ ⴷⵉⴳⵙ ⵓⵣⵎⵓⵍ.
English: Instead of stitching it up, he screwed it up."
Tamazight: ⴳ ⵓⴷⵖⴰⵔ ⵏ ⵡⴰⴷ ⵜ ⵉⴳⵏⵓ, ⵉⵙⵅⵙⵔ ⵜ."
English: His character and values developed separately from his family during his navy days, and he began to rebel.
Tamazight: ⵉⴱⵓⵖⵍⴰ ⵓⵡⵔⵉⴽ ⵏⵏⵙ ⴷ ⵡⴰⵣⴰⵍⵏ ⵏⵏⵙ ⴳ ⵉⵜⵜⵓⵥⵍⴰⵢ ⵅⴼ ⵜⴰⵡⵊⴰ ⵏⵏⵙ ⴳ ⵡⵓⵙⵙⴰⵏ ⵏⵏⴰ ⵉⵣⵣⵔⵉ ⴳ ⵜⵢⵍⴰⵏⵜ, ⴷ ⵉⵙⵙⵏⵜⵉ ⴰⵖⵡⵡⵖ.
English: Bogart resumed his friendship with Bill Brady Jr. (whose father had show-business connections), and obtained an office job with William A. Brady's new World Films company.
Tamazight: ⵉⵙⵙⵓⴷⴰ ⴱⵓⴳⴰⵔⵜ ⴳ ⵜⵉⴷⴷⵓⴽⵍⴰ ⵏⵏⵙ ⴳ ⴱⵉⵍ ⴱⵕⴰⴷⵉ ⵊⵓⵏⵢⵓⵕ (ⵏⵏⴰ ⵎⵉ ⵉⵍⴰ ⴱⴰⴱⴰⵙ ⵉⵣⴷⴰⵢⵏ ⵉⵏⵙⴱⴰⴱⵏ ⵉⵎⵉⵥⴰⵕⵏ), ⵢⴰⵎⵥ ⵢⴰⵜ ⵜⵡⵓⵔⵉ ⵜⴰⵙⵉⵔⴰⵏⵜ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⵎⴰⴹⵍⴰⵏⵏ ⵉⵎⴰⵢⵏⵓⵜⵏ ⵖⵔ ⵡⵉⵍⵢⴰⵎ A. ⴱⵕⴰⴷⵉⵙ.
English: He made his stage debut a few months later as a Japanese butler in Alice's 1921 play Drifting (nervously delivering one line of dialogue), and appeared in several of her subsequent plays.
Tamazight: ⴹⴰⵕⵜ ⵉⴷⵙⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵉⴼⴼⵖ ⴷ ⵜⵉⴽⴽⵍⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⴳ ⵓⵎⵣⴳⵓⵏ ⴷ ⴰⵅⴷⴷⴰⵎ ⴰⵢⴰⴱⴰⵏⵉⵢ ⴳ ⵜⵎⵣⴳⵓⵏⵜ ⴰⵍⵉⵙ ⴷⵔⵉⴼⵜⵉⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1921 (ⵉⵜⵜⵡⴰⵏⵏⴰ ⵢⴰⵏ ⵓⵣⵔⵉⵔⴳ ⴳ ⵓⵎⴰⵡⴰⵍ ⵙ ⵣⵣⵄⴰⴼ), ⵜⴼⴼⵖⴷ ⴳ ⴽⵉⴳⴰⵏ ⵏ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵏⵏⵙ ⴷ ⵉⴷⴷⴰⵏ.
English: A barroom brawl at this time was also a purported cause of Bogart's lip damage, dovetailing with Louise Brooks' account.
Tamazight: ⵉⴳⴰ ⴰⵡⴷ ⵉⵎⵏⵖⵉ ⴳ ⵍⴱⴰⵔ ⴳ ⵜⵉⵣⵉ ⵏⵏⴰⵖ ⵜⴰⵎⵏⵜⵉⵍⵜ ⵉⵙⵅⵙⵔⵏ ⴰⵏⵛⵓⵛ ⵏ ⴱⵓⴳⴰⵔⵜ, ⵉⵎⴽⵉ ⵏⵏⴰ ⵉⵏⵏⴰ ⵍⵡⵉⵙ ⴱⵔⵓⴽⵙ.
English: Bogart disliked his trivial, effeminate early-career parts, calling them "White Pants Willie" roles.
Tamazight: ⵓⵔ ⵉⵃⵎⵉⵍ ⴱⵓⴳⴰⵔⵜ ⵜⵉⵍⴰⵍ ⵏⵏⵙ ⵏ ⵉⵖⵉⵊⴱⴰⵏ, ⵉⴳⴰⵏ ⵃⵜⵜⴰ ⴳ ⵜⵉⵣⵡⵓⵔⵉ ⵏ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ, ⴳⴰⵏⵜ ⵖⵓⵔⵙ ⴰⵎ ⵜⵉⵍⴰⵍ ⵏ "ⵡⴰⵢⵜ ⴱⴰⵏⵜ ⵡⵉⵍⵉ."
English: Menken said in her divorce filing that Bogart valued his career more than marriage, citing neglect and abuse.
Tamazight: ⵍⵍⵉ ⴳ ⵜⵔⴰ ⵎⵉⵏⴽⵉⵏ ⴰⴷ ⵜⵏⵏⴰⵕⵥⵎ ⵜⵏⵏⴰ ⵎⴰⵙ ⴷ ⴱⵓⴳⴰⵔⵜ ⵉⴼⴽⴰ ⵓⴷⴷⵓⵔ ⵉ ⵜⵡⵓⵔⵉ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⵓⴳⴳⴰⵔ ⵏ ⵢⵉⵡⵍ, ⵜⵙⵙⴽⵏ ⵙ ⵓⵡⵏⵓⵍ ⴷ ⵓⵙⵙⵍⴽⵓ.
English: There he met Spencer Tracy, a Broadway actor whom Bogart liked and admired, and they became close friends and drinking companions.
Tamazight: ⴷⵉⵏⵏⴰⵖ ⴰⴳ ⵉⵎⵍⴰⵍⴰ ⴷ ⵙⴱⴰⵏⵙⵔ ⵜⵔⴰⵢⵙⵉ, ⴰⵙⵎⴷⵢⴰ ⴳ ⴱⵔⵓⴷⵡⴰⵢ ⵏⵏⴰ ⵉⵔⴰ ⴱⵓⴳⴰⵔⵜ ⵉⵃⵍⵓ ⵖⵓⵔⵙ, ⴳⵏ ⵉⵎⴷⴷⵓⵓⴽⴽⴰⵍ ⴷ ⵉⵙⵎⵓⵏⵏ ⵏ ⵜⵙⵙⵉ.
English: Tracy received top billing, but Bogart appeared on the film's posters.
Tamazight: ⵜⵓⵎⵥ ⵜⵔⴰⵢⵙⵉ ⴽⵉⴳⴰⵏ ⵏ ⵜⴼⴰⵜⵓⵔⵉⵏ, ⵎⴰⵛⴰ ⴱⵓⴳⴰⵔⵜ ⵉⴼⴼⵖ ⴷ ⴳ ⵜⵙⵎⵎⴰⵍⵉⵏ ⵏ ⵓⴼⵉⵍⵎ.
English: A quarter of a century later, the two men planned to make The Desperate Hours together.
Tamazight: ⴹⴰⵕⵜ ⵔⵔⴱⵄ ⵏ ⵜⵓⵙⵓⵜ, ⵙⵖⴰⵡⵙⵏ ⵉⵔⴳⴰⵣⵏ ⵙ ⵙⵉⵏ ⴰⴷ ⵙⵎⵓⵏⵏ ⵜⵉⵣⵉ ⵏ ⵓⵅⵓⴱ.
English: Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, out of work for long periods.
Tamazight: ⴰⵔ ⵉⵜⵜⴷⴷⵓ ⴱⵓⴳⴰⵔⵜ ⴰⵔ ⴷ ⵉⵜⵜⵓⵖⵓⵍ ⵉⵏⴳⵔ ⵀⵓⵍⵉⵡⵓⴷ ⴷ ⵏⵢⵓⵢⵓⵕⴽ ⵙⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1930 ⴰⵔ 1935, ⴱⵍⴰ ⵜⴰⵡⵓⵔⵉ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⵣⵉ.
English: Although Leslie Howard was the star, The New York Times critic Brooks Atkinson said that the play was "a peach ... a roaring Western melodrama ... Humphrey Bogart does the best work of his career as an actor."
Tamazight: ⵎⵇⵇⴰⵔ ⵜⴳⴰ ⵍⵉⵣⵍⵉ ⵀⵄⵡⴰⵔⴷ ⵜⵉⵜⵔⵉⵜ, ⵉⵏⵏⴰ ⵓⵎⴰⵥⴰⵎ ⴳ ⵓⵖⵎⵉⵙ ⵏ ⵏⵢⵓⵢⵓⵕⴽ ⵙⵉⵜⵉ ⵎⴰⵙ ⴷ ⵜⴰⵎⵣⴳⵓⵏⵜ ⵜⴳⴰ ""ⴰⵅⵓⵅ ... ⴰⵎⵉⵍⵓⴷⵔⴰⵎⴰ ⵏ ⵓⵖⵍⴰⵢ ⵉⵙⵖⵓⵢⵢⵓⵏ ... ⴳ ⵉⴳⴰ ⵀⵓⵎⴼⵔⵉ ⴱⵓⴳⴰⵔⵜ ⴰⵎⵙⴷⵢⴰ ⴰⵢⴷ ⵉⵙⵙⴽⵔ ⵜⴰⵡⵓⵔⵉ ⵜⴰⵎⵓⴼⴰⵢⵜ ⴳ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ.
English: Warner Bros. bought the screen rights to The Petrified Forest in 1935.
Tamazight: ⵜⵙⵖⴰ ⵡⴰⵕⵏⵔ ⴱⵕⵓⵙ ⵉⵣⵔⴼⴰⵏ ⵏ ⵓⵎⵉⵥⴰⵕ ⵏ ⵜⴰⴳⴰⵏⵜ ⵉⵇⵇⵓⵔⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1935.
English: Howard, who held the production rights, made it clear that he wanted Bogart to star with him.
Tamazight: ⵉⵙⵙⴼⵔⴰ ⵀⴰⵡⴰⵔⴷ, ⵏⵏⴰ ⵎⵉ ⴳⴰⵏ ⵉⵣⵔⴼⴰⵏ ⵏ ⵓⴼⴰⵔⵙ ⵡⵉⵏⵏⵙ, ⵎⴰⵙ ⵉⵔⴰ ⴰⴷ ⵢⵓⵔⴰⵔ ⴷ ⴱⵓⴳⴰⵔⵜ.
English: When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart.
Tamazight: ⵍⵍⵉⴳ ⵉⵥⵕⴰ ⵡⴰⵕⵏⵔ ⴱⵕⵓⴷⵔⵣ ⵉⵙ ⵉⵙⵍⵖ ⵀⴰⵡⴰⵔⴷ, ⵔⵔⵉⵣⵏ ⴳⵔⵏ ⴱⵓⴳⴰⵔⵜ.
English: According to Variety, "Bogart's menace leaves nothing wanting".
Tamazight: ⵏⵉⵍ ⴼⴰⵔⵢⵉⵜⵉ, "ⴰⵙⴷⵉⴷⴷⵉ ⵏ ⴱⵓⴳⴰⵔⵜ ⵓⵔ ⴷⴰ ⵉⵜⵜⴰⴷⵊⴰ ⴰⵡⴷ ⵉⵔⵉ".
English: There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody.
Tamazight: ⵉⵅⵙⵙ ⴰⴷ ⵢⵉⵍⵉ ⴽⵔⴰ ⴳ ⵓⴳⵕⴹ ⵉⵏⵓ, ⵏⵖⴷ ⵓⴷⵎ ⴰⴷ ⴰⵎⵥⵥⵏⴳⵕ—ⴽⵔⴰ ⵉⴳⴰⵏ ⵎⴳⴰⵍ ⴽⵓⵍⵍⵓ.
English: In spite of his success, Warner Bros. had no interest in raising Bogart's profile.
Tamazight: ⵎⵇⵇⴰⵔ ⵉⵎⵓⵔⵙ, ⵡⴰⵔⵏⵔ ⴱⵕⵓⴷⵔⵣ ⵓⵔ ⵖⵓⵔⵙ ⴰⵙⵎⴽⵍ ⴳ ⵡⴰⵙⴰⵢ ⵏ ⵜⵡⵍⴰⴼⵜ ⵏ ⴱⵓⴳⴰⵔⵜ.
English: Bogart used these years to begin developing his film persona: a wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a code of honor.
Tamazight: ⵓⵙⵙⵎⵔⴷ ⴱⵓⴳⴰⵔⵜ ⵉⵙⴳⴳⴰⵙⵏ ⴰⴷ ⵉⵙⴱⵓⵖⵍⵓ ⴰⵡⵔⵉⴽ ⵏⵏⵙ ⴳ ⵓⴼⵉⵍⵎ: ⴰⵎⴰⴳⵓⵙ, ⴰⵔⵉⵡⴰⵇⵉⵢ, ⴰⵎⵟⵏⴰⵥ, ⴰⴳⵣⵣⴰⵏ, ⴰⵎⵓⴷⵔⵓⵙ, ⵉⵟⵟⵏⴰⵥ ⴳ ⵉⵖⴼ ⵏⵏⵙ, ⴷ ⵉⵏⵉⴳⵏ ⵏ ⵡⵓⴷⴷⵓⵔ.
English: His disputes with Warner Bros. over roles and money were similar to those waged by the studio with more established and less malleable stars such as Bette Davis and James Cagney.
Tamazight: ⴳⴰⵏ ⵉⵎⵣⴰⵔⴰⵢⵏ ⵏⵏⵙ ⴷ ⵡⴰⵕⵏⵔ ⴱⵔⵓⴷⵔⵣ ⵅⴼ ⵜⵉⵍⴰⵍ ⴷ ⵉⴷⵔⵉⵎⵏ ⴰⵎ ⵡⵉⵏⵏⴰ ⵉⵣⵣⵔⵉ ⵓⵙⵜⵓⴷⵢⵓ ⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵜⵔⴰⵏ ⵉⵜⵜⵡⴰⵙⵙⵏ ⴷ ⵉⵛⵇⵇⴰⵏ ⴰⵎ ⴱⵉⵜⵜ ⴷⴰⴼⵉⴷ ⴷ ⵊⵉⵎⵙ ⴽⴰⴳⵏⵉ.
English: His only leading role during this period was in Dead End (1937, on loan to Samuel Goldwyn), as a gangster modeled after Baby Face Nelson.
Tamazight: ⴳ ⵜⵉⵣⵉ ⴰⴷ ⵜⵉⵍⴰⵍⵜ ⵏⵏⵙ ⵜⴰⵙⴷⵍⴰⵏⵜ ⴳ ⴷⵉⵢⴷ ⵉⵏⴷ (1937, ⵜⵜⵓⴹⴼⵕ ⵉ ⵙⴰⵎⵡⵉⵍ ⴳⵓⵍⴷⵡⵉⵏ), ⴰⵎ ⵓⵔⴳⴰⵣ ⵏ ⵜⵔⴱⵉⵄⵜ ⵣⵓⵏⴷ ⴱⴰⵢⴱⵉ ⴼⴰⵢⵙ ⵏⵉⵍⵙⵓⵏ.
English: In Black Legion (1937), a movie Graham Greene described as "intelligent and exciting, if rather earnest", he played a good man who was caught up with (and destroyed by) a racist organization.
Tamazight: ⴰⴼⵉⵍⵎ ⴱⵍⴰⴽ ⵍⵉⴳⵢⵓⵏ (1937), ⵏⵏⴰ ⵉⵙⵏⵓⵎⵎⵍ ⴳⵔⴰⵀⴰⵎ ⴳⵔⵉⵏ ⵙ ""ⴰⵎⵉⵖⵉⵙ ⴷ ⵓⵏⴱⴷⴰⵔ, ⵉⴳ ⵛⵡⵉⵢ ⴰⵎⴰⴳⵍⴰⵢ"", ⵢⴰⵔⵉⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵢⴰⵏ ⵓⵔⴳⴰⵣ ⵉⵖⵓⴷⴰⵏ ⵉⵜⵜⵢⴰⵎⵥⵏ (ⵉⵜⵜⵓⵔⵎⴷ ⵙ) ⵢⴰⵜ ⵜⵔⴰⴱⴱⵓⵜ ⵜⴰⵎⵙⵙⴰⵥⵓⵕⵜ.
English: The trouble was they were drinking mine and I was making this stinking movie."
Tamazight: ⴰⵎⵓⴽⵔⵉⵙ ⴷ ⵏⵉⵜⵏⵉ ⴰⵔ ⵙⵙⴰⵏ ⵙⴳ ⴷⵉⴳⵉ ⴰⵔ ⵙⵡⵍⴰⴼⵖ ⴰⴼⵉⵍⵎ ⴰⴷ ⴰⵎⵉⵊⵊⵓ."""
English: On August 21, 1938, Bogart entered a turbulent third marriage to actress Mayo Methot, a lively, friendly woman when sober but paranoid and aggressive when drunk.
Tamazight: ⴳ 21 ⵖⵓⵛⵜ 1938, ⵉⴽⵛⵎ ⴱⵓⴳⴰⵔⵜ ⵉⵡⵍ ⵡⵉⵙ ⴽⵕⴰⴹ ⵉⵎⵎⵔⴳⴰⴳⵉⵏ ⵙⴳ ⵜⵙⵎⴷⵢⴰⵜ ⵎⴰⵢⵓ ⵎⵉⵜⵓⵜ, ⵢⴰⵜ ⵜⵎⵟⵟⵓⴹⵜ ⵉⵎⴰⵔⵖⵏ ⵜⵃⵏⵓⵏⴰ ⴰⴷⴷⴰⵢ ⵜⵕⵣⵏ, ⵎⴰⵛⴰ ⴷ ⵜⴰⵎⴰⴷⵓⵜⵜ ⴷ ⵜⴰⵣⵣⵔⵜ ⴰⴷⴷⴰⵢ ⵜⵙⵡⴰ.
English: She set their house afire, stabbed him with a knife, and slashed her wrists several times.
Tamazight: ⵜⵙⵙⴰⵖ ⴰⴼⴰ ⴳ ⵜⴰⴷⴷⴰⵔⵜ ⵏⵏⵙⵏ, ⵜⵓⵜⵜ ⵙ ⵍⵎⵓⵙⵙ, ⵜⴱⴱⵉ ⴰⴼⵓⵙ ⵏⵏⵙ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⵍⵜ.
English: According to their friend, Julius Epstein, "The Bogart-Methot marriage was the sequel to the Civil War".
Tamazight: ⵏⵉⵍ ⵓⵢⵏⵏⴰ ⵉⵏⵏⴰ ⵓⵎⴷⴷⴰⴽⴽⵍ ⵏⵏⵙⵏ, ⵊⵓⵍⵢⵓⵙ ⵉⴱⵙⵜⵉⵏ, "ⵉⴳⴰ ⵢⵉⵡⵍ ⵏ ⴱⵓⴳⴰⵔⵜ ⴷ ⵎⵉⵜⵓⵜ ⴰⵙⵎⴰⴷ ⵏ ⵉⵎⵏⵖⵉ ⵓⵖⵔⵉⵎ""."
English: Methot's influence was increasingly destructive, however, and Bogart also continued to drink.
Tamazight: ⴽⵓⴷ ⵉⵜⴷⴷⵓ ⵢⵉⴹⵉⵚ ⵏ ⵎⵉⵜⵓⵜ ⵉⵜⵜⵄⴰⵡⴰⴷ ⵉⵅⵍⵍⵓ, ⵎⴰⵛⴰ ⴱⵓⴳⴰⵔⵜ ⵉⵙⵙⵓⴷⴰ ⴳ ⵜⵉⵙⵙⵉ.
English: When he thought an actor, director or studio had done something shoddy, he spoke up publicly about it.
Tamazight: ⵍⵍⵉⴳ ⵉⵖⴰⵍ ⴽⵔⴰ ⵏ ⵓⵙⵎⴷⵢⴰ, ⴰⵎⵙⵙⵓⴼⵖ ⵏⵖⴷ ⴰⵙⵜⵓⴷⵢⵓ ⵉⵙ ⵙⵙⴽⵔⵏ ⴽⵔⴰ ⵓⵔ ⵉⵃⵍⵉⵏ, ⵉⵙⴰⵡⵍ ⵖⵉⴼⵙ ⵉ ⵓⵎⴰⵜⴰ.
English: Paul Muni, George Raft, Cagney and Robinson turned down the lead role, giving Bogart the opportunity to play a character with some depth.
Tamazight: ⵓⵔ ⵉⵔⵉ ⴱⵓⵍ ⵎⵓⵏⵉ, ⵊⵓⵔⵊ ⵕⴰⴼⵜ, ⴽⴰⴳⵏⵉ ⴷ ⵕⵓⴱⵉⵏⵙⵓⵏ ⵜⵉⵍⴰⵍⵜ ⵜⴰⴷⵙⵍⴰⵏⵜ, ⵉⵜⵜⵓⴼⴽⴰ ⵓⵣⵎⵣ ⵉ ⴱⵓⴳⴰⵔⵜ ⴰⴷ ⵢⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵙ ⵓⵙⴳⵓⵏⴼⵓ.
English: He worked well with Ida Lupino, sparking jealousy from Mayo Methot.
Tamazight: ⵉⵙⵖⵓⴷⴰ ⵜⴰⵡⵓⵔⵉ ⵏⵏⵙ ⴷ ⵉⴷⴰ ⵍⵓⴱⵉⵏⵓ, ⵉⵙⵙⵓⴽⵉ ⴰⴽⴰⵢⴰⴹ ⵏ ⵎⴰⵢⵓ ⵎⵉⵜⵓⵜ.
English: He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare, and subscribed to the Harvard Law Review.
Tamazight: ⵉⵖⵢ ⴰⴷ ⵉⵙⵙⵎⵔⵙ ⵉⵡⴰⵍⵉⵡⵏ ⵏ ⴰⴼⵍⴰⵟⵓⵏ, ⴱⵓⴱ, ⵕⴰⵍⴼ ⵡⴰⵍⴷⵓ ⵉⵎⵉⵔⵙⵓⵏ ⴷ ⵓⴳⴳⴰⵔ ⵏ ⵜⵎⵉⴹⵉ ⵏ ⵓⵣⵔⵉⵔⵉⴳ ⵏ ⵛⵉⴽⵙⴱⵉⵔ, ⴷ ⵢⴰⵎⵓ ⴳ ⵜⵙⵖⵓⵏⵜ ⵏ ⵓⵣⵔⴼ ⵀⴰⵔⴼⴰⵔⴷ.
English: Based on the Dashiell Hammett novel, it was first serialized in the pulp magazine Black Mask in 1929 and was the basis of two earlier film versions; the second was Satan Met a Lady (1936), starring Bette Davis.
Tamazight: ⴰⵙⵙⵏⴷ ⵙ ⵓⵏⴳⴰⵍ ⴷⴰⵛⵢⵉⵍ ⵀⴰⵎⵎⵜ, ⵏⵏⴰ ⵉⴼⴼⵖⵏ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⴳ ⵜⵙⵖⵓⵏⵜ ⴱⵍⴰⴽ ⵎⴰⵙⴽ ⴳ 1929 ⴷ ⵜⴳⴰ ⵜⵉⵔⵙⵍⵜ ⵏ ⵙⵏⴰⵜ ⵜⵓⵏⵖⵉⵍⵉⵏ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⵣⵔⵉⵏ; ⵡⵉⵙ ⵙⵉⵏ ⵉⴳⴰ ⵛⵛⵉⵜⴰⵏ ⵉⵎⵍⴰⵍⴰ ⵎⴰⵙⵙⴰ (1936), ⴷ ⵓⵏⴱⵔⴰⵣ ⴱⵉⵜⵜ ⴷⴰⴼⵉⴷ.
English: Huston then eagerly accepted Bogart as his Sam Spade.
Tamazight: ⵢⵓⵖⵓⵍ ⵀⴰⵙⵜⵓⵏ ⵉⵔⴰ ⴱⵓⴳⴰⵔⵜ ⵙ ⵓⴷⴷⵔⴰⴼ ⵉⴳ ⵙⴰⵎ ⵙⵎⵉⴷ.
English: The film, directed by Michael Curtiz and produced by Hal Wallis, featured Ingrid Bergman, Claude Rains, Sydney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson.
Tamazight: ⴰⴼⵉⵍⵎ ⵙⴳ ⵓⵙⵙⵓⴼⵖ ⵏ ⵎⴰⵢⴽⵍ ⴽⵉⵔⵜⵙ ⴷ ⵓⴼⴰⵔⵙ ⵏ ⵀⴰⵍ ⵡⴰⵍⵉⵙ, ⵉⴼⴼⵖ ⴷ ⴷⵉⴳⵙ ⵉⵏⴳⵔⵉⴷ ⴱⵉⵔⴳⵎⴰⵏ, ⴷ ⴽⵍⵓⴷ ⵔⵉⵢⵏⵙ, ⵙⵉⴷⵏⵉ ⴳⵔⵉⵏⵙⵜⵔⵉⵜ, ⴱⵓⵍ ⵀⵉⵏⵔⵉⴷ, ⴽⵓⵏⵔⴰⴷ ⴼⵉⴷⵜ, ⴱⵉⵜⵔ ⵍⵓⵕⵉ ⴷ ⴷⵓⵍⵉ ⵡⵉⵍⵙⵓⵏ.
English: Bogart is reported to have been responsible for the notion that Rick Blaine should be portrayed as a chess player, a metaphor for the relationships he maintained with friends, enemies, and allies.
Tamazight: ⵉⴳⴰ ⴱⵓⴳⴰⵔⵜ ⴰⵎⴰⵙⵙⴰⵢ ⵏ ⵜⴰⵏⵏⴰⵢⵜ ⵏ ⵓⵙⵡⵍⴼ ⵏ ⵔⵉⴽ ⴱⵍⵉⵏ ⴰⵎⵉⵔⴰⵔ ⵏ ⵛⵛⵟⵕⴰⵏⵊ, ⵢⴰⵏ ⵓⵍⵡⴰ ⵉ ⵉⵣⴷⴰⵢⵏ ⵏⵏⴰ ⵉⵇⵇⵉⵍ ⴷ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⴷ ⵉⵛⵏⴳⴰ ⴷ ⵉⵎⵙⵙⵓⵔⵏ.
English: Bogart was nominated for Best Actor in a Leading Role, but lost to Paul Lukas for his performance in Watch on the Rhine.
Tamazight: ⵉⵜⵜⵓⵙⵜⴰⵢ ⴱⵓⴳⴰⵔⵜ ⴷ ⴰⵎⵙⴷⵢⴰ ⴰⵎⵓⴼⴰⵢ ⴳ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵏⴰⵔⴰⵢⵜ, ⵎⴰⵛⴰ ⵉⵔⵏⴰⵜ ⴱⵓⵍ ⵍⵓⴽⴰⵙ ⵙ ⵓⵙⵡⵓⴷⴷⵓ ⵏⵏⵙ ⴳ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ ⵅⴼ ⵡⴰⵙⵉⴼ ⵏ ⵕⴰⵢⵏ.
English: Bogart went on United Service Organizations and War Bond tours with Methot in 1943 and 1944, making arduous trips to Italy and North Africa (including Casablanca).
Tamazight: ⵉⴷⴷⴰ ⴱⵓⴳⴰⵔⵜ ⴳ ⵡⵓⵜⵓⵢⵏ ⵏ ⵜⵎⴰⴷⴷⴰⵙⵜ ⵏ ⵜⵡⵓⵔⵉ ⵉⵎⵓⵏ ⴷ ⵡⵓⵜⵓⵢⵏ ⵡⴰⵕ ⴱⵓⵏⴷ ⵏⵜⵜⴰ ⴷ ⵎⵉⵜⵓⵜ ⴳ 1943 ⴷ 1944, ⵙⴽⵔⵏ ⵜⵉⵏⵢⵓⴷⴷⵓⵜⵉⵏ ⵉⵛⵇⵇⴰⵏ ⵙ ⵉⵜⴰⵍⵢⴰ ⵏ ⵉⵥⵍⵎⴹ ⵏ ⵉⴼⵕⵉⵇⵢⴰ (ⴳ ⵜⴰⵎⵓ ⴽⴰⵣⴰⴱⵍⴰⵏⴽⴰ).
English: When they met, Bacall was 19 and Bogart 44; he nicknamed her "Baby."
Tamazight: ⵍⵍⵉⴳ ⵎⵍⴰⵍⴰⵏ, ⴱⴰⴽⴰⵍ ⵖⵓⵔⵙ 19 ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⴷ ⴱⵓⴳⴰⵔⵜ 44; ⵉⵙⵙⵍⵖ ⴰⵙ ""ⴱⴰⵢⴱⵉ."""
English: We'll have a lot of fun together".
Tamazight: ⵇⵏⵏⴰ ⴰⴷ ⵏⵕⵛⵇ ⴽⵓⵍⵍⵓ ⴰⵖ".
English: By Myself and Then Some, HarperCollins, New York, 2005.
Tamazight: ⵙ ⵉⵅⴼ ⵉⵏⵓ ⵄⴰⴷ ⵙⵓⵎ, ⵀⴰⵕⴱⵕⴽⵓⵍⵉⵏⵙ, ⵏⵢⵓⵢⵓⵕⴽ, 2005.
English: He considered himself Bacall's protector and mentor, and Bogart was usurping that role.
Tamazight: ⵉⴳⴰ ⵉⵅⴼ ⵏⵏⵙ ⴷ ⵓⵏⴹⴰⴼ ⴷ ⵓⵙⵍⵎⴰⴷ ⵏ ⴱⴰⴽⴰⵍ, ⴱⵓⴳⴰⵔⵜ ⵉⵙⵅⵙⵔ ⵜⵉⵍⴰⵍⵜ ⴰⴷ.
English: Also, he has a sense of humor that contains that grating undertone of contempt."
Tamazight: ⴷ ⴰⵡⴷ, ⵜⵍⵍⴰ ⴷⵉⴳⵙ ⵜⵇⴱⴱⴰⴹⵜ ⵏⵏⴰ ⴳ ⵉⵍⵍⴰ ⵓⵃⵇⵇⵔ ⵉⵙⴳⵔⵓⵔⵓⵙⵏ.
English: The dialogue, especially in the added scenes supplied by Hawks, was full of sexual innuendo, and Bogart is convincing as private detective Philip Marlowe.
Tamazight: ⵉⵍⵍⴰ ⴳ ⵓⵎⵙⴰⵡⴰⵍ, ⵙ ⵓⵥⵍⴰⵢ ⴳ ⵉⵎⵉⵥⴰⵕⵏ ⵏⵏⴰ ⵉⵙⵙⴽⵔ ⵀⵓⴽⵙ, ⵉⵙⴽⴰⵏⵏ ⵏ ⵜⵓⵇⵇⵓⵜ, ⴷ ⴱⵓⴳⴰⵔⵜ ⵉⵙⵙⵏⵥⴰ ⴷ ⴰⵎⵙⵙⵉⴷⴻⴷ ⴰⵎⵥⵍⴰⵢ ⴼⵉⵍⵉⴱ ⵎⴰⵔⵍⵓⵡ.
English: The marriage was a happy one, with tensions due to their differences.
Tamazight: ⵉⵎⴷⵣ ⵢⵉⵡⵍ, ⴷ ⴽⵔⴰ ⵏ ⵜⴰⵥⵉⵜⵜ ⴰⵛⴽⵓ ⵎⵣⴰⵔⴰⵢⵏ ⵉⵏⴳⵔ ⴰⵙⵏ.
English: According to Bogart's biographer, Stefan Kanfer, it was "a production line film noir with no particular distinction".
Tamazight: ⵏⵉⵍ ⵓⵎⵉⵔⴰ ⵏ ⵜⵔⵉⴷⵉⵔⵜ ⵏ ⴱⵓⴳⴰⵔⵜ, ⵙⵜⵉⴼⴰⵏ ⴽⴰⵏⴼⵔ, ""ⴰⴱⵔⵉⴷ ⵏ ⵓⴼⴰⵔⵙ ⵏ ⵓⴼⵉⵍⵎ ⵏⵓⵢⵕ ⵓⵔ ⴷⵉⴳⵙ ⵉⵎⵅⴰⵍⴰⴼⵏ ⵉⵎⵥⵍⴰⵢ""."
English: Lacking a love interest or a happy ending, it was considered a risky project.
Tamazight: ⴰⵛⴽⵓ ⵓⵔ ⵖⵓⵔⵙ ⴰⵙⵎⴽⵍ ⵙ ⵜⴰⵢⵔⵉ ⵏⵖⴷ ⵜⵉⴳⵉⵔⴰ ⵉⵎⴷⵣⵏ, ⴰⵙ ⵉⴳⴰ ⴰⵙⵖⵏⵓ ⵉⵎⵉⵣⵉ.
English: James Agee wrote, "Bogart does a wonderful job with this character ... miles ahead of the very good work he has done before."
Tamazight: ⵢⵓⵔⴰ ⵊⵉⵎⵙ ⴰⵊⵉ, ""ⵉⵙⵙⴽⵔ ⴱⵓⴳⴰⵔⵜ ⵜⴰⵡⵓⵔⵉ ⵉⵖⵓⴷⴰⵏ ⵙ ⵓⵡⵔⵉⴽ ⴰⴷ ... ⵙ ⴷⴰⵜ ⴽⵉⴳⴰⵏ ⵏ ⵜⵡⵓⵔⵉ ⵉⵖⵓⴷⴰⵏ ⵏⵏⴰ ⵉⵙⵙⴽⵔ ⵙⴳ ⵍⵍⵉ."""
English: Bogart appeared in his final films for Warners, Chain Lightning (1950) and The Enforcer (1951).
Tamazight: ⵉⴼⴼⵖ ⴷ ⴱⵓⴳⴰⵔⵜ ⴳ ⵉⴼⵉⵍⵎⵏ ⵏⵏⵙ ⵉⵎⴳⴳⵓⵔⴰ ⵅⴼ ⵡⴰⵕⵏⵔⵣ, ⵛⴰⵢⵏ ⵍⴰⵢⵜⵏⵉⵏⴳ (1950) ⴷ ⵉⵏⴼⵓⵕⵙⵔ (1951).
English: Santana also made two films without him: And Baby Makes Three (1949) and The Family Secret (1951).
Tamazight: ⵉⴼⴰⵔⵙ ⵙⴰⵏⵜⴰⵏⴰ ⵙⵉⵏ ⵉⴼⵉⵍⵎⵏ ⴱⵍⴰ ⵜ: ⴱⴰⵢⴱⵉ ⵎⴰⵢⴽⵙ ⵜⵔⵉ (1949) ⴷ ⴷⵓ ⴼⴰⵎⵉⵍⵢ ⵙⵓⴽⵔⵉⵜ (1951).
English: Several Bogart biographers, and actress-writer Louise Brooks, have felt that this role is closest to the real Bogart.
Tamazight: ⵓⴼⵔⴰⵢⵏ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵉⵔⴰⵜⵏ ⵏ ⵜⵔⵉⴷⵉⵔⵜ ⵏ ⴱⵓⴳⴰⵔⵜ, ⴷ ⵜⵙⵎⴷⵢⴰⵜ ⴷ ⵜⵎⵉⵔⴰⵢⵜ ⵍⵡⵉⵣ ⴱⵔⵓⴽⵙ, ⵎⴰⵙ ⴷ ⵜⵉⵍⴰⵍⵜ ⴷⵖ ⴰⴷ ⵉⵏⵎⴰⵍⴰⵏ ⴱⵓⴳⴰⵔⵜ.
English: A parody of sorts of The Maltese Falcon, Beat the Devil was the final film for Bogart and John Huston.
Tamazight: ⴰⴼⵉⵍⵎ ⵏ ⴱⵉⵢⵜ ⴷⵓ ⴷⵓⴼⵉⵍ ⴰⵢⴷ ⵉⴳⴰⵏ ⴰⵎⴳⴳⴰⵔⵓ ⵏ ⴱⵓⴳⴰⵔⵜ ⴷ ⵊⵓⵏ ⵀⵓⵙⵜⵓⵏ, ⵉⴳⴰ ⴰⵎⵟⵏⴰⵥ ⵣⵓⵏⴷ ⴰⵏⴰⵡ ⵏ ⵍⴱⴰⵣ ⴰⵎⴰⵍⵟⵉⵢ.
English: Huston's love of adventure, his deep, longstanding friendship (and success) with Bogart, and the chance to work with Hepburn convinced the actor to leave Hollywood for a difficult shoot on location in the Belgian Congo.
Tamazight: ⵜⴰⵢⵔⵉ ⵏ ⵀⵉⵙⵜⵓⵏ ⵉ ⵜⵎⵙⴽⵙⴰⵍⵜ, ⴷ ⵜⵉⴷⴷⵓⴽⴽⵍⴰ ⵏⵏⵙ ⵉⵄⵓⴱⵏ ⵉⵖⵣⵣⵉⴼⵏ (ⴷ ⵓⵎⵓⵔⵙ ⵏⵏⵙ) ⴷ ⴱⵓⴳⴰⵔⵜ, ⴷ ⵡⴰⵏⵏⴰⵣ ⵏ ⵜⵡⵓⵔⵉ ⴷ ⵀⵉⴱⴱⵓⵔⵏ ⴰⵢⴷ ⵉⵏⵥⴰⵏ ⴰⵙⵎⴷⵢⴰ ⴰⴷ ⵉⴼⵍ ⵀⵓⵍⵉⵡⵓⴷ ⵅⴼ ⵢⴰⵏ ⵓⵙⵡⵍⴼ ⵉⵛⵇⵇⴰⵏ ⴳ ⵍⴽⵓⵏⴳⵓ ⵜⴰⴱⵍⵊⵉⴽⵉⵢⵜ.
English: Bacall came for the over-four-month duration, leaving their young son in Los Angeles.
Tamazight: ⵉⴷⴷⴰⴷ ⴱⴰⴽⴰⵍ ⵢⴰⵜ ⵜⵉⵣⵉ ⵓⴳⴳⴰⵔ ⵏ ⴽⴽⵓⵥ ⵏ ⵡⴰⵢⵢⵓⵔⵏ, ⵉⴼⵍ ⵏⵏ ⵎⴻⵎⵎⵉⵙ ⴳ ⵍⵓⵙ ⴰⵏⵊⵍⵓⵙ.
English: She Luxed my undies in darkest Africa."
Tamazight: ⵜⴽⴽⵙ ⵉⵙⴳⴱⴰⵙ ⵏⵏⵙ ⴳ ⵜⴰⵍⵍⵙⵜ ⵏ ⵉⴼⵕⵉⵇⵢⴰ."
English: Hepburn (a teetotaler) fared worse in the difficult conditions, losing weight and at one point becoming very ill.
Tamazight: ⵀⵉⴱⴱⵓⵕⵏ (ⵜⴰⵏⴰⵥⵓⵎⵜ) ⵜⴽⵔⴼⵙ ⵜⵉⵍⵉ ⴳ ⵡⴰⴷⴷⴰⴷⵏ ⵓⵔ ⵉⵃⵍⵉⵏ, ⴰⵛⴽⵓ ⵜⴷⴷⴰ ⴰⵙ ⵜⴰⵥⵉⵢⵜ ⵏⵏⵙ ⵜⴰⴹⵏ ⴽⵉⴳⴰⵏ ⴳ ⵢⴰⵜ ⵜⴼⵔⴽⵜ.
English: Despite the discomfort of jumping from the boat into swamps, rivers and marshes, The African Queen apparently rekindled Bogart's early love of boats; when he returned to California, he bought a classic mahogany Hacker-Craft runabout which he kept until his death.
Tamazight: ⵎⵇⵇⴰⵔ ⵉⵍⵍⴰ ⵓⴳⵔⵓⵔⵙ ⴳ ⵓⵏⴹⴰⵡ ⵙⴳ ⵓⵖⵕⵕⴰⴱⵓ ⵙ ⵉⵙⴰⴼⴼⵏ ⴷ ⵉⵍⵎⴰⵜⵏ, ⵜⵙⵙⵓⴽⵉⴷ ⵜⴳⵍⵍⵉⴷⵜ ⵏ ⵉⴼⵔⵉⵇⵢⴰ ⵜⴰⵢⵔⵉ ⵏ ⴱⵓⴳⴰⵔⵜ ⵉ ⵉⵖⵕⵕⴰⴱⵓⵜⵏ; ⵍⵍⵉ ⴳ ⵢⴰⵖⵓⵍ ⵙ ⴽⴰⵍⵉⴼⵓⵕⵏⵢⴰ, ⵉⵙⵖⴰ ⵢⴰⵜ ⵜⵙⵓⵔⴰⵔⵜ ⵜⴰⴽⵍⴰⵙⵉⴽⵉⵢⵜ ⵏ ⵓⴽⵛⵛⵓⴹ ⴰⵎⴰⵀⵓⵊⵉⵏⵉⵢ ⵀⴰⴽⵕ-ⴽⵔⴰⴼⵜ ⵉⵃⴹⵓ ⵜⵜ ⴰⵍⵍⵉⴳ ⵉⵎⵎⵓⵜ.
English: When Bogart won, however, he said: "It's a long way from the Belgian Congo to the stage of this theatre.
Tamazight: ⵎⴰⵛⴰ, ⵍⵍⵉ ⴳ ⵉⵎⵓⵔⵙ ⴱⵓⴳⴰⵔⵜ ⵉⵏⵏⴰ: "ⵉⵄⵔⵇⵇ ⵓⴱⵔⵉⴷ ⵙⴳ ⵍⴽⵓⵏⴳⵓ ⵜⴰⴱⵍⵊⵉⴽⵉⵢⵜ ⵙ ⵜⵎⵥⵕⵉⵜ ⵏ ⵓⵎⵣⴳⵓⵏ.
English: As in tennis, you need a good opponent or partner to bring out the best in you.
Tamazight: ⵣⵓⵏⴷ ⵜⵜⵉⵏⵉⵙ, ⵉⵅⵙⵙⴰⴽ ⵓⵏⴹⵍⵉⴱ ⵏⵖⴷ ⴰⵎⵙⵙⵓⵔ ⵉⵖⵓⴷⴰⵏ ⴰⴼⴰⴷ ⴷ ⵜⵙⵙⵓⴼⵖⴷ ⴰⵢⵏⵏⴰ ⴷⵉⴳⴽ ⵉⵍⵍⴰⵏ.
English: Though he retained some of his old bitterness about having to do so, he delivered a strong performance in the lead; he received his final Oscar nomination and was the subject of a June 7, 1954 Time magazine cover story.
Tamazight: ⵎⵇⵇⴰⵔ ⵉⵃⴹⴰ ⴽⵔⴰ ⴳ ⵜⴰⵕⵥⴳⵜ ⵏⵏⵙ ⵜⴰⵣⴰⵢⴽⵓⵜ ⵏ ⵡⴰⴷ ⵉⵙⵙⴽⴰⵔ ⴰⵢⴰ, ⵎⴰⵛⴰ ⵉⵙⵏⴽⴷ ⵢⴰⵏ ⵡⴰⴳⴳⴰⵢ ⴰⵏⴰⴼⵍⵍⴰ; ⵢⴰⵎⵥ ⴰⵥⵍⴰⵢ ⵏⵏⵙ ⴰⵎⴳⴳⴰⵔⵓ ⵉ ⵜⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵕ ⵉⴳ ⵉⵎⵔⵙⵉ ⴳ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⵜⵙⵖⵓⵏⵜ ⵜⴰⵢⵎ ⴳ 7 ⵎⴰⵢⵢⵓ 1954.
English: He is the type of director I don't like to work with ... the picture is a crock of crap.
Tamazight: ⵉⴳⴰ ⴰⵏⴰⵡ ⵏ ⵓⵎⵙⵙⵓⴼⵖ ⵏⵏⴰ ⵙ ⵓⵔ ⵔⵉⵖ ⴰⴷ ⵉⴷⵙ ⵙⵡⵓⵔⵉⵖ ... ⵜⴰⵡⵍⴰⴼⵜ ⵜⴳⴰ ⴰⵇⵛⵓⵕ ⵙⴳ ⵓⵙⴽⵙⵜⴼ.
English: Despite the acrimony, the film was successful; according to a review in The New York Times, Bogart was "incredibly adroit ... the skill with which this old rock-ribbed actor blends the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show".
Tamazight: ⵎⵇⵇⴰⵔ ⵜⵍⵍⴰ ⵜⵓⵥⵥⵉⵔⵜ, ⵉⵎⵓⵔⵙ ⵓⴼⵉⵍⵎ; ⵏⵉⵍ ⵓⵣⵣⵔⴰⵢ ⵏ ⵓⵖⵎⵉⵙ ⵏⵢⵓⵢⵓⵕⴽ ⵜⴰⵢⵎⵣ, ⵉⴳⴰ ⴱⵓⴳⴰⵔⵜ "ⴰⵎⴷⴷⵏⴽⵉ ⵓⵔ ⵉⵜⵜⵓⴷⵎⵉ ... ⴰⴼⵓⴽⵙ ⵏⵏⴰ ⴳ ⵉⵜⵙⵙⵓⵔ ⵓⵙⵎⴷⵢⴰ ⵉⵏⴳⵔ ⵓⵎⵙⴰⵎⵎⴰ ⴰⵔ ⵜⵏ ⵉⵙⵎⵓⵏ ⵙ ⵜⵎⴰⵎⴽⵜ ⵉⵣⵄⵎⵏ ⴰⴼⵙⵙⴰⵢ ⵉⴳⴰ ⵙⴳ ⵉⵎⴷⴰⵣⵏ ⵏ ⵓⵎⵉⵥⴰⵕ ⵉⴳⴳⵓⵜⵏ".
English: He was uneasy with Ava Gardner in the female lead; she had just broken up with his Rat Pack buddy Frank Sinatra, and Bogart was annoyed by her inexperienced performance.
Tamazight: ⵓⵔ ⵉⵙⵡⴰⵏⴼⴰ ⵏⵜⵜⴰ ⴷ ⴰⴼⴰ ⵀⴰⵕⴷⵏⵔ ⴳ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵙⴷⵍⴰⵏⵜ ⵏⵜⵎⵟⵟⵓⴹⵜ; ⴱⵃⵕⴰ ⵜⵏⵏⵓⵕⵥⵎ ⵙⴳ ⵓⵎⴷⴷⴰⴽⴽⵍ ⵏⵏⵙ ⴼⵕⴰⵏⴽ ⵙⵉⵏⴰⵜⵔⴰ, ⵉⴳⵔⵓⵔⵙ ⴱⵓⴳⴰⵔⵜ ⵙⴳ ⵜⴰⴳⴳⴰⵢⵜ ⵏⵏⵙ ⴳ ⵓⵔ ⵜⵍⵍⵉ ⵜⵎⵓⵥⴰⵢⵜ.
English: When Bacall found them together, she extracted an expensive shopping spree from her husband; the three traveled together after the shooting.
Tamazight: ⵍⵍⵉ ⴳ ⵜⵏ ⵉⵏⵏ ⵜⵓⴼⴰ ⴱⴰⴽⴰⵍ ⵙ ⵙⵉⵏ, ⵜⴽⴽⵙ ⴷ ⴳ ⵓⵔⴳⴰⵣ ⵏⵏⵙ ⵢⴰⵜ ⵜⵙⵓⵜⵍⵜ ⵏ ⵎⵙⵉⵖⵜ ⵉⵖⵍⴰⵏ; ⵎⵎⵓⴷⴷⵓⵏ ⵙ ⴽⵕⴰⴹ ⴹⴰⵕⵜ ⵡⴰⴼⴰ.