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Lillian Diana Gish (October 14, 1893 – February 27, 1993) was an American actress, director and screenwriter.

Lillian Diana Gish (14 Octobre 1893 – 27 février 1993) taqal temagit, ta tagat tidawen américaine.

Gish was a prominent film star from 1912 into the 1920s, being particularly associated with the films of director D. W. Griffith.

Gish eqal emasehi dǎɣ cinéma wan 1912 dǎɣ elan wi 1920, əntadǎɣ ertay əd silmatan tən wa ətagan D. W. Griffith.

She also did considerable television work from the early 1950s into the 1980s, and closed her career playing opposite Bette Davis in the 1987 film The Whales of August.

Əntadǎɣ təšal ajen ye silma tan santo ən wityan wi 1950 hawendǎɣ har əwityan wi 1980, əd tasmada əšəxil ənes dǎɣ igitan ən tasaga tan Bette Davis dǎɣ silma The Whales of Aust San 1987.

The first several generations of Gishes were Dunkard ministers.

Widarzanen ədinat ən Gish aqalan ənamokalan Dunkertan.

Their mother opened the Majestic Candy Kitchen, and the girls helped sell popcorn and candy to patrons of the old Majestic Theater, located next door.

Matisan tora Majestic Candy Kitchen, əd taratenes əlilnatas səsəš ən pop-corn ən bobon ye mašanšan wi runen ən Majestic Theater, ilan dǎɣ dedes.

The seventeen-year-old Lillian traveled to Shawnee, Oklahoma, where James's brother Alfred Grant Gish and his wife, Maude, lived.

Lillian, ilan maraw elan əd diyan, ika Shawnee, dǎɣ Oklahoma, diha didar amadray ən James, Alfred Grant Gish, əd hinis, Maude.

Her father died in Norman, Oklahoma, in 1912, but she had returned to Ohio a few months before this.

Tis abati dǎɣ Norman, Oklahoma, dǎɣ 1912, maśan tərkan dǎɣ Ohio harat nuran darat awen.

When Lillian and Dorothy were old enough they joined the theatre, often traveling separately in different productions.

Ugud wa Lillian əd Dorothy aqalan awašaran, əgašnat théâtre, tasakalnat agudiyan dǎɣ asabdanat əšixilan.

Gish continued to perform on the stage, and in 1913, during a run of A Good Little Devil, she collapsed from anemia.

Gish okay dǎɣ igitan ən sinema, əd wən 1913, xurugud wa tidawt yur A Gool Little Devil, tabda dasahat ənes.

Her performance in these frigid conditions gave her lasting nerve damage in several fingers.

Asahat ənes dǎɣ alwaqan ən təsəmde əssigrawanti tilawen ahoganen ajotnen əhədidiyan.

He utilized her expressive talents to the fullest, developing her into a suffering yet strong heroine.

Ətkal tamusnenen tan magrad əstizway, iget tamat tasohet təməkadat mašan təbdat.

She directed her sister Dorothy in one film, Remodeling Her Husband (1920), when D. W. Griffith took his unit on location.

Tanihad ye walatmas Dorothy dǎɣ silma, Remodeling Her Husband (1920), ugud was D. W. Griffith ətiwid haratanes ye asəsətkil.

She turned down the money, requesting a more modest wage and a percentage so that the studio could use the funds to increase the quality of her films — hiring the best actors, screenwriters, etc.

Tugay ye əzrif, sastan dalhak ogdahan əd tasiwit fal atudabat əšəxil ən telenes ye kanan ahuskatnen ən silmatanes – dǎɣ tikal iguskatnen imatkalan, scenariste.

Many of the silent era's leading ladies, such as Gish and Pickford, had been wholesome and innocent, but by the early 1930s (after the full adoption of sound and before the Motion Picture Production Code was enforced) these roles were perceived as outdated.

Ədagan ajotnen wi alwaq asosaman, sund Gish əd Pickford, aqalnat ahoxadan əd warašed wala, mašan dǎɣ santo ən wityan wi 1930 (darat alamad dak taswilt əd datawen igi ən Motion Picture Production Code), əšəɣilan wəndǎɣ aqalnen a okayan.

"Louis Mayer wanted to stage a scandal (""knock her off her pedestal"") to garner public sympathy for Gish, but Lillian didn't want to act both on screen and off, and returned to her first love, the theater."

"Louis Mayer erha adagu scène ayšdan ( ""ahasag atigilen dǎɣ asiwid ənes), fal arəgin nəzəgraz ye aljamaxat ye Gish, mašan Lillian wədarha igi ən tiset əd fal dawitaha tiset, əd duxul ən wazaran tarha, sidawat."

Returning to movies, Gish was nominated for the Academy Award for Best Supporting Actress in 1946 for Duel in the Sun.

Dǎɣ uxil ən sineman, Gish igraw uxul ən Oscar wa tan ofan harat dǎɣ əšəxil wa səsən ən 1946 ye Duel un the Sun.

She was considered for various roles in Gone with the Wind ranging from Ellen O'Hara, Scarlett's mother (which went to Barbara O'Neil), to prostitute Belle Watling (which went to Ona Munson).

Taqal atiwasamxaran dǎɣ əšəxilan ajotnen ən Autant dǎɣ as tigraw əsuk, tifal Ellen O'Hara, mas ən Scarlett ( ta təkat Barbara O'Neil), takarwat Belle Watling (ta təkat Ona Munson).

She appeared as Dowager Empress Maria Feodorovna in the short-lived 1965 Broadway musical Anya.

"Tasewad əšəxil wan

She was interviewed in the television documentary series Hollywood: A Celebration of the American Silent Film (1980).

Taqal amitkalan dǎɣ magrad ən kataban ənilkamnen ən silma tan Hollywood : Aa Celebration of the American Silenyt silma (1980).

She has a star on the Hollywood Walk of Fame at 1720 Vine Street.

Tila tatrət dǎɣ Hollywood Walk of Fame yur 1720 Vine Street.

At the Cannes festival, Gish won a 10-minute standing ovation from the audience.

Yur sidawat tan Cannes, Gish igraw talkit təbdadat ən 10 minitan his igan aljamaɣat.

"The episode ""Marry for Murder"" was broadcast on September 9, 1943."

"Taswilt ""Marry for Murder"" a dǎɣ tizgar 9 septembre 1943."

She was awarded an Academy Honorary Award in 1971, and in 1984 she received an AFI Life Achievement Award.

Tigraw alhak nətiqal na Iniversite dǎɣ 1971, əd dǎɣ 1984, tigraw AFI Life Achievement Award.

The University awarded Gish the honorary degree of Doctor of Performing Arts the next day.

Iniversite ifa Gish alkad nətiqal wa nənəmxar ən haratan ən tidawen ešalwen.

Following Gish's 1993 death, the University raised funds to enlarge its gallery to display memorabilia received from Gish's estate.

Darat tamatant tan Gish dǎɣ 1993, université asdaw azrif fal asimxiran edag ənes fal azizgriran əsəmiktanes wigrawan darat Gish.

The association between herself and D. W. Griffith was so close that some suspected a romantic connection, an issue never acknowledged by Gish, although several of their associates were certain they were at least briefly involved.

Tanmitaft ənes əd D. W. Griffith taqal aoxadan wadǎɣ fal əyad axelan ile harat ən tarha, awa Gish iskala wartinhey, ahuskat as ajen dǎɣ midawanes ardan as aqalan adarhertay agudiyan.

In the 1920s, Gish's association with Duell became something of a tabloid scandal when he sued her and made the details of their relationship public.

Dǎɣ wityan wi 1920, tanmitaft tan Gish əd Duell eqal sund banan ye andiran ugud wa has tikam dǎɣ iširixa əd tiga aljamaxat dǎɣ təbədawt ən garesan.

George Jean Nathan praised Gish's acting glowingly—comparing her to Eleonora Duse.

George Jean Nathan iga timal nadal wan Gish, tatolahat— ən Eleonora Duse.

During the period of political turmoil in the US that lasted from the outbreak of World War II in Europe until the attack on Pearl Harbor, she maintained an outspoken non-interventionist stance.

Dǎɣ alwaq tirimax ən tinawiyen dǎɣ États-Unies təgat tahagit tan santo ən Seconde Guerre Mondiale dǎɣ Europe hawendǎɣ har agad ən Pearl Harbor, ətaf əmək wənan ətigiš ayabatan.

Joseph Frank Keaton (October 4, 1895 – February 1, 1966), known professionally as Buster Keaton, was an American actor, comedian, film director, producer, screenwriter, and stunt performer.

Joseph Frank Keaton(4 Octobre 1895 - 1er Fevrier 1966), ətiwazayan səsəm wa Buster Keaton, eqal emag, awsəta , wa dakalan, wa ətagan, wa əsimsidiwan əd wa əšazaz ən américain.

His career declined when he signed with Metro-Goldwyn-Mayer and lost his artistic independence.

Azal ənes wa əxirambayan ugud wa erda ye Metro-Goldwyn-Mayer əd təgmati tanhat ənes tan amanzar.

Many of Keaton's films from the 1920s remain highly regarded, such as Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).

Dǎɣ silmatan ajotnen ən Keaton ilanat elan wi 1920 aqalnen ayknan, sund Sherlock Jr (1924), The General (1926) ən The Cameraman (1928).

"His father was Joseph Hallie ""Joe"" Keaton, who owned a traveling show with Harry Houdini called the Mohawk Indian Medicine Company, or the Keaton Houdini Medicine Show Company, which performed on stage and sold patent medicine on the side."

"Tis ənes ənta as Joseph ""Joe"". Leaton, ilasidawat tilat tabarat dədr Harry Houdini, axrati əs Mohawk Indiana Medicine Company, yur Keaton Houdini Medicine Show Company, tət tagat fal batma əd dašənš ən təmaxwanen aqiymanen dǎɣ dedes."

In Keaton's retelling, he was six months old when the incident occurred, and Harry Houdini gave him the nickname.

Dǎɣ tənfas tən Keaton, ila sadis uran ugud wa dawafal wiriga iga əd seqal Harry Houdini a təfan anamadǎɣ en.

The act was mainly a comedy sketch.

Numero eqal əntaxas sketch əsistan.

A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing.

Tamsudut ən suduqan tazmay dǎɣ karšayan wi Keaton fal ahis ilal ya təqəl ugudǎɣ adiwen.

However, Buster was always able to show the authorities that he had no bruises or broken bones.

Əgudendǎɣ, Buster eqal harwa adoben ya disaknu ye nəmxaran as warila wala baršex exas erzan.

Several times I'd have been killed if I hadn't been able to land like a cat.

Ihadagan ajotnen, išwar atwaga afal waraqelan ere adoben asris wa mos.

Noticing that this caused the audience to laugh less, he adopted his famous deadpan expression when performing.

Ənhayan as awen as andiran aysasta dǎɣ ədinat, ilmadan magrad wa asohen wənan atwarda yur səknitan.

Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater.

Awendǎɣ dak dǎɣ ašuhušil ən wa əsasagdahan əd disisitkil asuzsadan dǎɣ music-halls tan Royaume-Uni, Keaton eqal amilalaw dǎɣ tišukukinen.

"In February 1917, he met Roscoe ""Fatty"" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck."

"Dǎɣ février 1917, amuqas ən Roscoe ""Fatty"" Arbuckle dǎɣ dagan wi nəsisilkil ən Talmadge dǎɣ New York, diha Arbuckle eqal atilan fal əmətkal dədr Joseph M. Schenck."

Buster was such a natural in his first film, The Butcher Boy, he was hired on the spot.

Buster eqal inta xas dǎɣ tazaran silma ənes, The Butcher Boy, wa erdan agudendǎɣ.

Keaton later claimed that he was soon Arbuckle's second director and his entire gag department.

Keaton iləxat as ugudiyan a dekal šikšik wa səsən ən wa itagan Arbuckle əd fuk wi tohaznen.

It was based on a successful play, The New Henrietta, which had already been filmed once, under the title The Lamb, with Douglas Fairbanks playing the lead.

Əbdahin dadag iha agaraw, The New Henrietta, is kala ət timilkal ugud iyadǎɣ, fal salan ən ThLamb, dəd Douglas Fairbanks dǎɣ əšəxil wa azaran.

He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922).

Iga anəlkaman dǎɣ səsta wi əsən bobitan, ye One Week (1920), The Playhouse (1921), Cops (1922) əd The Electric House (1922).

"Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, ""All of us tried to steal each other's gagmen."

"Emag ən səsta Leo McCarey, əsamakten ehanin ugud itagu səsta tan awa ətawanen dǎɣ zabo nalxer, ələxat : "nətirim daknanax afaru təfusen ti wəyadnen."

During the railroad water-tank scene in Sherlock Jr., Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterward.

Ugud wa harat wa nəsitwan dǎɣ edag wa naman wi tabarat tan tazoli dǎɣ Sherlock Jr, Keaton erza erines ugud wa falas daftazen aman uda falas daw château naman, mašan ilmad as darat wityan əyad.

Keaton's character emerged unscathed, due to a single open window.

Awadim wa Keaton izgar as war əšed harat, fal təsəba niyada tasankarot tamerat.

Aside from Steamboat Bill, Jr. (1928), Keaton's most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1926).

Iga Steamboat Bill, Jr Navigator (1928), təzəgrit nanakaš wa ogaran tahagit ye Keaton isla Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928) əd The General ( 1926).

Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time.

Falas atiwaga as wa ogaran agaraw ən Keaton, silma igraw tizmit təknat bahanin.

His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.

Amazan ənes, United Artists, ashašal as anamokal igitan aragu ənəyat ye azruf wazagaran əd arəgiš haratan iyad ən tinfas.

The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after.

Əmagan atafan dax kətban ən škelan dax magrad nadag iyan, tisirad tiyad agudiyan, əd timliliynat darat awen.

The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's famous Three Stooges shorts.

Wa ədakalan eqal əntadax Jules White, was əsəkelan nes igašan asəmutiy əd tabatolt taqalat olahan diyad dax silmatan wi asohatnen alwaq wa naket ən Trois Stooges wan White.

However, director White's insistence on blunt, violent gags resulted in the Columbia shorts being the least inventive comedies he made.

Alwaq wendax, asuhušil ən wa idakalan White fal təfusen asohatnen əd asuxsadnen iganen əs sakotan wən Columbia aqalan əsista wi əndiratnen dax igi wa ətkal.

He made his last starring feature El Moderno Barba Azul (1946) in Mexico; the film was a low-budget production, and it may not have been seen in the United States until its release on VHS in the 1980s, under the title Boom in the Moon.

Asmalalay wa əlkaman ənes šigren akotan El Moderno Barda Azul ( 1946) dax Mexique ; silma taqal atawagen sadiran dax azrif, əd adobat as warosa États-Unis dat azagar ənes wa VHS dax wityan wi 1980, fal salan ən Boom on the Moon.

In In the Good Old Summertime, Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together, where they bump into each other on the street.

Dǎɣ In the Good Old Summertime, Keaton intadǎɣ ilway imusuha wən Judy Garland əd Van Johnson dǎɣ tatazarat tidawt artayan, yur amuqasan dǎɣ amazax.

Reaction was strong enough for a local Los Angeles station to offer Keaton his own show, also broadcast live, in 1950.

Tamotayt taqal agdahan asuhu fal as asibdid ən hinan wi Los Angeles ifa Keaton adinatines emanes, wadǎɣ ədizgaran dǎɣ asitawanhay, dǎɣ 1950.

Buster Keaton's wife Eleanor also was seen in the series (notably as Juliet to Buster's Romeo in a little-theater vignette).

Tamat tan Buster Keaton, Eleanor, intadǎɣ tozgarid dǎɣ awa dilkaman (dǎɣ awen dǎɣ əšəxil wan Juliette tan Roméo ən Buster dǎɣ samando ən tatiket sidawat).

Keaton's periodic television appearances during the 1950s and 1960s helped to revive interest in his silent films.

Izagaran ən handagan wi Keaton dǎɣ silma dǎɣ wityan wi 1950 əd 1960 asewadan asudr ən tanfo ye silmatan tə asosamnen.

Well into his fifties, Keaton successfully recreated his old routines, including one stunt in which he propped one foot onto a table, then swung the second foot up next to it and held the awkward position in midair for a moment before crashing to the stage floor.

Sumosant təmurwen okayan, Keaton asnalas igi dədr asisakna wi runen ilmad, intadǎɣ herkišixil wa dǎɣ itidid idaran fal tasaqaymut, izar isiwliwil wa səsən adidr dedes əd amara əmik əmsadan dǎɣ afala had harat ən tahagit izar aderza dǎɣ akal wan tidawt.

"Keaton had prints of the features Three Ages, Sherlock Jr., Steamboat Bill, Jr., and College (missing one reel), and the shorts ""The Boat"" and ""My Wife's Relations"", which Keaton and Rohauer then transferred to Cellulose acetate film from deteriorating nitrate film stock."

"Keaton ila fototan ən wi zagrotnen akotan Three Ages, Sherlock Jr, Steamboat Bill Jr əd College (aqaymin bobine), əd wa gizilan akot ""The Boat"" əd ""My Wife's Relations"", was Keaton əd Rohauer ila darat asawayen fal əndiran elam ən acétate wan cellulose fal əndiran elam ən nitrate ihan tabarat na dašid.

In a series of silent television commercials for Simon Pure Beer made in 1962 by Jim Mohr in Buffalo, New York, Keaton revisited some of the gags from his silent film days.

Dǎɣ asəsətkil anilkaman ən soknitan amitkalnen asosaman wən asmid wa Simon Pure, igan dǎɣ 1962 as Jim Mohr dǎɣ Buffalo, dǎɣ Etat wan New York, Keaton olas tasawt nəyad imidawanes tagayt wi cinéma asosaman.

"In December 1958, Keaton was a guest star in the episode ""A Very Merry Christmas"" of The Donna Reed Show on ABC."

"Dǎɣ décembre 1958, Keaton eqal guest star dǎɣ taswil "A Very Merry Christmas"" wan Donna Reed Show fal ABC."

In 1960, he returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's The Adventures of Huckleberry Finn.

Dǎɣ 1960, eqal ye handag wa samando yur MGM, nadal ən namasadergin ən wixsan dǎɣ alamad wa 1960 ən Aventures wan Huckleberry Finn wan Mark Twain.

"He worked with comedian Ernie Kovacs on a television pilot tentatively titled ""Medicine Man,"" shooting scenes for it on January 12, 1962—the day before Kovacs died in a car crash. """

"Əšəxal dər nafešax wan Ernie Kovacs fal pilote ye silma tigat dǎɣ asigid sitawana "Medicine Man", fal erkan tidawen dǎɣ 12 janvier 1962, dat tamatant ən Kovacs dǎɣ tanaxla ən turaft."""

He traveled from one end of Canada to the other on a motorized handcar, wearing his traditional pork pie hat and performing gags similar to those in films that he made 50 years before.

"Asekal sa fay safay

Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring Franco Franchi and Ciccio Ingrassia.

Harwa dǎɣ 1965, ika Italie fal aragu əšəxil dǎɣ Due Marines izar Generale, dər Franco Franchi əd Ciccio Ingrassia.

One of his most biting parodies is The Frozen North (1922), a satirical take on William S. Hart's Western melodramas, like Hell's Hinges (1916) and The Narrow Trail (1917).

Harat dǎɣ sugburanes wa ogaran asuhu eqal The Frozen North ( 1922), əsalan nasugbur wən haratan ən westerns tan William S. Hart, sund Hell's Hinges (1916) əd The Narrow Trail ( 1917).

Audiences of the 1920s recognized the parody and thought the film hysterically funny.

Ədənat wi wityan wi 1920 izayan tisine əd dagaraw ən silma nawinan ikna asistan.

The short also featured the impression of a performing monkey which was likely derived from a co-biller's act (called Peter the Great).

Wagizilan edan əsakna intadǎɣ asugbubr ən lao namusan, anihagan adigmad numero wan co-biller ( axrati səs Peter the Great).

"Note: Source misspells Keaton's frequent appellation as ""Great Stoneface""."

"Saqaym : ašašil war ikna akatab texare ta tətilat ən Keaton, salamad ""Great Stoneface"".

Keaton dated actress Dorothy Sebastian beginning in the 1920s and Kathleen Key in the early 1930s.

Keaton exra tamagit Dorothy Sebastian dǎɣ wityan wi 1920 əd Kathleen Key yur santo nelan wi 1930.

He escaped a straitjacket with tricks learned from Harry Houdini.

Əgmadid dǎɣ temalsit nasahat dǎɣ muduxulan ilmad yur Harry Houdini.

She filed for divorce in 1935 after finding Keaton with Leah Clampitt Sewell, the wife of millionaire Barton Sewell, in a hotel in Santa Barbara.

Təsistan dimiziy dǎɣ 1935 darat agaraw ən Keaton dər Leah Clampitt Sewel, tamat tan anasbagor Barton Sewell, dǎɣ hôtel tan Santa Barbara.

He stopped drinking for five years.

Oya tesase awadan səmos elan.

The marriage lasted until his death.

Aduban ahoga hawendǎɣ har ibanes.

Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home.

Atiwasaxlam dǎɣ lactor dǎɣ hadan wilkamnen, Keaton eqal adiwen əd dazal winan itumudu dǎɣ ehan, igrazas ariqil xuris.

The screenplay, by Sidney Sheldon, who also directed the film, was loosely based on Keaton's life but contained many factual errors and merged his three wives into one character.

Tidawt, əktab Sdney Sheldon, wa igan intadǎɣ silma, eqal ahuruwan ihan tamudre tan Keaton mašan itirim ajen dǎɣ awenen ikna əmik əd isirtay dedenes caradat dǎɣ awadəm iyadǎɣ.

Dedicated to bringing greater public attention to Keaton's life and work, the membership includes many individuals from the television and film industry: actors, producers, authors, artists, graphic novelists, musicians, and designers, as well as those who simply admire the magic of Buster Keaton.

Tanminak, harnan adikis ənəyat nədinat fal təmudre əd əlkitab wan Keaton, adin dǎɣ mahazan ənes ajotnen dədinat ajotnen dədinat əd dizgarnen ehan wan cinéma əd silmatan : əmagan, witaganen, wihanene, imazaran, winšikelan, imazaran əd witakasnen, dəd dinat wi arhanen xas asuxsid wan Buster Keaton.

"Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton ""looked like their caricatures""."

"Hirschfeld ələxat as ənimxaran ən cinéma wa dišrayan aqalan a ogaran asuhu na mukis nini, wis ənufušax ən cinéma asosaman sund Laurel əd Hardy əd Keaton ""alahnen ən təmtar nasan"".

"Film critic Roger Ebert stated, ""The greatest of the silent clowns is Buster Keaton, not only because of what he did, but because of how he did it."

"Tizmiten ən cinéma Roger Ebert ələxat : "wa ogaran clown dǎɣ cinéma wa asosaman eqal Buster Keaton, dǎɣ awen ye awa iga, mašan dǎɣ ye əmik was tiga ".

"Filmmaker Mel Brooks has credited Buster Keaton as a major influence, saying: ""I owe (Buster) a lot on two levels: One for being such a great teacher for me as a filmmaker myself, and the other just as a human being watching this gifted person doing these amazing things."

"Aw cinéma Mel Brooks inhay adagal wa maqaran ən Buster Keaton, ina : ""Arhex ajen ye (Buster)dǎɣ əsin hadagan : agudiyan, far atigriwad uxil ən namaxar makaran ye hahi dǎɣ aseqal cinéaste, əd darat awen, ariqisan dǎɣ aguduniya ikyadan awadim isanan itag haratanes asirmaxnen."

Actor and stunt performer Johnny Knoxville cites Keaton as an inspiration when coming up with ideas for Jackass projects.

Emag əd damaxšad Johnny Knoxville ina Keaton sund ašašil nufas wa dǎɣ igaraw ənəyat ye dawlatan tin Jackass.

Lewis was particularly moved by the fact that Eleanor said his eyes looked like Keaton's.

Lewis eqal intadǎɣ azinuzguman fal igi ən Eleanor wa inan titawenes olahnat ət tən Keaton.

"In 1964, he told an interviewer that in making ""this particular pork pie"", he ""started with a good Stetson and cut it down"", stiffening the brim with sugar water."

"Dǎɣ 1964, ilixat dǎɣ salan as igi "naminsi nə xurxurru ibdan", ənta "əsinta dihusken Stetson əd izar ifnazti", oxad efay əs saman iha asukar."

His paternal great-grandparents were Welsh.

Imarawan nes wi hin ilanen ibret ən tis aqalan Galltan.

Lloyd began collaborating with Roach who had formed his own studio in 1913.

Lloyd əsinta asirtay əd Roach wa igan imanes studio dǎɣ 1913.

In 1919, she left Lloyd to pursue her dramatic aspirations.

Dǎɣ 1919, təfal Lloyd fal atilkim ye tarhanes nafušax.

Reportedly, the more Lloyd watched Davis the more he liked her.

Atwana afal Lloyd ikyad Davis, a tat ətimil.

Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism.

Harold Lloyd ənkašin fal idinat wi nufušax əd izar iga tətimal nahalis imdan dər afalasat əd amanhay wən itiwidis.

"To create his new character Lloyd donned a pair of lensless horn-rimmed glasses but wore normal clothing; previously, he had worn a fake mustache and ill-fitting clothes as the Chaplinesque ""Lonesome Luke"". """

"Fal arisumutiy imanes, Lloyd asiwar timanhayen sund iskawan winan ila lentille, mašan ilasu karšayan oxadnen ; datawen, iga izamzam ən bahu əd kalšayan išlaynen ən sund Chaplinesque ""Lonesome Luke"". """

"They were natural and the romance could be believable."""

"Eqal inta xas əd timal ən tarha eqalan morda."""

On Sunday, August 24, 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he picked up what he thought was a prop bomb and lit it with a cigarette.

Achal wan alxad 24 Aout 1919 iqal a idkalan fal salan win touzanen in fototan fal salan win assihraw natwissin dax adag wa dax tit wigin suhax id taliwen(fototan) Witzel wan Los Angeles,ikkal awa sorda as addobat ad iqil ilalan in tasilfaq tizar issirxet saben.

Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye.

LIoyd amos a ishla assirx naben is tanalle in tasilfaq endax as tibbuqat ti tiknat assirx hullen dax idim d’idmaran ihiag dax tit nes

Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films.

Lloyd id Roach ibdan ɣur 1924, ɣas LIoyd amos emašaxal in man nes nimmik wa dǎɣ nadakal in taliwen niddinat id haratan samatikway nasan ines fal man nes.

All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s.

Filmtan win fuk ikrašan ugreh ditwarh sirsan dorawan tiwat ad kanan dex ašugiš n azrif, LIoyd iqal har wa emašagal wa ojaran timzal in wityan win 1920.

However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s.

Xur alwaq wad išuhišul imikan nes dǎɣ tisset war oher id majayhan in filimtan nibiytil nes ɣur wityan win 1930.

On March 23, 1937, Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints.

Xur 23 mars 1937, LIoyd išinšin edag nes wan dǎɣ itag filimtan id suhax, xas Harold LIoyd Motion picture company ,ye L’Eglise tan jesu-šrist saints in šilan wi išraynen.

He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes.

Iqalid yad aj afukir išrayan dǎɣ The Sin of Harold Diddlebock, ikfa ugreh uɣšad en tamašaxalt in LIoyd, id isnamanak Preston Sturges idhal Howard Hughes.

"Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, ""the last two-thirds of it he wrote in a week or less""."

"Lloyd əd Sturges əlan inuzguman abdanen yur lalan əd tamadašan harkuk dǎɣ asikil nasan ; Lloyd eqal intadǎɣ ayšlalan fal awas Sturges okay karad har əkoz uran dǎɣ script wazaran ən tazune ən silma ""winisin əlkamnen dǎɣ karad aqalan ayktaban dǎɣ əsa hadan mex ayur"".