Tamazight-NLP/NLLB-Seed_Tamasheq-Tifinagh-Script huggingface dataset:
English: Her schoolgirl crush on Essanay Studios actor Francis X. Bushman led to her aunt taking her to tour the actor's Chicago studio.
Tamasheq: ⵜⴰⴾⴰⴱⵓⵜ ⵉⵏⴻⵙⵙ ⵜⴰⵏ ⵜⴻⵆⴰⵔⴻ ⵜⴰⵏ ⴻⵎⴰⴷⴰⵍ ⴼⵔⴰⵏⵛⵉⵙ ⵆ. ⴱⵓⵛⵎⴰⵏ ⵓⴰⵏ Eⵙⵙⴰⵏⴰⵉ ⵙⵜⵓⴷⵉⵓⵙ ⵉⵓⴰⵉ ⵎⴰⵙⵙ ⵉⴻ ⴰⵜⴰⵜ ⵉⵙⵙⴰⴾⴰⵏ ⵙⵜⵓⴷⵉⵓ ⵓⴰⵏ ⴻⵎⴰⴷⴰⵍ ⴷⴰⴶ ⵛⵉⵛⴰⴶⵓ
English: Her sound film debut performance in the 1929 The Trespasser, earned her a second Academy Award nomination.
Tamasheq: ⵜⴰⴼⵔⴰⵏⵜ ⵉⵏⴻⵙⵙ ⵜⴰ ⵜⴰⵣⴰⵔⴰⵜ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⵜⴰⵏⵣⴰⵔⴰⵜ,ⵟⵂⴻ ⵜⵔⴻⵙⴱⴰⵙⵙⴻⵔ,ⴶⵓⵔ 1929,ⵓⴶⴷⴰⵂⴰⵙ ⴰⴷ ⴰⵛⴰⵏⵣⵉ ⵓⴰⵙ ⴰⵙⵙⵉⵏ ⴶⵓⵔ Oⵙⵛⴰⵔⵙ
English: Her father was a Swedish American and her mother was of German, French, and Polish ancestry.
Tamasheq: ⵜⵉⵙⵙ ⴻⵈⴰⵍ ⴰⵓ ⴰⵎⴻⵔⵉⴾⵜⴰⵏ ⵙⵓⴻⴷⵜⴰⵏ ⵎⴰⵙⵙ ⵓⴰⵍⴰⵜ ⴰⵍⵍⴻⵎⴰⵏⵜⴰⵏ, ⵓⴰⵍⴰⵜ ⴰⴼⵔⴰⵏⵛⴻ ⴰⴷ ⴱⵓⵍⵓⴶⵏⴻⵜⴰⵏ.
English: In either version, she was soon hired as an extra.
Tamasheq: ⴻⴰⴶ ⵉⴷⴰⴶⴰⵏ ⵓⵉⵏ ⴰⵙⵙⵉ,ⵜⴰⵙⵙⴰⵏⵜⴰ ⵛⵉⴾⴰⵏⴻⵏ ⵙⵓⵏⴷ ⵜⴰⵏⴰⵎⴰⵜⴾⵓⵍⵜ.
English: Her first role was a brief walk-on with actress Gerda Holmes, that paid an enormous (in those days) $3.25.
Tamasheq: ⴰⵛⴰⴶⴰⵍ ⵉⵏⴻⵙⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⵉⴾⵓⵉ ⴶⴰⵣⵉⵍⴰⵏ ⴷⴰⴶ ⵗⴻⵔⴷⴰ ⵂⵓⵍⵎⴻⵙ,ⴰⴷ ⴷⵉⵜⵉⵓⴰⵉⴰⵜ ⴰⵣⵔⵓⴼ ⴰⴶⴻⵏ (ⴷⴰⴶ ⴰⵣⴰⵎⴰⵏ) ⴰⵏ 3,25 ⴷⵓⵍⵍⴰⵔⵙ
English: In 1915, she co-starred in Sweedie Goes to College with her future first husband Wallace Beery.
Tamasheq: ⵗⵓⵔ 1915,ⵜⵓⵣⴰⵏ ⴻⴷⴰⴶ ⴷⴰⴶ ⵙⵓⴻⴻⴷⵉⴻ ⵗⵓⴻⵙ ⵜ ⵓ ⵛ ⵓⵍⵍⴻⴶⴻ ⴰⴷ ⴰⵂⴰⵍⴰⵙ ⵉⵏⴻⵙⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⵓⴰⵍⵍⴰⵛⴻ ⴱⴻⴻⵔⵉ.
English: Vernon and Swanson projected a great screen chemistry that proved popular with audiences.
Tamasheq: ⵠⴻⵔⵎⵓⵏ ⴰⴷ ⵓⵓⴰⵏⵙⵓⵏ ⵉⴶⴰⵏ ⵙⵉⵍⵎⴰ ⵎⴰⵈⵓⴰⵔⴰⵜ ⵜⵉⴷⵉⵜ ⵉⴰ ⴰⴷⵉⵏⴰⵜ.
English: Badger was sufficiently impressed by Swanson to recommend her to the director Jack Conway for Her Decision and You Can't Believe Everything in 1918.
Tamasheq: ⴱⴰⴷⴶⴻⵔ ⴰⵙⵙⵉⴶⴰⴷⴰⵂ ⴷⴰⴶ ⴰⵜⵓⴰⴷⵉⵙ ⵓⴰⵏ ⵙⵓⴰⵏⵙⵓⵏ ⵉⴰ ⵜⵉⵙⴰⵎⵓⵎⵓⵏ ⵉⴰ ⵎⴰⴶⵛⵂⴰⴷ ⵋⴰⵛⴾ ⵛⵓⵏⵓⴰⵉ ⵉⴰ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1918.
English: 1920), Something to Think About (1920), and The Affairs of Anatol (1921) soon followed.
Tamasheq: 1920), ⴰⵏⵉⵣⴶⴰⵎⴰⵜ ⵂⴰⵔⴰⵜ ⴷⴰⴶ ⵓⵂⴰⵣ (1920),ⴰⴷ ⵂⴰⵔⴰⵜⴰⵏ ⵓⵉⵏ ⴰⵏⴰⵜⵓⵍ (1921) ⴰⵍⴾⴰⵎⴰⵏⵉⴷ ⵛⵂⵉⴾⴰⵏⴻⵏⴻ.
English: He had become a star in 1921 for his appearance in The Four Horsemen of the Apocalypse, but Swanson had known him since his days as an aspiring actor getting small parts, with no seeming hope for his professional future.
Tamasheq: ⵆⴰⵍⴰ ⴰⴷⵉⴾⴰⵍ ⴰⵍⵉⴰⴷ ⴷⴰⴶ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1921 ⵉⴰ ⴰⵣⴰⴶⵓⵔ ⵉⵏⴻⵙⵙ ⴷⴰⴶ ⴰⴾⵓⵣ ⵉⴱⵉⴶⵓⴰⵏ ⵏⴰⵎⴰⵙⵙⴻⵂⵉ ⵎⴰⵛⵂⴰⵏⴻ ⵙⵓⴰⵏⵙⵓⵏ ⵉⵣⴰⵉⵜⵉ ⵂⴰⵔⵓⴰ ⴰⵏⴷⵉⵏⴻ ⴷⵉⵂⴰ ⴷⵉⴾⴰⵍ ⴻⵎⴰⵙⵓⵙⵜⵉ ⵉⴶⴰⵔⴰⵓⴰⵏ ⵜⵉⵎⴰⵛⴰⴶⴰⵍⴻⵏ ⵎⴰⴷⵔⵓⵉⵏⴻⵏ, ⵉⴱⴰⵏ-ⵜⵓⵔⴷⴰ ⴰⵏ ⵜⴰⴶⵔⵉⵙⵜ-ⵏⴻⵙⵙ.
English: Filming was allowed for the first time at many of the historic sites relating to Napoleon.
Tamasheq: Iⵙⵙⴰⴼⵉⵍⴰⵓⵉⵜⴰⵏ ⴰⵜⵉⵓⴰⵉⴰⵜ ⴷⴰⴶ ⵜⵉⵣⴰⵔⴰⵜ ⴼⴰⵍ ⵉⴷⴰⴶⴰⵏ ⴰⴶoⵜⵏⴻⵏ ⵜⵉⵏⴼⵓⵙⵙⴻⵏ ⵉⴾⵔⴰⵙⵏⴻⵏ ⵉⵉ Nⴰⴱⵓⵍⴻ ⵓⵏ.
English: At the time, Swanson was considered the most bankable star of her era.
Tamasheq: ⴻⴰⴶ ⴰⵣⴰⵎⴰⵏⴻ, ⵙⵓⴰⵏⵙⵓⵏ ⴻⴾⴰⵍ ⵙⵓⵏⴷ ⴰⵍⵉⴰⴷ ⵓⴰ ⴰⵜⵓⴰⴶⴷⴰⵂⴰⵏ ⴷⴰⴶ ⴰⵣⴰⵎⴰⵏⴻ
English: The production was a disaster, with Parker being indecisive and the actors not experienced enough to deliver the performances she wanted.
Tamasheq: ⴰⵎⵓⴾⵉⵏⴻ ⵉⵉ ⴾⴰⵍ ⵜⴰⵎⵉⵔⵉⵙⵙⴻⵜ, ⴱⴰⵔⴾⴻⵔ ⴻⴾⴰⵍ ⵉⵔⵉ ⵓⴰⵔⴻⵏ ⴰⵙⵙⵓⵔⴷⴰ, ⵉⵎⴰⵙⵓⵙⵜⴰ ⵓⴰⵔⴻⵏ ⴻⴾⴻⵍ ⵉⵎⵓⵙⵙⴰⵏⴰⵏⴻ ⵉⴰ ⴰⴷⴰⴼⵉⵏⴻ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉ-ⵜⵓⵔⴷⴰ.
English: The members took further steps by registering their discontent with Will H. Hays, Chairman of the Motion Picture Producers and Distributors of America.
Tamasheq: ⴰⵉⵜⴻⴷⵉⵎ ⴷⴰⴾⴰⵍⴰⵏⴻ ⴰⴷⴰⴱⴰⵔⴰⵜⴰⵏ ⵓⵉⵏ-ⴰⵙⵙⵉⵍⵎⵉⴷⴰⵏⴻ ⵉⴱⴰⵏ ⵜⴰⴷⴰⵓⵉⵜ ⵏⴰⵙⵙⴰⵏⴻ ⵉⵉ ⵓⵉⵍⵍ ⵂ. ⵂⴰⵉⴻⵙ, ⴰⵎⴰⵏⵓⴾⴰⵍ ⵏⴰⵎⴰⵔⵓⵎⴰⵔ ⴰⵏ ⵙⵉⵍⵎⴰ ⴷⴰⵎⵓⴾⵉⵏⴻ ⴰⵏⴻⵙⵙ ⴷⴰ ⴰⵎⵓⵣⴰⵏⴻ ⵏⴰⵎⴻⵔⵉⵛ.
English: Hays was enthusiastic about the basic story, but did have specific issues that were dealt with before the film's release.
Tamasheq: ⵂⴰⵉⵙ ⴰⵎⵉⵔⴰⵎⴰⵔ ⴶⵓⵔ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰ ⵜⴰⵣⴰⵔⴰⵜ, ⵎⴰⵛⵂⴰⵏⴻ ⴰⵛⵂⴻⴶⴰⵍⴰⵏⴻ ⴰⴾⵏⴰⵏⴻ ⴷⴰⵜ ⴰⵣⴰⴶⵓⵔ ⴰⵏ ⵙⵉⵍⵎⴰ.
English: He proposed to personally bankroll her next picture and conducted a thorough examination of her financial records.
Tamasheq: ⴰⵙⵙⵉⴷⴰⴱⴰⵔⴰⵜ ⵉⵏⵜⴰ ⵉⵎⴰⵏⴻⵙⵙ ⵜⴰⵎⴰⵣⵉⵍⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵏⴻⵙⵙ ⵜⴰ-ⵜⵉⵍⴾⴰⵎⴰⵜ ⵉⵣⴰⵔ ⵉⵙⵙⴰⵏⵜⵓ ⴰⴾⴰⵉⴰⴷ ⵎⴰⴾⵓⵔⴰⵏ ⵏⴰⵍⴾⴰⴷⴰⵏ ⵏⴻⵙⵙ.
English: Kennedy, however, advised her to hire Erich von Stroheim to direct another silent film, The Swamp, subsequently retitled Queen Kelly.
Tamasheq: ⵆⴻⵏⵏⴻⴷⵉ ⴰⵙⵙⵉⴷⴰⴱⴰⵔⴰⵜ ⵂⴰⵔⴾⵓⴾ ⵉⴰⴷ ⵣⵉⵣⴰⵔⴰⵏⴻ ⴻⵔⵉⵛⵂ ⵠⵓⵏ ⵙⵜⵔⵓⵂⴻⵉⵎ ⵉⴰⴷ ⵉⵣⵉⵣⴶⴰⵔ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵜ ⵎⴰⵣⵓⴶⴰⵜ, ⴻⴱⴰⵏⴶ,ⵙⵉⵜⴰⵓⴰⵏⵉ ⴷⴰⴶ ⴰⵍⴾⵓⵎ ⵟⴰⵍⵉⴰⵜ ⵆⴻⵍⵍⵉ.
English: Stroheim worked for several months on writing the basic script.
Tamasheq: ⵙⵜⵔⵓⵂⴻⵉⵎ ⴰⵛⵉⴶⴰⵍ ⵍⴰⵔⴰⵏ ⴰⴶⵓⵜⵏⴻⵏ ⴷⴰⴶ ⵙⴰⵏⵜⵓ ⵏⴰⴾⴰⵜⴰⴱ ⵓⴰⵏ ⴰⵎⴰⵙⵙ.
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.
Tamasheq: ⴰⵙⵙⴰⴼⴰⵍⴰⵓⵉ ⵉⴱⴷⴰⴷ ⴶⵓⵔ ⵋⴰⵏⴱⵉⴻⵔ ⵉⵣⴰⵔ ⵙⵜⵔⵓⵂⴻⵉⵎ ⴰⵜⵉⵓⴰⵔⴾⴰⵏⵉⴷ ⴷⴰⵔⴰⵜ ⴰⵙ ⵙⵓⴰⵏⵙⵓⵏ ⵉⴶⴰ ⵜⴰⴾⵎⵓ ⴰⴷ ⵜⴰⴱⴻⵔⴰⵜ ⵜⴰⴷⴰⴾⴰⵍ ⵙⵉⵍⵎⴰ.
English: The Trespasser in 1929 was a sound production, and garnered Swanson her second Oscar nomination.
Tamasheq: ⵗⵓⵔ 1929, (ⵟⵂⴻ ⵟⵔⴻⵙⴱⴰⵙⵙⴻⵔ) ⴰⵏⴰⴼⵜⴰⴶ ⴻⴾⴰⵍ ⴻⵎⴰⴶⵉ ⴰⵏ ⵜⴰⴾⴰⵍⵜ ⵉⵓⴰⴷⴰⵏ ⵉⴰ ⵙⵓⴰⵏⵙⵓⵏ ⵜⴰⵏⴰⵉⴰ ⵜⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ ⴶⵓⵔ Oⵙⵛⴰⵔⵙ
English: The world premiere was held in London, the first American sound production to do so.
Tamasheq: ⴰⴷⵓⵏⵉⴰ ⵜⴰ ⴷⵉⵜⴰⵣⴰⵔⴰⵜ ⵜⴰⵙⵙⵉⵏⵜⴰ ⴶⵓⵔ ⵍⵓⵏⴷⵔⴻ, ⵉⴶⵉ ⴰⵏ ⵜⴰⴾⴰⵍⵜ ⵓⴰⵣⴰⵔⴰⵏ ⵉⵏ ⴰⵎⴻⵔⵉⵈⵓⴻ.
English: Perfect Understanding, a 1933 sound production comedy, was the only film produced by this company.
Tamasheq: ⴱⴻⵔⴼⴻⵛⵜ ⵓⵏⴷⴻⵔⵙⵜⴰⵏⴷⵉⵏⴶ (ⵟⴰⴷⵉⵓⵜ ⵜⴰ-ⵜⵉⴾⵏⴰⵜ), ⵉⴶⵓⵉ ⴰⵏ ⵜⴰⴾⴰⵍⵜ ⴷⴰⴶ ⵙⴰⵙⵜⵓ ⴶⵓⵔ 1933, ⵉⵉ ⴾⴰⵍ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵜ ⵜⴰⵣⵉⵣⴶⴰⵔ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ.
English: She began appearing in stage productions and starred in The Gloria Swanson Hour on WPIX-TV in 1948.
Tamasheq: ⵜⴰⵙⵙⴰⵏⵜⴰ ⴰⵣⴰⴶⵓⵔ ⴶⵓⵔ ⵉⴶⵓⵉ ⵏⴰⴷⴰⵍ ⵉⵣⴰⵔ ⵜⴰⵜⵉⴼ ⴻⴷⴰⴶ ⴷⴰⴶ ⵗⵍⵓⵔⵉⴰ ⵙⵓⴰⵏⵙⵓⵏ ⴰⵍⵓⴰⴾ ⴼⴰⵍ ⵓⴱⵉⵆ-ⵟⴱ ⴶⵓⵔ 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).
Tamasheq: ⵜⴻⴱⴰⴷⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵍⴾⴰⵎ ⵉⵉ ⵜⴻⵎⴰⴶⵉⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵎⴰⵣⵓⵓⴶⴰⵜ ⵂⵉⵏ ⵜⵓⴾⴰⵉⴰⵜ, ⵏⵓⵔⵎⴰ ⴻⴻⵙⵎⵓⵏⴷ (ⵙⵓⴰⵏⵙⵓⵏ), ⵜⴻⵎⴰⵔⵂⵉⵜ ⵏⴻⵎⴰⴶⵓⵉ ⵏⵉⵎⴻⵛⵂⵍⴰⵏⴻ ⴻⴾⵛⵂⴰⴷⴰⵏⴻ, ⵋⵓⴻ ⵗⵉⵍⵍⵉⵙ (ⵓⵉⵍⵍⵉⴰⵎ ⵂⵓⵍⴷⴻⵏ).
English: Norma plays a card game of bridge with a group of actors also known as "the Waxworks".
Tamasheq: ."ⵏⵓⵔⵎⴰ ⵜⴰⴷⴰⵍ ⴷⴰⴶ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ ⴰⵏ ⵎⴰⵙ ⵓⵙⵜⴰ ⴰⵜⵉⵓⴰⵣⴰⵉⵏⴻⵏ ⴼⴰⵍ ⵉⵙⵙⵉⵎ ⴰⵏ ""ⵓⴰⵆⵓ ⵓⵔⴾⵙ""
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.
Tamasheq: ⴻⵎⴰⵏⴰⵓ-ⵏⴰⵓ ⴶⵓⵔ ⴰⵔⴰⴾⵓⵏⴻ ⴰⵏ ⵏⵓⵔⵎⴰ ⴰⵎⵍⴰⵍⴰⵉⴰⵏⴻ, ⵜⵉⵣⴰⵔⴰⵜ ⵗⵉⵍⵍⵉⵙ ⵓⵔⴰⵎ ⴻⴱⴰⴷⵉ ⴷⵉⵙ, ⵜⴰⵂⴰⴷ ⵉⴰ ⵜⴰⵏⴶⵓ ⵉⵎⴰⵏⴻⵙⵙ ⵎⴰⵛⵂⴻⵏⴻ ⵜⴰⵏⴶⵓⵉ ⴷⴰⴶ ⴻⴷⴰⴶ ⵉⵏⴻⵙⵙ.
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.
Tamasheq: ⴻⴰⵔⴰⵜ ⴰⵙ ⵙⵓⴰⵏⵙⵓⵏ ⵓⴰⵔ ⵜⴰⵔⴷⴰ ⴰⴷⴰⴱⴰⵔⴰ ⵏⴰ-ⵜⵓⵉⵔⵉⵎ ⵉⵙⵙ ⵜⵉⵙⵙⴻⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⵉⴾⵏⴰ ⵜⴻⴷⴰⵓⵉⵜ ⵏⴰ ⵜⵉⴶⵔⵉⵓ ⴰⵣⵔⵓⵓⴼ ⴰⴶⵓⴻⵏ ⴼⴰⵍ ⵜⴰⵍⴱⵉⵣⵓⵏⵜ.
English: Swanson later hosted Crown Theatre with Gloria Swanson, a television anthology series in which she occasionally acted.
Tamasheq: ⵙⵓⴰⵏⵙⵓⵏ ⵜⵓⵎⴰⵔ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ ⵙⴰⵎⴰⵏⴷo ⵏⴰⵏ ⵎⴻⵛⵂⴰⵍⴰⵏⴻ ⴷⴰⴶ ⵗⵍⵓⵔⵉⴰ ⵙⵓⴰⵏⵙⵓⵏ,ⵜⴰⵔⵜⵉⵜ ⵜⴰⵎⵉⵣⴰⵣⴰⵔⴰⵜ ⴷⴰⴶ ⵜⵉⴷⴰⵍ.
English: She was the "mystery guest" on What's My Line.
Tamasheq: "ⵜⴰⴾⴰⵍ ⵜⴰⵏⴰⴼⵜⴰⴾ" ⴰⵏ ⴷⴻⴾⴰⵜ ⵜⴰⴱⴰⵔⴰⵜⵉⵏⴻ ⵓⵂⴰⵜ'ⵙ ⵎⵉ ⵍⵉⵏⴻ.
English: She made a notable appearance in a 1966 episode of The Beverly Hillbillies, in which she plays herself.
Tamasheq: ⵗⴰⴷ ⴰⵣⴰⴶⵓⵔ ⴰⵜⵉⵓⴰⴶⵔⴰⵂⴰⵏ ⴷⴰⴶ ⵜⴻⴷⴰⴶⵓⵉⵜ ⵜⴰⵏ ⴶⵓⵔ 1966 ⵟⵂⴻ ⴱⴻⴱⴻⵔⵍⵉ ⵂⵉⵍⵍⴱⵉⵍⵍⵉⴻⵙ ⴷⴰⴶ ⵜⴰⴷⴰⵍ ⴰⵛⵂⴻⴶⴰⵍ ⴰⵏ ⵏⴻⵙⵙ.
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.
Tamasheq: ⵎⴰⵙⵙⵉⵙ ⴰⵏ ⵎⴻⵛⵂⵍⴰⵏⴻ ⵂⴰⵔⵓⵍⴷ ⵋ. ⵆⴻⵏⵏⴻⴷⵉ ⵓⴰ ⵉⵙⵙⴰⵏⴰⵏⴻ ⵉⵜⴰⵔⴰⵏ ⵏⴰⵛⵂⴰⴶⴰⵍ ⴶⵓⵔ ⵗⴰⵍⴻ ⴰⴷ ⵎⴻⵔⵛⵓⵔⵉ ⵟⵂⴻⴰⵜⵔⴻ ⴰⵏ Oⵔⵙⵓⵏ ⵓⴻⵍⵍⵙ, ""ⵙⴻⴼⵍⴻⵛⵜⴻⴷ ⵗⵍⵓⵔⵉ"" ⴰⵙⵙⵓⵔⴷⴰ ⵉⵉ ⵙⵓⴰⵏⵙⵓⵏ ⵉⴶⵓⵉ ⵏⴰⴷⴰⵍ ⵓⴰⵏ ⴰⵎⵔⵓⵎⴰⵔ" ⴼⴰⵍ ⴻⴷⴰⴶⵓⴻ ⵓⴰⵏ ⵜⴰⴱⴻⵔⴰⵜ ⴷⴰⴶ ⵟⴰⵍⵍⵓⵍⴰⵂ ⵙⵓⵏⴷ ⵜⴰⴼⴰⵔⵉ
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.
Tamasheq: ⴻⴰⵔⴰⵜ ⴰⵎⵓⴾⵉⵏⴻ ⴷⴰⴶ ⵙⵓⵏⵙⴻⵜ ⴱⵓⵓⵍⴻⴱⴰⵔⴷ, ⵜⴰⴷⴰⵍ ⴶⴱⵔ ⴱⵔⴱⴰⴷⵓⴰⵉ ⴷⴰⴶ ⴰⵎⵉⵙⵙⴱ ⵓⴶⴰⵍ ⴰⵏ ⵟⵓⴻⵏⵜⵉⴻⵜⵂ ⵛⴻⵏⵜⵓⵔⵉ ⴰⴷ ⵋⵓⵙⵉ ⴼⴻⵔⵔⴻⵔ, ⴷⴰⴶ ⵏⵉⵏⴰ ⴰⴷ ⴷⴰⴶ ⴻ ⴱⵉⴷ ⵏⵉⴱⴻⵏ.
English: As a Republican she supported the 1940 and 1944 campaigns for president of Wendell Willkie and the 1964 presidential campaign of Barry Goldwater.
Tamasheq: ⴼⴰⵍⴰⵙ ⵜⴰⵈⵓⴰⵍ ⵓⴰⵍⴰⵜ ⴰⵎⴰⵙⵙ, ⵜⴰⵍⵉⵍ ⵉⵉ ⵛⴰⵎⴱⴰⵉⵜⴰⵏ ⵓⵉⵏ 1940 ⴰⴷ ⵓⵉⵏ 1944 ⴼⴰⵍⵜⴰⵏⴰⵉⴰ ⵜⴰⵏ ⵓⴻⵏⴷⴻⵍⵍ ⵓⵉⵍⵍⴾⵉⴻ ⴰⴷ ⵛⴰⵎⴱⴰⵉ ⴰⵏ ⵎⴰⵏⵓⴾⴰⵍⴰⵏ ⵓⴰⵏ 1964 ⵓⴰⵏ ⴱⴰⵔⵔⵉ ⵗⵓⵍⴷⵓⴰⵜⴻⵔ.
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.
Tamasheq: ⴻⴰⵔⴰⵜ ⴰⵙ ⵜⵉⴶⵔⴰⵓ ⴰⵙⵙⴰⴼⴰⵔ ⵓⴰⵙ ⴾⴰⵍⴰ ⵜⴰⵜⵉⵏⴼⴰ ⴱⴻⴻⵔⵉ, ⴰⵙ ⴱⴰⵂⵓ ⵉⵏⴼⴰⵏ ⵜⵉⵏⵂⵉⵜⴻⵏ ⵜⵉⵏ ⵜⵉⴼⴰⵓⵜ, ⵜⴰⴾⵛⴰⴷ ⵜⴰⵙⵙⴰⵏⴻⵙⵙ ⵉⵣⴰⵔ ⵜⴰⵎⵉⴷⴾⴰⵍ ⴷⴰⴷ ⵉⴱⴰⵏ ⴰⵏⵉⴰⵜ ⴰⵙ ⵍⴰⴾⵜⵓⵔ.
English: In 1923, she adopted 1-year-old Sonny Smith, whom she renamed Joseph Patrick Swanson after her father.
Tamasheq: ⵗⵓⵔ 1923, ⵜⴰⵙⵙⵉⴷⵓⴰⵍ ⴰⵔⴰ ⵙ ⵓⵏⵏⵉ ⵙⵎⵉⵜⵂ, ⵉⵍⴰⵏ ⴰⵓⴰⵜⴰⵉ ⵉⵉⴰⵏ, ⵉⵙ ⴶⴰ ⵉⵙⵙⵉⵎ ⵋⵓⵙⴻⴱⵂ ⴱⴰⵜⵔⵉⵛⴾ ⵙⵓⴰⵏⵙⵉⵏ, ⵙⵓⵏⴷ ⵜⵉⵙⵙ.
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.
Tamasheq: ⵜⵓⵂⴰⵔ ⴷⵉⵙ ⴰⵔⴰ ⴷⴰⵜ ⴰⵎⵉⵣⵉ ⵉⵏⵜⴰ ⵙⵓⵎⴱ ⵓⵔⵏ, ⴰⵍⵓⴰⴾ ⴰⴷⵉⵓⴰⵉⴰⵏ ⴰⵜⴰⵔⴰⴾⴰ ⵉⴰ ⴷⵉⵏⴰⵜⴰⴷ ⵙⴰⵎⴰⵏⴷⵓ ⵉⵏⵜⴰⵂⴰⴶⵓⵉⵜ ⴰⵏ ⵛⵉⵏⵉⵎⴰ.
English: Following a four-month recuperation from her abortion, they returned to the United States as European nobility.
Tamasheq: ⴻⴰⵔⴰⵜ ⵉⴼⵔⵉ ⵏⴻⵙⵙ ⴰⴾⵓⵣ ⵓⵔⴰⵏ ⴰⴷⵓⵔⴰⵓ ⴰⴶⴰⵛⵂⴰⴷ ⴰⵏ ⵜⴰⵙⵙⴰ, ⴰⵈⵓⴰⵍⴰⵏ ⴶⵓⵔ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ ⵉⵙⵜⴰⴾⴰⵍ ⵜⴰⵎⴰⵏ ⵓⴾⴰⵍⵜ Eⵓⵔⵓⴱⴻ.
English: He became a film executive representing Pathé (USA) in France.
Tamasheq: ⴻⵈⵓⴰⵍ ⴰⵓⴰⴷⴰⵎ ⴰⵏ ⵛⵉⵏⵉⵎⴰ ⵉⵂⴰⵏ ⴻⴷⴰⴶ ⴰⵏ ⴱⴰⵜⵂⵉ (ⵓⵉⴰ) ⴷⴰⴶ ⴰⴼⵔⴰⵏⵛ
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.
Tamasheq: "ⵙⵓⴰⵏⵙⵓⵏ ⵜⵉⵎⴰⵍ ⵉⵎⴰⵏ ⵓⵉⵏ-ⵏⴻⵙⵙ ⵙⵓⵏⴷ " ⴻⵏⴰⵎⴻⵜⵉⵏⴻ" ⴰⵓⴰⴷⴰⵎ ⵉⵎ ⵓⴶⴰⵏ ⵉⴰ ⵓⴰ ⵙⵉⴶⵍⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⵉⵣⴰⵔ ⵉⵍⴾⴰⵎⴰⵏ ⵉⵉ ⵜⴰⴷⴰⴱⵉⵜ ⵏⴰ ⵙⵓⵏⴰⴷ ⵏⴰ ⵏⵉⵉⴰⵜ ⴰⵙⵜⵉⴷⵉⵜ."
English: They met by chance in Paris when Swanson was being fitted by Coco Chanel for her 1931 film Tonight or Never.
Tamasheq: ⴰⵎⵓⴾⴰⵙⵙⴰⵏ ⴷⴰⴶ ⵉⴱⴰⵏ ⵉⵜⵓⵙⵙ ⴷⴰⴶ ⴱⴰⵔⵉⵙ, ⵎⴰⵛⴰⵏⴻ ⵙⵓⴰⵏⵙⵓⵏ ⴾⴰⵏⵓ ⴰⵏⵓⴼⵍⵉ ⴷⴰⴶ ⵛⵓⵛⵓ ⵉⵏ ⵙⵉⵍⵎⴰ ⴻⵂⴰⴷ ⵎⴻⴶ ⵉⴱⴰⵏⴻⵙⵙ (1931
English: Her friends, some of whom openly disliked him, thought she was making a mistake.
Tamasheq: Iⵎⵉⴷⵉⵓⴰⵏ ⵏⴻⵙⵙ, ⵉⵉⴰⴷ ⵓⴰⵔ ⵜⴰⵔⵂⴻⵏ, ⵓⵔⴷⴰⵏ ⴰⵙ ⵜⴰⵎⵉⵜⴰⵍⴰ.
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.
Tamasheq: ⵙⵓⴰⵏⵙⵓⵏ ⴰⵗⴻⵍ ⴷⴰⵗ ⵙⴰⵏⵜⵓ ⴰⵜⵓⴷⴰⴱⴰⵜ ⴰⵜ ⵜⵉⵣⴶⵉⵔ ⵜⴰⵎⵓⴷⵔⴻ ⵜⴰⵏ ⵜⴻⵎⴰⴶⵉⵜ, ⵎⴰⵛⴰⵏ ⴰⵣⵍⵉ ⵏⴻⵙ ⴻⵈⴰⵍ ⴰⵛⴰⴷⴰⵏ ⵙⴰⵙ ⵙⴰⵎⵉⴷ ⵓⴰⵏ ⴻⴰⴱⴻⵉ ⴷⴰⵗ ⵙⴰⵏⵜⵓ.
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.
Tamasheq: ⴻⵈⴰⵍ ⴻⵎⴰⴶ ⴰⵏ (ⴻⵎⴰⴶ ⴰⵏ) ⵓⴰⵏ ⵜⴰⵎⵓⵣⵓⵈ ⵜⴰⵏ ⴱⵉⵍⵍⵓⴻ ⵂⵓⵍⵉⴷⴰⵉ, ⵍⴰⴷⵉ ⵙⵉⵏⴶⵙ ⵜⵂⴻ ⴱⵍⴻⵓⴻⵙ, ⴻⵎⴰⴶ ⵓⴰⵏ ⵙⵓⴶⴰⵔ ⴱⵍⴻⵓⴻⵙ, ⴰⵍⴾⵉⵜⴰⴱ ⵓⴰⵏ ⴰⵙⴰⵆⴰⵜ ⵏⴰⴶⴰⵔⴰⵓ ⵓⴰⵏ 1975 ⵂⴰⵔⴾⵓⴾ ⴷⴰⵆ ⵏⴰⵣⴰⵏ, ⴰⴷ ⴻⵎⴰⴶ ⵏⴰⵎⴰⴾ ⵓⴰⵏ ⴰⵏⴶⵍⴰⵉⵙ ⵓⴰⵏ ⵗⵓⵓ ⴰⵔⴻ ⴰⵍⵍ ⵙⴰⵏⴱⴰⴾⵓ ⴰⵏ ⵗⴻⵓⵔⴶⴻⵙ ⵓⵂⵙⴰⵓⴰ.
English: Swanson and her husband first got to know John Lennon and Yoko Ono because they were fans of Dufty's work.
Tamasheq: ⵙⵓⴰⵏⵙⵓⵏ ⴷⴰⵂⴰⵍⵉⵙ-ⵏⴻⵙⵙ ⴰⵏⵉⵎⴰⵣⴰⵉⴰⵏ ⴷⴰⴶ ⵋⵓⵂⵏ ⵍⴻⵏⵏⵓⵏ ⴰⴷ ⵗⵓⴾⵓ Oⵏⵓ ⴼⴰⵍⴰⵙ ⴰⵎⵓⵙⵙⴰⵏⴻ ⵉⵎⴰⵔⵂⴰⵏ ⵏⵉⵛⵂⴰⴶⴰⵍ ⵓⵉⵏ ⵎ. ⴻⵓⴼⵜⵉ.
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.
Tamasheq: ⵜⴰⵜⵓⴰⵙⴰⵔⴶⴰ ⵉⵣⴰⵔ ⵉⵣⵉⴷⴰⵓⴰⵏ ⴰⵜⵓⴰⵎⴱⴰⵍⴰⵏ ⴷⴰⴶ ⵍⴰⴶⵔⵉⵙⵙ ⵓⴰⵏ ⵂⴻⴰⴱⴻⵏⵍⵉ ⵙⴻⵙⵜ ⴼⴰⵍ ⵜⴰⴱⴻⵔⴰⵜ ⵜⴰⵙⵙ ⵙⵉⵎⵓⵙⵙⴰⵜ ⴶⵓⵔ ⵏⴻⵓ ⵗⵓⵔⴾ,ⴶⵓⵔ ⵉⵍⴰ ⴰⴼⴰⵔⴰⴶ ⵏⴰⵍⴶⴰⵉⴰⵍ ⴶⴰⵙⵙ.
English: In 1974, Swanson was one of the honorees of the first Telluride Film Festival.
Tamasheq: ⵗⵓⵔ 1974, ⵙⵓⴰⵏⵙⵓⵏ ⴰⵓⴰⴷⴰⵎ ⴰⵜⵉⵓⴰⴼⵍⴰⵙⵙⴰⵏ ⴶⵓⵔ ⴰⴷⴰⵍ ⵓⴰⵣⴰⵔⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⵓⴰⵏ ⵟⴻⵍⵍⵓⵔⵉⴷⴻ
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.
Tamasheq: ⴻⴰⴶ ⵜⵉⴷⵉⵜ ⵏⴰ ⴷⵓⵏⵉⴰ ⵜⴰ ⵜⴰⵂⵓⵙⴾⴻⵜ ⴰⵏ ⵜⴰⴼⵔⵉⵏⵜ,ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⴰⵜ ⵓⴰⵣⴰⵎⴰⵏ ⴶⵓⵔ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ, ⴰⵣⴰⵔ ⵜⴻⵎⴰⵛⵂⴰⴶⴰⵍⵜ ⵜⴰⵙⵓⵂⴰⵜ ⵉⵉ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ ⵜⴰⵏ ⴰⵎⴻⵔⵉⵈⵓⴻ.
English: Nielsen's family moved several times during her childhood while her father sought employment.
Tamasheq: ⴰⵍⴶⴰⵉⴰⵍ ⵓⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⵉⴶⴰ ⵉⵂⵉⵏⴰⵏⴻ ⴰⴶⵓⵜⵏⴻⵏ ⴶⵓⵔ ⵜⴰⵎⴰⴷⵔⵉⵜ- ⵉⵏⴻⵙⵙ ⴰⵙⵙⵉⴶⴰ ⴰⵓⴻⵏ ⵜⵉⵙⵙ ⵉⵎⴰⴶⵓⴻ ⵉⴰ ⴰⵛⵂⴰⴶⴰⵍ
English: Nielsen's father died when she was fourteen years old.
Tamasheq: ⵜⵉⵙⵙ ⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⴰⴱⴰⵜⵉ ⴶⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ ⵎⴰⵔⴰⵓ ⴰⴷⵉⴾⵓⵣ ⴰⵏⴻⵙⵙ.
English: In 1901, 21-year-old Nielsen became pregnant and gave birth to a daughter, Jesta.
Tamasheq: ⵗⵓⵔ 1901, 21 ⵏⵉⴻⵍⵙⴻⵏ, ⵜⴰⴾⵔⴰⵛⵂ ⵙⴰⵏⴰⵜⴰⵜ ⵜⵉⵎⵉⵔⵓⴻⵏ ⵏⴰⵓⴰⵜⴰⵉ ⴰⴷ ⴷⵉⵉⴰⵏ, ⵜⴰⵙⵙⴰⵎⵔⴰⵓ ⵉⵣⴰⵔ ⵜⵓⵔⴰⵓ ⵜⴰⵎⴰⵜ, ⵋⴻⵙⵜⴰ.
English: Nielsen graduated from the Theater school in 1902.
Tamasheq: ⵏⵉⴻⵍⵙⴻⵏ ⵉⴾⵏⴰ ⵜⴻⴶⴰⵔⵉ ⴷⴰⴶ ⵍⴻⴾⵓⵍ ⵜⴰⵏ ⴰⴷⴰⵍ ⴶⵓⵔ 1902.
English: Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life.
Tamasheq: ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⴶⴰⴷⵓⵂⴰⵜ ⴰⵏⵜⵉⵏⴰ ⵜⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⵜⴰⴾⴰⵍ ⵙⵓⴾⵏⵉ ⴷⴰⴶ ⵙⴻⴶⴱⴰⵔ ⵉⴾⵏⴰⵏ ⴰⴷⵉⵓⴰⵉⴰⵏ ⵜⴰⵗⵔⵉⵙⵜ ⵉⴻ ⵜⴰⵎⴰⵓⴰⵜ.
English: Nielsen and Gad married, then made four more films together.
Tamasheq: ⵏⵉⴻⵍⵙⴻⵏ ⴰⴷ ⵗⴰⴷ ⴰⵣⵍⴰⵉⴰⵏ, ⵉⵣⴰⵔ ⴶⴰⵏ ⵙⵉⵍⵎⴰ ⴰⵙⵙⵉⵏⴰⵏ.
English: I realised that the age of short film was past.
Tamasheq: ⴻⵍⵎⴰⴷⴰⴶ ⴰⵙ ⴰⵣⴰⵎⴰⵏ ⵜⴰⴶⴰⵣⵓⵍⴰⵜ ⵜⴰⵎⵓⵜⴰⵉ
English: It was international film sales that provided Union with eight Nielsen films per year.
Tamasheq: ⴰⵎⵓⵙⵙ ⴻⵏⴰⵣⵉ ⴶⴰⵔ ⴾⴰⵍⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⵓⵉ ⴷⵓⵙⵙⴰⵏⴻⵏ ⵓⵏⵉⵓⵏ ⴰⵜⴰⵎ ⵙⵉⵍⵎⴰ ⵓⵉⵏ ⵓⵉⴻⵍⵙⴻⵏ ⴷⴰⴶ ⴰⵉⵓⵔ.
English: I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world."
Tamasheq: ." Iⴾⴰⵍⴰⴶ ⵜⵉⴷⴰⴱⵉⵜ ⴾⵓⵍ ⵜⴰ ⵜⵉⵜⴰⵍⴰⵜ -ⵉⵣⴰⵔ ⴰⵣⵏⴰⵣⴶⴰⵎⴻⴶ ⵂⵓⵍⴻⵏ -ⵉⴰⴷ ⵣⵓⵣⵓⵉⴰⴶ ⵙⵉⵍⵎⴰ ⵓⵉⵏ ⴰⵙⵜⴰ ⵏⵉⴻⵍⵙⴻⵏ ⵉⴰ ⴷⵓⵏⵉⴰ."
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.
Tamasheq: ⴻⴰⴶ ⵓⵎⴰⴶ ⴰⵏ ⵜⴰⵎⵓⵣⵉⴻ ⵔⵓⵙⵙⴻ ⴶⵓⵔ 1911, ⵏⵉⴻⵍⵙⴻⵏ ⵜⴰⴾⴰⵍ ⵜⴰⵎⴰⵏⵂⵓⵉⵜ ⴰⵏ ⴷⴻⴷⴻⵏ ⴷⴰⴶ ⵛⵉⵏⴻⵎⴰ ⵜⴰⵏ ⴰⴷⵓⵏⵉⴰ, ⴷⴰⵔⴰⵜ ⵍⵉⵏⴷⴰ ⴰⴷ ⴷⴰⵜ ⵜⴰⵎⵉⴷⵉⵜ ⵉⵏⴻⵙⵙ ⴷⴰⵏⵓⵉⵙⴻ ⵠⴰⵍⴷⴻⵎⴰⵔ ⴱⵙⵉⵍⴰⵏⴷⴻⵔ.
English: In 1921, Nielsen, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet.
Tamasheq: ⴻⴰⵆ 1921, ⵏⵉⴻⵍⵙⴻⵏ, ⴷⴰⵗ ⵜⴰⵙⴰⴱⴰ ⴰⵏ ⵎⴰⵏⴻⵙ ⵜⵉⴷⴰⵓⵜ ⵜⴰⵏ ⵜⵉⵣⵓⵏⴰⵓⴻⵏ ⴰⵏ ⵙⵉⵍⵎⴰⵜⴰⵏ, ⴰⵙⵜⴰ ⴼⵉⵍⵎⵙ, ⵉⵣⴶⴰⵔⵉⴷ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⵂⴰⵎⵍⴻⵜ, ⵜⵉⴶⴰⵜ ⴰⵙ ⵙⴱⴻⵏⴷ ⵗⴰⴷ ⴰⴷ ⵂⴻⵉⵏⵣ ⵙⵛⵂⴰⵍⵍ.
English: However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film.
Tamasheq: ⵂⴰⵔⴾⵓⴾ, ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⵜⴰ ⵜⴰⴾⵏⴰⵜ ⵙⵓⵏⴷ ⵙⵉⵍⵎⴰ ⵜⴰⴶⴰⵜ ⴰⵣⴰⴶⵓⵔ ⴼⵉⵍⵎⴰⵔⵛⵂⵉv ⴰⵓⵙⵜⵔⵉⴰ ⴶⵓⵔ 2010 ⵓⴰⵔ ⵙⴰⴾⵏⵉⵏ ⵙⵓⵏⴷ ⵓⴰ ⵙⵉⵍⵎⴰ
English: She worked in German films until the start of sound movies.
Tamasheq: ⵜⴰⵛⴻⴶⴰⵍ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⴰⵍⵍⴻⵎⴰⵏⴷⵙ ⵂⴰⵔ ⵙⴰⵏⵜⵓ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵣⴰⵔⴰⵜ.
English: Thereafter, Nielsen acted only on stage.
Tamasheq: "ⴻⴰⴶ ⴰⵍⴾⵓⵎ, ⵏⵉⴻⵍⵙⴻⵏ ⵓⴰⵔ
English: Understanding the implications, Nielsen declined and left Germany in 1936.
Tamasheq: ⵜⵉⵂⵔⴰ ⴰⵏ ⵜⴰⵔⵜⵉⵜ, ⵏⵉⴻⵍⵙⴻⵏ ⵓⵏⴶⴰⵉ ⴷⵉ ⴼⴰⵍ ⴰⵍⵍⴻⵎⴰⴶⵏⴻ ⴶⵓⵔ 1936
English: They were divorced by 1919 when Nielsen married the Swedish shipbuilder Freddy Windgårdh.
Tamasheq: ⴰⵎⴰⵣⴰⵉⴰⵏ ⴶⵓⵔ 1919,ⴰⵙⵙⴰⴶⴰⵜ ⵓⴻⵏⴷⴰⴶ ⴰⴷⴰⴶ ⵜⴰⵓⴰⵉ ⵏⵉⴻⵍⵙⴻⵏ ⴻⵏⴰⵎⴻⴾⵔⴰⵙⵙ ⵙⵓⵉⴷⵓⵉⵙ ⴼⵔⴻⴷⴷⵉ ⵓⵉⵏⴷⴶⴰⵔⴷⵂ.
English: They began a long-term common-law marriage that lasted from 1923 until the late 1930s.
Tamasheq: ⴰⵙⵙ ⵏⴰⵎⴰⴷⴰⴷⴰⵏ ⴰⵣⵍⵉ ⵣⵉⴶⵔⴻⵏ ⴼⴰⵍⴰⵙⵙ ⴰⵂⵓⴶⴰ ⴶⵓⵔ 1923 ⵂⴰⵔ ⵙⴰⵎⴰⵏⴷo ⵏⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1930.
English: Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American dancer, actor, singer, choreographer, and television presenter.
Tamasheq: ⴼⵔⴻⴷ ⴰⵙⵜⴰⵉⵔⴻ ( ⵉⵓⴰ ⴼⵔⴻⴷⴻⵔⵉⵛⴾ ⴰⵓⵙⵜⴻⵔⵍⵉⵜⵣ ; 10 ⵎⴰⵉ 1899-22 ⵋⵓⵉⵏ 1987 ) ⴻⵈⵓⴰⵍ ⴰⵎⴰⴷⵍⴰⵍ,ⴻⵎⴰⵛⴻⵙⵜⵉ, ⴰⵎⴰⵏⵣⴰⵔ ,ⵛⵓⵔⴻⴶⵔⴰⴼ ⴰⴷ ⴻⵎⴰⵙⵙⴻⴾⵏⵉ ⴰⵏ ⵜⴰⵍⴱⵉⵣⵓⵏ ⴰⵎⵉⵔⵉⵛⴰⵉⵏ.
English: He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and numerous recordings.
Tamasheq: Iⴷⴰⵍ ⴷⴰⴶ ⵓⴶⴰⵔⴰⵏ 10 ⵏⴰⵣⴰⵔⴰⵏ ⵏⴰⴷⴰⵍⴰⵏ ⵓⵉⵏ ⴱⵔ ⵓⴰⴷⵓⴰⵉ ⴰⴷ ⵓⵉⵏ ⵓⴻⵙⵜ ⴻⵏⴷ, ⵉⴶⴰ 31 ⴰⵏ ⵙⵉⵍⵎⴰ ⵓⵉ ⵏⴰ ⴰⵣⴰⵔ, ⴰⴾⵓⵣ ⵎⴰⵣⴶⴰⵔⴰⵏ ⴰⵏ ⵙⴰⵍⴰⵏ ⵉⴻ ⵜⴰⵍⴱⵉⵣ ⵓⵏ ⴰⴷ ⵙⴰⵜⴾⴰⵍ ⴰⴶⵓⵜⵏⴻⵏ.
English: Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace.
Tamasheq: ⵎⴰⵙ ⵏⴰ Aⵙⵜⴰⵉⵔⴻ ⴰ ⴷⴰⵗ ⵜⵓⵓⴰ ⵉⵜⴰⵜⵙ-ⵓⵏⵉⵙ ⴰⵏ ⵎⵓⴷⴰⴾⴰⵏ ⵏⴰ ⴰⵍⵍⴻⵎⴰⵏⴷⵙ ⵍⵓⵜⵂⴻⵔⵉⴻⵏⵙ ⵓⴰⵏ ⴱⵔⵓⵙⵙⴻ ⵓⵔⵉⴻⵏⵜⴰⵍ ⴰⵏ ⴰⵍⵙⴰⵛⴻ
English: Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company.
Tamasheq: ⴼⵔⵉⵜⵣ ⵉⵎⴰⵗ ⵉⴻ ⴰⵛⴰⵆⵉⵍ ⴷⴰⵗ ⴻⴷⴰⴶ ⵓⴰⵏ ⵜⴰⵣⵓⵍⵉⵉⴰⵓⵉⵏⴻⵏ ⴰⴷ ⴰⵈⵉⵎⴰ ⴷⴰⵗ Oⵎⴰⵂⴰ, ⵏⴻⴱⵔⴰⵙⴾⴰ, ⵉⵓⵔ ⴰⵜⵓⴰⵜⴾⴰⵍ ⵉⴻ ⵙⵜⵓⵔⵣ ⴱⵔⴻⵓⵉⵏⴶ ⵛⵓⵎⴱⴰⵏⵉ
English: Johanna planned a "brother and sister act", common in vaudeville at the time, for her two children.
Tamasheq: "ⵋⵓⵂⴰⵏⵏⴰ ⴰⵙⵎⴰⵜⴰⵉ ""ⴰⴷⴰⵍ ⴰⵏ ⵎⴰⴷⵔⴰⵉⴰⵏ ⴰⵏ ⵜⴰⵎⴰⴷⵔⴰⵉⴻⵏ"", ⵜⵉⵛⵉⵍⵏⴻⵏ ⴻⵂⴰⵏⵉⵏ ⴷⴰⵆ ⴱⴰⵓⴷⴻⴱⵉⵍⵍⴻ, ⵉⴻ ⴰⵔⴰⵜⴰⵏⴻⵙ ⴰⵙⵉⵏ".
English: They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts.
Tamasheq: ⴰⵙⵙⴰⵜⴰⵏ ⴰⵍⴰⵎⴰⴷ ⴶ ⵓⵔ ⵍ’ⵉⵛ ⵓⵍⴻ ⵜⴰⵏ ⴰⴷⴰⵍ ⴰⵍⴱⵉⴻⵏⴻ ⵎⴰⵙⵜⴻⵔ ⴰⴷ ⴰⵛⴰⴷⵉⵎⵉⴻ ⵓⴰⵏ ⵜⴰⵎⵓⵙⵏⴰⵓⴻⵏ.
English: They were taught dance, speaking, and singing in preparation for developing an act.
Tamasheq: ⵜⴰⵓⴰⵙⵙⴰⴶⵔⴻⵏ ⴷⴰⵍⵓⵍ, ⴰⵙⵙⵎⵓⵙⴰⴶ ⴷⴰ ⴰⵏⴰⵣⴰⵔ ⵉⴰ ⵙⴰⵜⴰⵏ ⴰⵙⴶⴰⵜ ⴰⵏ ⵏⵓⵎⴻⵔⵓ.
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.
Tamasheq: ⴻⴰⴶ ⴰⵙⵙⵓⵙⵜⴰⵏ ⵉⵉⴰⵏ, ⵓⴰⵍⴰⵜ ⴰⵙⵜⴰⵉⵔⴻ, ⴰⴱⴰ ⴰⵙⵜⴰⵉⵔⴻ ⵎⵛⴾⴻⵏⵣⵉⴻ,ⵉⴾⵉⴰⴷ ⴰⵙ ⵜⴰⴶⴰⵏ ⴰⴶⵓⴷ ⵉⵉⴰⵏ ⴼⵔⴻⴷ ⴷⴰⴶ ⵜⴰⴾⴰⴱⵓⵜ ⵜⴰⵣⵓⴰⵉⴰⵜ ⵉⴰⴷ ⵜⴰⴾⴰⵍ ⵜⵉ ⵎⴰⴾⴰⵔⴰⵜ.
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.
Tamasheq: ⴼⵔⴻⴷ ⴰⴷ ⴰⴷⴻⵍⵍⴻ ⵉⴶⵔⴰⵓⴰⵏ ⴰⵛⴰⴶⴰⵍ ⴰⵂⵓⵙⴾⴻⵏ ⴼⴰⵍ ⵉⴷⴰⵎ ⴰⴷ ⵜⴰⵎⵓⵙⵏⴻ ⴰⵏ ⵜⵉⵙⵙⴰⵏ ⵉⵣⴰⵔ ⵜⴰⴷⴰⵍⴰⵏ ⴷⴰⴶ ⵜⴻⴷⴰⴶⵓⵓⵉⵜ Oⵔⴱⵂⴻⵓⵎ ⴷⴰⴶ ⵎⵉⴷⵓⴻⵙⵜ, ⵉⴶⴰⴷⴰⵍ ⴰⵏ ⵜⴰⴼⵓⴾ ,ⴰⴷ ⴾⴰⵍⴰⵏ ⵓⵉⵏ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ.
English: In 1912, Fred became an Episcopalian.
Tamasheq: ⵗⵓⵔ 1912, ⵔⵔⴻⴷ ⴻⴾⴰⵍ ⵉⴱⵉⵙⵛⵓⴱⴰⵍⵉⴻⵏ.
English: From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle.
Tamasheq: ⴰⵏⵜⴰⵏⴻⴷ ⴷⴰ ⴰⵎⴰⴷⵍⴰⵍ ⵓⴰⵏ ⴱⴰⵓⴷⴻvⵉⵍⵍⴻ ⴰⵓⵔⴻⵍⵉⵓ ⵛⵓⵛⵛⵉⴰ, ⵍⴰⵎⴰⴷⴰⵏ ⴷⴰⵍⵓⵍ ⵓⴰⵏ ⵜⴰⵏⴶⵓ, ⴱⴰⵍⵙⴻ ⴰⴷ ⴷⴰⵍⵓⵍⴰⵏ ⵉⵉⴰⴷ ⵓⵉ ⴰⵜⵓⴰⵣⴰⵉⵏⴻⵏ ⴰⵙ ⵠⴻⵔⵏⵓⵏ ⴰⴷ Iⵔⴻⵏⴻ ⵛⴰⵙⵜⵍⴻ
English: He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916.
Tamasheq: ⴰⵎⵓⴾⴰⵙⵙ ⴰⴷ ⵗⴻⵓⵔⴶⴻ ⵗⴻⵔⵙⵂⵓⵉⵏ ⴷⴰⴶ ⵜⵉⵣⴰⵔⴰⵜ ⴶⵓⵔ 1916, ⵎⴰⵛⴰⵏ ⴰⵛⴻⴶⴰⵍ ⵙⵓⵏⴷ ⴰⵎⴰⵏⵣⴰⵔ ⵉⴻ ⴻⵂⴰⵏ ⵓⴰⵏ ⵉⵣⴰⵣⴶⴰⵔⴰⵏ ⵉⵏⴰⵣⴰⵔⴰⵏ ⴰⵏ Jⴻⵔⵓⵎⴻ ⵂ. ⵔⴻⵎⵉⵛⴾ
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."
Tamasheq: “ⴰⵛⴰⴶⴰⵍ ⴷⴰⴶ ⵟⵂⴻ ⴱⴰⵙⵙⵙⵉⵏⴶ ⵙⵂⵓⵓ ⴶⵓⵔ 1918, ⵂⴻⵉⵓⵓⵓⴷ ⴱⵔⵓⵓⵏ ⵉⴾⵜⴰⴱ: ""ⴻⴰⴶ ⴻⵂⴰⴷ ⵓⴰ ⴶⵓⵔ ⴰⴶⵓⵉⵜ ⴷⴰⵍⵓⵍⴰⵏ ⴰⵂⵓⵙⴾⴰⵜⵏⵉⵏ, ⴼⵔⴻⴷ ⴰⵙⵜⴰⵉⵔⴻ ⵉⵣⴶⴰⵔⵉⴷ ... Iⵏⵜⴰ ⴰⴷ ⵜⴰⵎⴰⵔⵜⵉⵜ ⵉⵏⴻⵙⵙ, ⴰⴷⴻⵍⴻ ⴰⵙⵜⴰⵉⵔⴻ, ⵏⴰⵙ ⵎⴰⵉⴰⴾⴰⵜ ⴷⴰⴶ ⵙⴰⵏⵜⵓ ⵏⴻⵂⴰⴷ ⴰⴷ ⴷⴰⵍⵓⵍ ⵉⴾⵏⴰⵏ ⵉⵙⵙ ⴷⴰⵔⴰⵏ ⵙⴰⵎⴻⴷⵏⴻⵏ.
English: But by this time, Astaire's dancing skill was beginning to outshine his sister's.
Tamasheq: ⵎⴰⵛⴻⵏ ⴰⵍⵓⴰⴾⴻⵏ ⴷⴰⴶ, ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵏ ⵎⴰⴷⵍⴰⵍⴰⵍ ⵓⵉⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵔⵏⴰ ⵓⵉⵏ ⵜⴰⵎⴰⴷⵔⴰⵉⵜ ⵉⵏⴻⵙ.
English: Astaire's tap dancing was recognized by then as among the best.
Tamasheq: ⵜⵉⴼⴰⴷⴻⵍⴻⵏ ⵜⵉⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴰⵜⵉⵓⴰⵣⴰⵉⵏⴰⵜ ⴷⴰⴶ ⵜⵉ ⴰⵂⵓⵙⴾⴰⵜⵏⴻⵏ.
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.
Tamasheq: ⴻⴰⵔⴰⵜ ⵙⴰⵎⴰⵏⴷⵓ ⵓⴰⵏ ⴼⵓⵏⵏⵉ ⵂⴰⵛⴻ, ⴰⴷ ⴰⵙⵜⴰⵉⵔⴻ ⵉⴾⴰⵏⴰⵜ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ ⵉⴻ ⴰⵙ ⴰⵏⴰⵎⴰⵓⴰⵍ (ⴰⵛⵂⴰⵍⵉ ⵉⵏⴶⴰⵙ) ⴶⵓⵔ ⴱⴰⵔⴰⵎⵓⵓⵏⵜ ⴱⵉⵛⵜⵓⵔⴻⵙ, ⵎⴰⵛⴻⵏ ⴱⴰⵔⴰⵎⵓⵓⵏⵜ ⵉⵏⴰ ⵓⴰⵔ ⴰⵏⵎⴰⵓⴰⵍⴰⵏ ⴰⵙ ⴶⵓⵔ ⵙⵉⵍⵎⴰ
English: The end of the partnership was traumatic for Astaire but stimulated him to expand his range.
Tamasheq: ⵙⴰⵎⴰⵏⴷⵓ ⴰⵏ ⵜⴰⵔⵜⵉⵜ ⴻⴾⴰⵍ ⵜⴰⵎⴰⵜⴻⵔⵜ ⵉⴻ Aⵙⵜⴰⵉⵔⴻ ⵎⴰⵛⴻⵏ ⴰⵎⵉⴷⴰⴶⵓⴰⵙ ⵉⴰⴷ ⵉⵙⵉⵓⴰⴷ ⴻⴷⴰⴶ ⵏⴰⵙⴰⵏⵜ.
English: They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady.
Tamasheq: ⴼⴰⴷⴰⵙⵜ ⵉⴻ ⵂⴰⵔⴰⵜ ⴰⵏ ⵂⴰⴷⴰⵏ ⴶⵓⵔ ⵎⵗⵎ ⴶⵓⵔ 1933 ⵉⴻ ⵙⴰⵏⵜⵓⵜⴰⵏ ⴶⵓⵔ Hⵓⵍⵍⵉⵓⵓⵓⴷ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⵜⵉⴾⵏⴰⵜ ⴻⴰⵏⵛⵉⵏⴶ ⵍⴰⴷⵉ.
English: He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!'
Tamasheq: IIⴾⵜⴰⴱ ⵉⴰ ⴰⵎⴰⵛⴰⴶⴰⵍ ⵉⵏⴻⵙⵙ : "ⴰⵔⵂⴻⴶ ⵉⴶⵓⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵜ ⴷⴰⵔⵉⵙ, ⵎⴰⵛⴻⵏ ⵉⴻ ⴰⵏⵉⴰⵜ ⵓⴰⵏ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ", “ⵉⵎⴷⴰ"
English: The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical.
Tamasheq: ⵜⴰⵔⵜⵉⵜ ⵜⴻⵏ, ⴰⴷ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴰⴷ Hⴻⵔⵎⵉⵙ ⴱⴰⵏ, ⴰⵍⵉⵍⴰⵍ ⵉⴻ ⵉⴶⵓⵉ ⴷⴰⴶ ⴷⴰⵍⵓⵍ ⵂⴰⵔⴰⵜ ⵎⴰⴾⵓⵔⴰⵏ ⵉⴻ ⴰⴷⴰⵍ ⴰⵏⴰⵣⴰⵔ ⵓⴰⵏ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ.
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.
Tamasheq: ⵙⴰⴷⵉⵙ ⴷⴰⴶ ⵜⴰⵣⴰ ⵉⵙⴰⵙⵜⴰ ⵓⵉⵏ ⴰⵏⴰⵣⴰⵔ ⴰⵙⵜⴰⵉⵔⴻ-ⵙⵓⴶⴻⵔⵙ ⴻⴾⴰⵍⴰⵏ ⵜⴰⵙⵙⵓⴶⵓⵛⵜ ⵎⴰⴾⴰⵔⴰⵜ ⵏⴰⵣⵔⵉⴼ ⵉⴻ ⵙⵆO ; ⵙⵉⵍⵎⴰ ⴾⵓⵍ ⵜⵉⵓⴰⵉⴷ ⵉⴰⵔⴰⵜ ⵉⵏⴼⴰⵏ ⴰⵣⴰⵔ ⵉⵂⴰⴾ ⵜⵉⵎⴱⴻ ⵙⵜⵉⴷⵉⵓⵜⴰⵏ ⴾⵓⵍ ⵓⵉ ⴰⴷ ⵜⵉⵂⴰⵣⵏⴻⵏ.
English: This gave the illusion of an almost stationary camera filming an entire dance in a single shot.
Tamasheq: ⴰⵓⴻⵏ ⵉⵂⴰⴾⵓ ⴰⵏⴰⵙⴶⵓⵎ ⴰⵏ ⵛⴰⵎⴻⵔⴰ ⵜⴰⵣⵓⴾⴻⵜ ⴷⴰⴾⴰⵍ ⴷⴰⵍⵓⵍ ⵉⵎⴷⴰⵏ ⴷⴰⴶ ⵉⵉⴰⵏ
English: Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety.
Tamasheq: ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⵏⴰⵎ ⵣⵉⵣⴰⵔ ⴰⵏ ⴷⴰⵍⵓⵍ ⵓⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵉⴶⵔⴰⵓ ⵉⴻ ⵉⵎⵓⴶⵓⵂⴰ ⵉⴰ ⴰⴷⴰⵍⴾⵉⵎⴰⵏ ⵉⵎⴰⴷⵍⴰⵍⴰⵍ ⴰⴷ ⵜⴰⵎⵓⵙⵏⴻ ⴷⴰⴶ ⵉⵎⴰⵏ
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.
Tamasheq: ⴰⵙⵙⵉⵏⵉ ⵓⴰⵙ ⴰⵙⵉⵏⵏ ⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵉⴱⴷⴰⴷ ⵉⴱⵔⴻⵜ ⴰⵏ ⴷⴰⵍⵓⵍ,ⴻⴾⴰⵍ ⵉⴰⵙ ⵉⵎⴰⵣⴰⵔⴰⵏ ⴾⵓⵍ ⴰⴷ ⵎⵓⵙⵙⴰⵏⴰⵏ ⴰⴷ ⴰⴶⴰⵏ ⵓⴶⵉⵛⴰⵏ ⵙⵉⵍⵎⴰ.
English: One would be a solo performance by Astaire, which he termed his "sock solo."
Tamasheq: " Iⵉⴰⵜ ⴷⵉⵙⵏⴰⵜ ⵜⴰⴾⴰⵍ ⵙⵓⵍⵓ ⴰⵙⵜⴰⵉⵔⴻ,ⵓⴰ ⵉⴶⴰⵔⵓ " ⵙⵓⵍⵓ ⵓⴰⵏ ⵛⵂⴰⵓⵙⵙⴻⵜⵜⴻ"
English: I think Ginger Rogers was.
Tamasheq: Oⵔⴷⴻⴶ ⴶⴰⵙ ⴻⴾⴰⵍⵜⵉ ⵗⵉⵏⴶⴻⵔ ⵔⵓⴶⴻⵔⵙ.
English: She faked it an awful lot.
Tamasheq: ⵜⵉⴾⵏⴰ ⵜⴰⴶⴷⴰⵔⵜ ⵂⵓⵍⴻⵏ.
English: In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson.
Tamasheq: ⵗⵓⵔ 1976, ⴻⵎⴰⴷⴻⴶⵓⵉⵙ ⵓⴰⵏ ⴱⵔⵉⵜⴰⵏⵉⵈⵓⴻ ⵙⵉⵔ ⵎⵉⵛⵂⴰⴻⵍ ⴱⴰⵔⴾⵉⵏⵙⵓⵏ ⴰⵙⵉⵙⵜⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵉⵏⴷⴻⴾ ⴰⵎⴰⵔⵜⴰⵉ ⵓⴰ ⵜⴰⵔⵂⴻⴷ ⴷⴰⴶ ⴷⴰⵍⵓⵍ
English: Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership.
Tamasheq: ⵗⵓⵔ ⴰⵎⵓⴾⴰⵏ, ⴰⵙⵜⴰⵉⵔⴻ ⵓⴰⵔ ⵜⴰⵔⵂⴰ ⴰⵙ ⵜⴰⵂⴰⴶⵉⵜ ⵉⵏⴻⵙⵙ ⴰⵜ ⵜⴰⴱⴷⴰⴷ ⴶⵓⵔ ⵜⴰⵔⵜⵉⵜ.
English: Throughout this period, Astaire continued to value the input of choreographic collaborators.
Tamasheq: ⵗⵓⵔ ⴰⵍⵓⴰⴾ ⵓⴻⵏⴷⴰ, ⴰⵙⵜⴰⵉⵔⴻ ⵜⵓⴾⴰⵉ ⴷⴰⴶ ⴰⴶⴰⵔⵓⵣⴰⵜ ⵉⴰ ⵓⴰ ⴷⴻⵓⴰⵉⴰⵏ ⵉⵎⵉⵍⴰⵍⴰⵏ ⴰⵏ ⵉⵎⵓⵙⵙⴰⵏⴰⵏ.
English: They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine."
Tamasheq: " ⴰⴷⴰⵍⴰⵏ ⴷⴰⴶ ⴱⵔⵓⴰⴷⵓⴰⵉ ⵎⴻⵍⵓⴷⵉ ⴶⵓⵔ 1940, ⵓⴰ ⴷⴰⴶ ⴰⴶⴰⵏ ⴰⵎⵓⵙⵙⴰⵏ ⴰⵙⵉⵙⵙⴰⴾⴰⵉⴰⵏ ⴰⵏⴰⵣⴰⵔ ""ⴱⴻⴶⵉⵏ ⵜⵂⴻ ⴱⴻⴶⵓⵉⵏⴻ " ⵓⴰⵏ ⵛⵓⵍⴻ ⴱⵓⵔⵜⴻⵔ. """
English: He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946).
Tamasheq: Iⴷⴰⵍ ⴻⴷⴻⵙ ⴰⵏ ⴱⵉⵏⴶ ⵛⵔⵓⵙⴱⵉ ⴷⴰⴶ ⵂⵓⵍⵉⴷⴰⵉ Iⵏⵏ ( 1942 ) ⵉⵣⴰⵔ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ ⴱⵍⵓⴻ ⵙⴾⵉⴻⵙ ( 1946 ).
English: The latter film featured "Puttin' On the Ritz", an innovative song-and-dance routine indelibly associated with him.
Tamasheq: "ⵙⵉⵍⵎⴰ ⵓⴰ ⵉⵍⴾⴰⵎⴰⵏ ⵉⵂⴻ " ⴱⵓⵜⵜⵉⵏ Oⵏ ⵜⵂⴻ ⵔⵉⵜⵣ" ⵏⵓⵎⴻⵔⵓ ⴰⵏ ⴰⵏⴰⵣⴰⵔ ⴰⴷ ⴷⴰⵍⵓⵍ ⴰⴷⵉⵙⵔⴰⵉⴰⵏ ⵂⴰⵙ ⴻⴱⴷⴰⵏ."
English: The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom.
Tamasheq: ⵙⵉⵍⵎⴰ ⵓⴰ ⴰⵣⴰⵔⴰⵏ, ‘’ⵓⴰⵔ ⵜⴰⴾⴰⵍⴰⵎ ⵉⴷⴰⴶ ⴰⵣⵔⵉⴼ’’ ( 1941 ), ⵛⴰⵜⴰⴱⵓⵍⵜⴻ ⵂⴰⵉⵓⵓⵔⵜⵂ ⵉⴱⵔⴻⵜ ⴰⵏ ⵜⴰⵎⵓⵣⵉⵉ
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.
Tamasheq: ⴻⵔⵜⴰⵉ ⴷⴰ ⵙⵉⵏⵏ ⴼⴰⵍ ⴰⵏⴰⵣⴰⵔ "I’ⵎ Oⵍⴷ ⴼⴰⵙⵂⵉⵓⵏⴻⴷ," ⵓⴰⵏ ⵆⴻⵔⵏ, ⴻⴾⴰⵍ ⵉⵎⵔⴰⵛ ⵉⴻ ⴰⵙⵜⴰⵉⵔⴻ ⵏⴻⵓ ⵗⵓⵔⴾ ⵛⵉⵜⵉ ⴱⴰⵍⵍⴻⵜ ⴶⵓⵔ 1983, ⴷⴰⵓ ⵜⴰⵏⵂⴰⵜ ⴰⵏ Jⴻⵔⵓⵎⴻ ⵙⵓⴱⴱⵉⵏⵙ.
English: Astaire choreographed this film alone and achieved modest box office success.
Tamasheq: ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵣⴰⵣⴶⴰⵔ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵏ ⵉⵣⴰⵔ ⵜⴰⴶⵔⴰⵓ ⴰⵎⵓⴾⴰⵏ ⴰⴷⴰⵔⴰⵏ ⴶⵓⵔ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ
English: The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet.
Tamasheq: ⴰⵏⵉⴰⵜ ⵗⵓⵍⴰⵏⴷⴰ ⴰⴷ ⴻⵎⴰⴾⵔⴰⴷ ( 1945 )ⵉⴶⴰ ⴷⴰⴶ ⴰⴷⴰⵍ ⴷⴰⵍⵓⵍ ⵉⴾⵏⴰⵏ ⵜⴰⵍⴰⴱⴰⵙⵜ.
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).
Tamasheq: ⵂⴰⵔⴾⵓⴾ ⵉⴼⵍⴰⵙ ⵉⵏⵜⴰ ⴰⴶⵓⴻⵍ ⵜⴰⵂⵉⴶⵓⵉⵜ ⵙⴰⵏⵜⵓ ⴰⵏⴰⵙⵎⴰⴷ, ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⴶⴷⴰⵔ ⵜⴰⵎⴰⵜⴻ ⵉⵏⴻⵙ ⵜⴰⵍⴰⴶⴰⵜ ⵜⴰⵙⵓⵏⴼⴰⵜ ⵉⵏⴻⵙ ⴰⴶⵓⴷⴻⵏ ⵉⴶⵓⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵉⵍⴾⴰⵎ ⵉⴻ ⴱⵍⵓⴻ ⵙⴾⵉⴻⵙ (1946).
English: Both of these films revived Astaire's popularity and in 1950 he starred in two musicals.
Tamasheq: ⴰⵙⵙⵉⵏⵏ ⵙⵉⵍⵎⴰ ⵓⵉⴷⴰⴶ ⵂⴰⴾⴰⵏ ⵎⵓⵣⵉⴰⵜ ⴰⵏ Aⵙⵜⴰⵉⵔⴻ ⵉⵣⴰⵔ ⴶⵓⵔ 1950, ⵉⴷⴰⵍ ⴷⴰⴶ ⴰⵙⵉⵏⵏ ⵎⴰⵏⵣⴰⵔⴰⵏ ⵏⴰⴷⴰⵍ.
English: While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.
Tamasheq: ⴰⴶⵓⴷⴻⵏ ⵟⵂⵔⴻⴻ ⵍⵉⵜⵜⵍⴻ ⵓⵓⵔⴷⵙ ⵉⵜⴰⵛⴰⵎ ⵂⵓⵍⴰⵏ ⵉⴻ ⴱⵓⵆ-ⵓⵎⵓⴼⴼⵉⵛⴻ, ⵍⴻⵜ’ⵙ ⴻⴰⵏⵛⴻ ⴻⴾⴰⵍ ⵜⴰⵎⵓⴶⵔⴰⵣⵙⵜ.
English: But because of its high cost, it failed to make a profit on its first release.
Tamasheq: ⴻⴰⴶ ⵜⵉⴷⵉⵜ ⵏⴰⵙⵓⵂⵓ,ⵓⴰⵔ ⵉⴾⵏⴰ ⴰⴶⴰⵔⴰⵓ ⴶⵓⵔ ⴰⵣⴰⴶⵓⵔ ⵓⴰ ⴰⵣⴰⵔⴰⵏ.
English: Then, his wife Phyllis became ill and suddenly died of lung cancer.
Tamasheq: Iⵣⴰⵔ, ⵂⴰⵏⵉⵙⵙ ⴱⵂⵉⵍⵍⵉⵙ ⵜⴰⵏⵉⴷ ⵉⵣⴰⵔ ⵜⴰⵏⴶⴻⵜ ⵜⵓⵔⵂⵉⵏⴰ ⵜⴰⵏ ⵜⵓⵔⴰⵓⴻⵏ ⵛⵉⴾ .
English: Daddy Long Legs only did moderately well at the box office.
Tamasheq: ⴻⴰⴷⴷⵉ ⵍⵓⵏⴶ ⵍⴻⴶⵙ ⵓⴰⵔ ⵉⴾⵏⴰ ⴰⴶⴰⵔⴰⵓ ⴶⵓⵔ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ
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.
Tamasheq: ⵙⵓⵏⴷ, ⴱⵔⵓⵋⴻⵜ ⵓⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ-ⵙⴰⵎⴰⵏⴷⵓ ⵏⴰⴷⴰⵍ ⴶⵓⵔ ⵎⵗⵎ, ⵙⵉⵍⴾ ⵙⵜⵓⵛⴾⵉⵏⴶ (1957), ⴷⴰⴶ ⵉⵜⵓⵣⴰⵏ ⴷⴰⴶ ⵛⵉⴷ ⵛⵂⴰⵔⵉⵙⵙⴻ,ⵉⴶⴰⵔⵉⵏ ⴷⴻⴶ ⴰⵣⵔⵓⴼ ⴶⵓⵔ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ.
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."
Tamasheq: " ⵂⴰⵔⴰⵜ ⴷⴰⴶ ⴱⵔⵓⴶⵔⴰⵎⵜⴰⵏ ⵏⴻⵙⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ, ⴰⵏ ⴻⴱⴻⵏⵉⵏⴶ ⵓⵉⵜⵂ ⴼⵔⴻⴷ ⴰⵙⵜⴰⵉⵔⴻ (1958), ⵉⴶⵔⴰⵓ ⵜⴰⵣⴰ ⴻⵎⵎⵉ ⴰⵓⴰⵔⴷⵙ,ⴷⴰⴶ ⵓⵉ" ⵓⴶⴰⵔⵏⴻⵏ ⴰⵙⵙⴰⵂⴰⵜ ⴰⵎⵓⵙⵙⴰⵏ" ⴰⴷ " ⴱⵔⵓⴶⵔⴰⵎ ⵓⴰⵏ ⴰⵓⴰⵜⴰⵉ""".
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.
Tamasheq: " ⴰⵙⵙⴰⵏⴰⴼⵔⵉⵏ ⵓⴰ ⴰⵙⵉⵏⴾⴰⵔ ⵜⴰⵎⴰⴷⴰⵙⵂ, ⴼⴰⵍ ⴰⵙ ⴰⴷⵓⵏⵉⵉⴰ ⴰⴶⴻⵜⵏⴻⵏ ⴰⵙⵙⴰⵏⴰⵏ ⴰⵙ ⴰⴷⴰⵍⴰⵍ ⵓⴰⵏ ⴰⵏⴻⵙ ⴷⴰⵗ ⴻⴷⴰⴶ ⵓⴰ,ⵓⴻⵔⴷ ⴻⵈⴰⵍ ⴻⴷⴰⴶ ⵓⴰ ⵎⵓⵙⵙⴻⵏ ⴰ ⵜⴰⵂⴰ ⵜⴰⵎⴰⴷⴰⵙⵂ ⵜⴰ ⴼⴰⵍ ⵉⴶⴰ ⴰⴷⴰⴶⵓⴷ ⵓⴰ.
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.
Tamasheq: ⴰⵏⵜⴰⵏⴻⴷ ⴰⴶⴰⵏ ⵜⴻⵍⴱⵉⵙⵉⵓⵏ ⵜⴰⵏ ⵜⵉⴷⴰⵜ,ⴰⴷⴾⴰⵍⴰⵏ ⴰⵓⴰ ⵜⵉⵜⵉⵂⴰⵏ ⴾⵓⵍ ⴰⴶⴰⵏⵜⵉ ⴷⴰⵗ ⴻⴷⴰⴶ ⴰⵉⵏⴰⵉⴰⵏ ⴰⵣⴰⵔ ⴰⵙⵙⵉⵔⵜⴰⵉⴰⵏ ⴰⵓⴰ ⵉⴱⵔⴰⵔⴰⵏ ⴷⴰⵗ ⵉⵙⵙⵓⵂⴰⴶ ⵓⵉⴷⴰⵗ ⴾⵓⵍ, ⴾⵉⵏⴻⵙⴾⵓⴱ
English: Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969.
Tamasheq: ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵜⵓⴰⴶⴰ ⴷⴰⵗ ⴻⴷⴰⴶ ⵓⴰⵏ ⴰⵉⵜⴻⴷⵎⴻⵏ ⵓⵉⵙ ⴰⵎⵓⵙ ⵓⴰⵔⴷ ⵂⴻⵏ ⵉⴷⴰⵍⴰⵍⴰⵏ ⴷⴰⵗ ⴼⵉⵍⵎⵙ ⵜⴰⵏ ⴾⴰⵔⴰⴷⴰⵜ ⴰⴷ ⵙⴻⵔⵉⴻⵙ ⵜⴰⵏ ⴰⵏ 1957 ⴰⴷ 1969
English: Astaire's dance partner was Petula Clark, who played his character's skeptical daughter.
Tamasheq: ⵜⴰⵎⵉⴷⴰⴷ ⵜⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⵓⵉⴷⴰⵗ ⴰⵜⴰⵓⵓⵙ ⴱⴻⵜⵓⵍⴰ ⵛⵍⴰⵔⴾ,ⴰⵏⵜⴰ ⴰ ⴰⵜⴰⴶⴰⵍⴰⵜ ⵜⴰⵔⴰⵜ ⵜⴰⵏ ⴰⴷⴰⵏⵍⴰⵏ ⵓⵉⵏ.
English: Astaire continued to act in the 1970s.
Tamasheq: ⴰⵙⵜⴰⵉⵔⴻ ⵜⵉⴶⴰ ⴰⵓⴰ ⴷⴰⵗ ⵜⵉⵣⵣⴰⵉ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⴷⴰⵗ ⵉⵓⵉⵜⵉⵉⴰⵏ ⵓⵉⵏ 1970.
English: In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film.
Tamasheq: ⴻⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ ⴰⵙⵉⵏ, ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ ⵙⴰⴷⵉⵙⴰⵜ ⵜⵉⵎⵓⵔⵎⴻⵏ ⴰⴷ ⴾⴰⵔⴰⵜ,ⴰⵏⵜⴰ ⵜⵉⴶⴰ ⵉⴷⴰⵍⴰⵍ ⴰⴶⵓⵜⵏⴻⵏ ⴰⴷ ⵆⴻⵍⵍⵉ,ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉⵏ ⵏⴻⵙ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⴷⴰⵗ ⵜⵉⵎⵓⵣⴰⵆ ⵜⵉⴷⴰⵗ ⵏ'ⵉⵏⴰⵣⴰⵔⴰⵏ ⵓⵉⴷⴰⵗ
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.
Tamasheq: ⴻⴰⵗ 1978, ⴰⵣⵓⵏ ⵉⵙⴰⵍⴰⵏ ⴷⴰⵔ ⵂⴻⵍⴻⵏ ⵂ ⵂⴰⵉⴻⵙ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⵜⵉⵣⴶⴰⵔⴰⵜ ⴰⵂⵓⵙⴾⴻⵏ ⴰⴷ ⵜⴰⵙⴰⵓⵜ, ⴰⵍⵆⴰⵉⴰⵍ ⵉⵛⵍⴰⵉⴰⵏ, ⴷⴰⵗ ⵉⵜⴰⴶⵓ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵎⵓⴾⵓⵙⴰ ⵓⴰⵛⴰⵔⵏⴻⵏ ⵉⴶⵔⴰⵓ ⵉⴱⴰⵏ ⵏⴰⵙⴰⵗⴰⵜ ⵓⵉ ⵏⴰⵏ ⵉⴾⵏⴰ.
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.
Tamasheq: ⴰⵙⵜⴰⵉⵔⴻ ⴰⵙⵉⵙⵜⴰⵏ ⴰⵏⴰⴾⵜⵉⴱ ⴻⵏ ⵏⴻⵙ ⴰⴷⴰⵙ ⴰⴶⵔⴻⵓ ⴻⴷⴷⴰⴶ ⴷⴰⵗ ⵗⴰⵍⴰⵛⵜⵉⵛⴰ ⴰⵎⵓⵙⴰⵏ ⵉⵂⴰⵉ ⴰⴶⴰⵔⴰⵓ ⴰⵏ ⴰⵔⴰⵜⴰⵏ ⴰⵏⴻⵙ,ⴰⵏ ⴰⴷⴰⵏⴰⵏ ⴰⵏⴻⵙ ⴰⴷ ⴰⵍⴼⴰⴶⵉⵜⴰⵏⴻⵙ ⴰⵏⴻⵙ ⵉⴶⵔⴰⵣⴰⵙⴻⵏ ⴰⵓⴻⵏ ⵂⵓⵍⴻⵏⴻⵏ ⴰⵏ ⴰⴷ ⴰⴷⴰⵓⵉⴰⵏ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵉⵏⴰⵉⴰⵜ ⴼⴰⵍ ⴰⴷⴰⴶ ⵓⴰⵏ ⵜⵉⵎⵓⵣⴰⵗ.
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.
Tamasheq: ⴰⵂoⴶⴰⵏ ⴷⴰⵔⴰⵜ ⵙⴰⵎⴰⵏⴷⵓ ⴷⴰⴾⴰⵍⴰⵏ ⵏⴰⵂⴰⵏⴰⵉ ⴰⵏ ⵏⵓⵎⵉⵔⵓ ⵓⴰⵏ ⴷⴰⵍⵓⵏ ⵓⴰ ⵙⵓⵍⵓ "I ⵓⴰⵏⵜ ⵜⵓ ⴱⴻ ⴰ ⴻⴰⵏⵛⵉⵏ' ⵎⴰⵏ" ⵉⴻ ⵙⵉⵍⵎⴰ ⵟⵂⴻ ⴱⴻⵍⵍⴻ ⵓⴼ ⵏⴻⵓ ⵗⵓⵔⴾ ⵓⴰⵏ 1952, ⴰⴱⴰⵜⵉ ⴰⵏ ⵙⴰⵔⵂⵓ ⵛⵓⵙⵜⵓⵎⴻ ⵓⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵓⴷ ⵓⴷⵍⴰⴶⴰⵜⵉ ⵉⵙ ⵙⵛⵉⵏⴻ ⵜⵛⴰⴷⴰⵜ ⵜⴰⵈⴰⵍⴰⵜ ⴰⵓⵉⵏⴰⵏ ⴷⵉⵜⵉⵙ ⴰⴷ ⵜⴰⵣⵓⵏⴻ ⵜⴰⵎⴷⴰⵜ ⴰⵜ ⵜⴰⵎⴷⴰⵗⴰⵍⴰⵜ.
English: Frame for frame, the two performances are identical, down to the subtlest gesture.
Tamasheq: ⴰⵙⵓⵔⴰⵜ ⴼⴰⵍ ⴰⵙⵓⵔⴰⵜ, ⵙⴰⵏⴰⵜⴰⵜ ⵜⵉⴷⴰⴱⵉⵜⴻⵏ ⵜⵉ ⴰⵍⴰⵂ ⵏⴰⵜ, ⵂⴰⴷ ⴻⴷⴰⴶ ⵓⴰⵔ ⴰⵏⴱⴰⵙ ⴰⴱⴷⴰⵏⴰⵜ ⴰⵙⵓⴰⵍⴰ
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.
Tamasheq: ⴰⴷⴰⵍⴰⵍ ⵓⴰⵏ ⴰⵏⴻⵙ,ⴰⵜⵉⵓⴰⵣⴰⵉ ⴷⴰⵗ ⵙⴰⵏ ⴾⵓⵍ,ⴰⵏⵜⴰ ⵉⴾⴼⴰ ⵜⴻⵎⴱⵉ ⵉⴷⴰⵍⴰⵍⴰⵏ ⵓⵉⵏ ⴰⵎⴻⵔⵉⴾⴰ ⵙⵎⵓⵜⵂ ⵂⴰⵔⴶⵓⴷⵉ ⴰⵏⵜⴰ ⵉⴾⴼⴰⵂ ⴰⴷⴰⴱⴰⵔⴰⵜⴰⵏ ⴰⴶoⵜⵏⴻⵏ ⵉⴻ îîⵙⵙⵓⵂⴰⵆ.
English: He notes Astaire's dance style was consistent in subsequent films made with or without the assistance of Pan.
Tamasheq: ⴰⵏⵜⴰ ⵉⴾⵜⴰⴱ ⴰⵙ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵈⵉⵎⴰ ⴰⵙ ⴰⵏⵜⴰ ⵜⴰⵏⵉⵂⴰⴶⴰ ⵜⴰⵆ ⵜⵉⵎⵓⵣⴰⵆ ⵜⵉ ⴰⴶⴰⵏⴻⵏ ⴾⵓⵍ,ⵂⴰⵔⴶⵓⴷⵉ ⴰⵏⴰ ⵓⴰⵔⵂⴰⵙ ⴰⵍⵉⵍ ⴰⵉⵜⴻⴷⴻⵎ ⵓⴰⵍⴰⴷⴰⵗ ⵉⴻⵏ.
English: However, this was almost always confined to the area of extended fantasy sequences, or "dream ballets".
Tamasheq: "ⴰⵙⵙⴰⵆⴰ ⵓⴻⵏⴷⴰⵗ,ⴰⵏⵜⴰ ⵜⵉⵜⴰⴼ ⴷⴰⵗ ⵉⵎⴰⵏⴻⵙ ⴰⵙⴰⵆⴰ ⵏⵓⵍ,ⴷⴰⵂⴰ ⴰⵏ"ⴱⴰⵍⵍⴻⵜⵙ ⴷⴻ ⵔⵉⴱⴻ."
English: Later in life, he admitted, "I had to do most of it myself."
Tamasheq: "ⵜⴰⵂⵓⴶⴰ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻⵏⴻⵙ,ⴰⵏⵜⴰ ⵜⵉⴶⴰⵙⵂ:"ⵏⴰⴾ ⵉⵎⴰⵏⵉⵏ ⴰⴷⵜⵉⴶⴻⵏ."
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.
Tamasheq: "ⴰⴶⴻⵏ ⴷⴰⵗ ⴰⵓⴰ ⴰⵜⵉⵓⴰⴶⴻⵏ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⴰⵏⵜⴰⵏⴻⴷ ⴰⴾⵔⴻⵙⵏⴻⵏ ⴼⴰⵍ ⵉⵉⴰⵏ""ⴶⵉⵎⵎⵉⵛⴾ""ⵙⵓⵏⴷ ⴰⴷⴰⵍⴰⵍ ⴼⴰⵍ ⴻⴷⴰⴶ ⵓⴰⵏ ⵔⵓⵉⴰⵍ ⵓⴻⴷⴷⵉⵏⴶ ⵎⴻ ⴰⴷⴰⵍⴰⵍ ⴰⴷ ⵜⴰⵍⵉⵓⴻⵏ ⴷⴰⵗ ⵙⵓⵉⵏⴶ ⵟⵉⵎⴻ.
English: They would work with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators.
Tamasheq: ⴰⵛⵉⵆⴰⵍ ⴷⴰⴷ ⵉⵜⴰⴷⴰⵓⴷⴰⵓ ⵓⴰⵏ ⴰⵙⵉⴱⵓⵔⵉⴾ ( ⴰⴶⵓⴷⵉⵉⴰⵏ ⴻⵎⴰⴶ ⵂⴰⵍ ⴱⴱⵔⵏⴻ) ⵓⴰⵙ, ⴷⴰⵆ ⵜⴰⵎⴰⵙⴰⵓⴰⵍ ⴰⵏⴻⵙ, ⵉⵜⴰⵎⴰⴶⵔⴰⴷⴰⵏ ⵜⵓⵎⵓⵜⴰⵉⴻⵏ ⴾⴰⵍ ⵎⴰⵙⴰⵔⵜⴰⵉⴰⵏ ⴰⵏ ⵜⵉⵙⵓⴰⵍ ⵏⴰⵏⴰⵣⴰⵔ.
English: With all the preparation completed, the actual shooting would go quickly, conserving costs.
Tamasheq: ⵜⵉⵎⴰⵙⵙⵓⴷⴰⵓⴻⵏ ⴾⵓⵍ ⴰⵎⴷⴰⵏⵜⵉⴷ,ⴰⵙⵙⵉⵎⴰⴷⵓⵆⴰⵍ ⴰⵏⵜⴰ ⴰⵉⵜⴰⴶⴰⵏ ⴰⵎⴰⵔⴰⴷⴰⵗ ⵙⵂⵉⴾⴰⵏⴻⵏ,ⴰⵓⴻⵏⴷⴰⵗ ⴰⵉⴾⴰⵏⴻⵏ ⵓⴷⵓⴼ ⴰⵏ ⵜⵉⵎⵣⴰⵍ
English: He will not even go to see his rushes... He always thinks he is no good."
Tamasheq: ⴰⵏⵜⴰ ⵓⴷⵉⴶⵍⴰ ⵂⴰⴷ ⴰⵏⵂⵉ ⵉⵎⴰⵏⵓⴾⴰⵍⴰⵏ...ⴰⵏⵜⴰ ⴰⴶⴻⵍ ⴰⵓⴻⵏ ⵓⴰⵔⴷ ⴰⵂⵓⵙⴾⴰⵜ."
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.
Tamasheq: ⵎⵉⵛⵂⴰⴻⵍ ⴾⵉⴷⴷ,ⴰⵏⵜⴰ ⵛⵓⵂⴻⴶⵔⴰⴱⵂⴻ ⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴷⴰⵗ ⵉⴷⴰⵍⴰⵍⴰⵏ ⵓⵉⵏ ⵜⵂⴻ ⴱⴰⵏⴷ ⵓⴰⴶⵓⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1953, ⴰⵏⵜⴰ ⵜⴰⵏⵂⴰⵉ ⴰⵙ ⴰⵓⴰ ⵜⴰⵔⵂⴰ ⴷⴰⵗ ⵉⴷⴰⵍⴰⵍⴰⵏ ⵓⵉⴷⴰⵗ ⵓⴰⵔⵜⵉⵜⴰⵔⵂⴰ ⴰⵙ ⵜⴰⵉⵔⴻ
English: Let's add the looks later.' "
Tamasheq: "ⵙⵉⵓⵉⴷⴰⵜ ⵉⵙⵙⵉⴶⵔⵉⵂⴰⵏ ⵓⵉⵏ ⴰⵙⵙⴰⵆⴰⵜⴰⵏ ⵓⵉ ⴰⴾⴰⵉⴻⵏ"
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.
Tamasheq: "Iⵔvⵉⵏⴶ ⴱⴻⵔⵍⵉⵏ ⵜⵉⴶⴰ ⴰⵙ ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵏⵉⵂⴰⴶⴰ ⴰⴷ ⵉⵙⵙⴰⵎⴰⴷⵓⵆⵓⵍⴰⵏ ⵓⵉⵏ ⴰⵏⴰⵣⴰⵔⴰⵏ ⵓⵉⵏ ⵎⴻⴷⵉⵏ""ⵂⴰⵔⴾⵓⴷⵉ ⴰⵙⴾⴰⵜ ⵉⴻ ⵋⵓⵍⵙⵓⵏ, ⵛⵔⵓⵙⴱⵉ ⵎⴻⵆ ⵙⵉⵏⴰⵜⵔⴰ,ⵓⴰⵔⴷ ⵉⵏⴼⴰ ⵜⴰⵙⵉⴱⴰ ⴰⵏ ⵉⵍⵉⵙ ⴰⵏⴻⵙ ⵎⴰⵙⵂⴰⵏ ⵜⴰⵙⵙⵓⴱⴰ ⴰⵏ ⵜⴰⵔⵂⴰⵏ ⴰⵏⴻⵙ ⵉⴰ ⴰⴷ ⵜⴰⴶⵓ ⴰⵙⵙⴰⵂⴰⵆ.
English: In his heyday, Astaire was referenced in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters.
Tamasheq: ⵙⴰⵎⴰⵏⵓⴻ ⵏⴻⵙ,ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵓⴰⵆⵔⴰ ⴷⴰⵗ ⵉⵎⴰⴶⵔⵉⴷⴻⵏ ⴰⵏ ⵉⵎⴰⴾⵉⴱⴻⵏ ⵓⵉⵏ ⵉⵙⵙⵓⵂⴰⵆ ⵛⵓⵍⴻ ⴱⵓⵔⵜⴻⵔ,ⵍⵓⵔⴻⵏⵣ ⵂⴰⵔⵜ ⴰⴷ ⴻⵔⵉⵛ ⵎⴰⵙⵛⵂⵓⵉⵜⵣ ⵂⴰⵔⴶⵓⴷⵉ ⴰⵏⵜⴰⵏⴻⴷ ⵜⴰⴶⴰⵏ ⵉⴻ ⵛⵓⵎⴱ ⵓⵙⵉⵜⴻⵓⵔⵙ ⵓⵉⵏ ⴰⵉⵏⴰⵉⵏⴻⵏ ⴰⵓⴰ ⴰⵂⵙⴰⵏⵉⴶⵔⴰⵣⴰⵏ
English: During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson.
Tamasheq: ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1952, ⴰⵙⵜⴰⵉⵔⴻ ⵜⵉⴶⵔⴰⵏ ⵜⵂⴻ ⴰⵙⵜⵔⴰⵉⵔⴻ ⵙⵂⵓⵔⵜ,ⵉⵉⴰⵏ ⴰⴰⵏ ⴰⵍⴱⵓⵎ ⵉⵍⴰⵏ ⴰⵈⵓⵣ ⴱⵓⵍⵓⵎⴻⵜⴻⵏ ⴰⴷ ⵉⵉⴰⵏ ⵈⵓⵉⵏⵜⴻⵜ ⵙⴰ ⵏⵉⵂⴰⴷ Oⵙⵛⴰⵔ ⴱⴻⵜⴻⵔⵙⵓⵏ
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.
Tamasheq: ⴱⵓⴶⴰⵔⵜ ⵜⴰⵙⴰⵏⵜⴰ ⴰⴷⴰⵍⴰⵏ ⴷⴰⵗ ⵉⴷⴰⴶⴰⵏ ⵓⵉⵏ ⵉⵙⵓⵂⴰⵆ ⴷⴰⵗ ⴱⵔⵓⴰⴷⵓⴰⵉ.ⴷⴰⵗ ⵛⵉⵏⴻⵎⴰ ⴰⴷ ⴰⵙⵙⴰⵏⵜⴰ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏⴻⵙ ⴰⵏⵜⴰ ⴰⴷ ⵓⴱ ⵟⵂⴻ ⵔⵉⴱⴻⵔ(1930)ⵉⴻ ⴼⵓⵎⵓⵆ ⴰⴷ ⵉⴶⴰⵏⵙⵂⵉⴷ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉ ⴰⵉⵏⴰⵉⵏⴻⵏ ⴰⵍⵓⴰⵆ ⵓⴰⵏ ⴰⵙⵙⴰⵆⴰ ⵓⴰ ⵉⵍⴾⴰⵎⴰⵏ,ⴰⵏⵜⴰ ⵉⵔⴶⴰⵓ ⵎⴻⴷⵉⵏ.
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.
Tamasheq: ⴰⵎⴰⵏⵂⴰⵉⴰⵏ ⵉⵉⴰⴷ ⴰⵏ ⴱⵓⴶⴰⵔⵜ, ⵙⴰⵎ ⵙⴱⴰⴷⴻ ( ⴷⴰⵆ ⴼⴰⵓⵛⵓⵏ ⵎⴰⵍⵜⴰⵉⵙ) ⴰⴷ ⴱⵂⵉⵍⵍⵉⴱ ⵎⴰⵔⵍⵓⵓ (ⴷⴰⵆ ⵗⵔⴰⵏⴷ ⵙⵓⵎⵎⴻⵉⵍ, ⵓⴰⵏ 1946), ⴻⵈⴰⵍⴰⵏ ⵜⵉⵎⵓⵜⴰⵉⴻⵏ ⵜⴰⵏ ⵎⴰⵏⵂⴰⵉⴰⵏ ⴷⴰⵆ ⵙⵉⵍⵎⴰⵜⴰⵏ ⴾⴰⵓⴰⵍⵏⴻⵏ.
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.
Tamasheq: ⴻⴰⵔⴰⵜ ⵏⵉⴶⵉ ⴰⵏ ⴼⵉⵍⵎ ⵜⵂⴻ ⴱⵉⴶ ⵙⵍⴻⴻⴱ (1946,ⴼⵉⵍⵎ ⴰⵏⴰⵙⴰⵏ ⵜⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ ⴷⴰⵗ ⵜⴰⵔⵜⵉⵜ ⵏⴰⵙⴰⵏ)ⴰⵏⵜⴰ ⴰⵙⵉⵙⵜⴰⵏ ⴰⵎⴰⵙⵉⵉ ⴰⴷ ⵂⴰⵏⵉⵙ ⵜⴰⵙ ⴾⴰⵔⴰⴷⴰⵜ,ⴰⵣⴰⵔ ⴰⴷⵓⴱⴰⵏ ⴱⴰⵛⴰⵍⵍ.
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.
Tamasheq: ⴰⵏⵜⴰ ⴰⵙⵙⵉⴶⵔⴰⵂ ⴰⵙⵂⴰⵆⴰⵍ ⵏⴰⵙⴰⵏ ⵉⴾⵏⴰ ⴰⵣⴰⵔ ⵉⵆⵙⵂⴰⴷ ⵙⵓⵏⴷ ⴰⵎⵉⵣⴰⵔ ⴰⵏ ⴰⵉⵜⴻⴷⵉⵎⴰⵏ ⴰⵓⴻⵜⵏⴻⵏ ⴷⴰⵗ ⴰⴾⵉⵏⴰⵙ ⵓⴰⵙ ⴰⵙⵙⵉⵏ ⴰⵏ ⴶⵓⴻⵔⵔⴻ ⵎⵓⵏⴷⵉⴰⵍⴻ ⴷⴰⵗ ⵎⵓⵜⵉⵏⴻⵔⵉⴻ ⵓⴰⵙ ⵛⴰⵉⵏⴻ (1954), ⵓⴰⵙ ⵉⴶⵔⴰⵓⴰⵏ ⴷⴰⵗ ⵜⵉⵎⴰⴷⴰⵙⵂⴻⵏ ⴰⴷ ⵛⵓⵎⵎⴻⵔⵛⵉⴰⵍ ⵂⴰⵔⴶⵓⴷⵉ ⴰⵓⴻⵏ ⵉⴾⴼⴻⵉ ⵜⴰⵙⵙⵉⵓⴰⵜ ⵜⴰⵂⵓⵙⴾⴻⵏ ⴷⴰⵗ ⴰⵙⵂⴰⵆⴰⵍ ⴰⵏⴻⵙ.
English: The name "Bogart" derives from the Dutch surname, "Bogaert".
Tamasheq: "Iⵙⵙⴰⵎ ⵓⴰⵏ"ⴱⵓⴶⴰⵔⵜ"ⴰⴷ ⴷⵉⵣⴶⴰⵔ ⵉⵙⵙⴰⵎ ⴰⵏ ⵜⴰⵓⵙⵙⴻⵜ ⴰⵙ ⴶⴰⵏⴰⵏ ⵏⵉⴻⵔⵍⴰⵏⴷⴰⵉⵙ, , "" ⴱⵓⴶⴰⴻⵔⵜ""
English: Maud was an Episcopalian of English heritage, and a descendant of Mayflower passenger John Howland.
Tamasheq: ⵎⴰⵓⴷ ⴰⵜⴰⵈⴰⵍ ⵉⴱⵉⵙⵛⵓⴱⴰⵍⵉⴻⵏⵏⴻ ⴰⵏ ⵓⵔⵉⴶⵉⵏⴻ ⴰⵏⴶⵍⴰⵉⵙⴻ,ⴷⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴰⴷⵉⴷ ⵜⵉⵣⴶⴰⵔ ⵎⴰⵉⴼⵍⵓⵓⴻⵔ, ⵋⵓⵂⵏ ⵂⵓⵓⵍⴰⵏⴷ.
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".
Tamasheq: ⵛⵍⵉⴼⴼⵓⵔⴷ ⵎⵛⵛⴰⵔⵜⵉ ⵜⵉⴾⵜⴰⴱ ⴰⵙ ⴰⵉⵜⴻⴷⵉⵎⴻⵏ ⵓⵉ ⵜⴰⴶⴰⵏⴻⵏ ⵉⵙⵙⴰⵍⴰⵏ ⵓⵉⵏ ⵓⴰⵔⵏⴻⵔ ⴱⵔoⵙ əⵎⵉⵙⴾⴰⵍⴰⵏ ⴰⵙⵂⴰⵍ ⵓⴰⵙ 23 ⴰⵏ ⵜⴰⵍⵉⵍ ⵜⴰⵏ ⵋⴰⵏⴱⵉⴻⵔ ⴰⵏ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1900""ⴼⴰⵍ ⴰⴷⵉⴶⵉⵏ ⵜⵉⵂⵓⵙⵙⴰⵉ ⴰⵙ ⴰⵉⵜⴻⴷⵉⵎ ⵓⴰ ⵉⵓⴰⵏ ⴰⵙⵂⴰⵍ Nⵓⴻⵍ ⵓⴰⵔⴷ ⴰⴷⵓⴱⴰⵜ ⴰⴷ ⴰⵈⴰⵍ ⴰⵓⴰⴷⵓⵍ ⵉⴱⵔⴰⵔⴰⵏ.
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.
Tamasheq: ⵍⴰⵓⵔⴻⵏ ⴱⴰⵛⴰⵍⵍ ⵜⵉⴾⵜⴰⴱ ⴷⴰⵗ ⴰⵓⵜⵓⴱⵉⵓⴶⵔⴰⴱⵂⵉⴻ ⴰⵏⴻⵙ ⴰⵙ ⴰⵙⵂⴰⵍ ⵓⴰⴷ ⵜⵓⵓⴰ ⴱⵓⴶⴰⵔⵜ ⴰⵈⴰⵍ ⴰⵉⵜⴰⴶⴻⵏ ⴰⴷⴰⵍⴰⵏ ⵏⴻⵙ ⴰⵙⵂⴰⵍ ⴰⵏ ⵜⵉⵍⵉⵍ ⵜⴰⵏ ⴶⴰⵏⴻⵏ ⵏⵓⴻⵍ,ⴰⵏⵜⴰ ⵜⵉⵏⵏⴰ ⵓⴰⵔⴷ ⵜⵉⵜⵂⴰⴾⴻⵏ ⵛⴰⴷⴻⴰⵓⵆ əⵏ ⴰⵏⵏⵉⴱⴻⵔⵙⴰⵉⵔⴻ ⴰⵏⴻⵙ.
English: Maud was a commercial illustrator who received her art training in New York and France, including study with James Abbott McNeill Whistler.
Tamasheq: ⵎⴰⵓⴷ ⴰⵏⵜⴰ ⴰⵉⵜⴻⴷⴻⵏ ⴰⵏ ⵉⵙⵙⴰⵏⴰⵏ ⵛⵓⵎⵎⵉⵔⴻ,ⵜⴰⵎⵓⵙⵏⴻⵏ ⴰⵏⴻⵙ ⵜⴰⵏ ⴰⵔⵜⵉⵙⵜⵉⵈⵓⴻ ⴰⴷⴰⵗ ⵜⴰ ⵜⵉⵔⴶⴰⵓ ⵏⴻⵓ ⵗⵓⵔⴾ ⴰⴷ ⴼⵔⴰⵏⵛⴻ,ⴼⴰⵍ ⵋⴰⵎⴻⵙ ⴰⴱⴱⵓⵜⵜ ⵎⵛⵏⴻⵉⵍⵍ ⴷⵂⵉⵙⵜⵍⴻⵔ.
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.
Tamasheq: ⵗⴰⵔⴰⵓ ⴰⴶⴰⵔⴰⵏ 50 000 ⴷⵓⵍⵍⴰⵔⵙ ⴷⴰⵆ ⴰⵓⴰⵜⴰⵉ ⵉⵓⵔ ⵙⴰⵎⴰⵏⴷⵓ ⵏⴰⵛⵉⵆⵉⵍ ⴰⵏⴻⵙ – ⵎⴰⴷⵉⵏ ⵉⴾⵏⴰⵏ ⵂⵓⵍⴻⵏ ⴷⴰⵆ ⴻⵂⴰⵏⵉⵏ, ⴰⴷ ⴰⵂⵓⵙⴾⴰⵜ ⵂⵓⵍⴻⵏ ⴼⴰⵍ 20 000 ⴷⵓⵍⵍⴰⵔⵙ ⵜⴰⵏ ⴰⵂⴰⵍⵉⵙ ⴰⵏⴻⵙ.
English: He had two younger sisters: Frances ("Pat") and Catherine Elizabeth ("Kay").
Tamasheq: "ⴰⵏⵜⴰ ⵜⵉⵍⴰ ⵙⵂⴰⵜⵎⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ:ⴼⵔⴰⵏⵛⴻⵙ("ⴱⴰⵔ") ⴰⴷ ⵛⴰⵜⵂⴻⵔⵉⵏⴻ ⵉⵍⵉⵣⴰⴱⴻⵜⵂ("ⵆⴰⵉ")."
English: A kiss, in our family, was an event.
Tamasheq: Iⵉⴰⵏ ⴰⵏ ⵜⴰⵎⵓⵍⴻⵜ ⴷⴰⵗ ⵜⴰⵓⵙⴻⵜ ⵜⴰ ⵏⴰⵏⴰⵆ ⵜⴰⴶⵂⴰⵍ ⵜⵉⴷⴰⵓ ⵎⴰⴶⵂⴰⵔⴰⵜ.
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.
Tamasheq: ⴰⵏⵜⴰ ⵉⵔⴶⴰⵓ ⴼⴰⵍ ⴰⴰⴱⴰ ⴰⵏⴻⵙ ⵂⴰⵔⴰⵜ ⵓⴰ ⵉⵜⴰⴾⴰⵙⵙⴰⵏ ⵉⵎⴰⵏⴰⵏ ⴷⴰⵗ ⴰⵎⴰⵏ,ⴰⵓⴻⵏ ⵜⴰⵔⵂⴰ ⴰⵏ ⵂⴰⴾⵓⴾ ⵗⴻ ⵜⴰⵓⴷⴻⵙ ⵜⴰⵏ ⴰⵎⴰⵏ ⴰⴷ ⵜⵉⴷⴻⴷⴻⵏ ⵜⵉ ⵙⴰⵏⴻⵏ ⵂⴰⵔⴰⵜ ⵉⴻ ⵉⵎⴰⵏ ⵏⴰⵙⵏⴰⵜ.
English: Bogart later attended Phillips Academy, a boarding school to which he was admitted based on family connections.
Tamasheq: ⴻⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴱⵓⴶⴰⵔⵜ ⵜⵉⵏⵂⴰⵉ ⴰⵛⴰⴷⴻⵎⵉ ⵓⴰⵏ ⴱⵂⵉⵍⵉⴱⴱⵙ,ⵜⴰⵔⵂⴰ ⵜⴰ ⵜⵉⴶⵔⴰⵓ ⵜⴰⵙⵙⵓⴱⴰ ⴰⵏ ⵜⴰⵔⵂⴰ ⵉⴻ ⵜⵉⵓⵙⵙⴰⵜⴻⵏ ⴰⵏⴻⵙ.
English: Several reasons have been given; according to one, he was expelled for throwing the headmaster (or a groundskeeper) into Rabbit Pond on campus.
Tamasheq: ⴰⴶⴻⵏ ⴰⵜⵓⴰⵏⴰⵂ ⵉⴶⴰ ⴰⵙ ⴰⵎⵉⵣⴰⵔ ⴰⵏ ⴻⵜⴰⵏⴶ ⵔⴰⴱⴱⵉⵜ ⴱⵓⵏⴷ ⴼⴰⵍ ⵛⴰⵎⴱⵓⵙ.
English: He then volunteered for the Coast Guard Temporary Reserve in 1944, patrolling the California coastline in his yacht, the Santana.
Tamasheq: ⴰⵏⵜⴰ ⵉⴶⴰ ⵉⵎⴰⵏⴻⵙ ⵓⴰⵏ ⴶⴰⵔⴷⴻⵙ-ⵛⵓⵜⴻⵙ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1944,ⴰⵏⵜⴰ ⵉⵙⵓⴰⴷ ⵍⵉⵜⵜoⵔⴰⵍ ⵓⴰⵏ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻⵏ ⴰⵙ ⵉⵂⴰ ⴰⵎⴰⵙ ⴰⵏ ⵉⴰⵛⵂⵜ ⴰⵏⴻⵙ, ⵙⴰⵏⵜⴰⵏⴰ.
English: In one, his lip was cut by shrapnel when his ship (the ) was shelled.
Tamasheq: ⵜⴰⵍⵉⴾ ⴰⵏ ⵉⵉⴰⵜ ⴷⴰⵗⴻⵏ ⵜⴰⵜ ⵓⴰⵏⴾⴰⴷ ⴼⴰⵍ ⵜⴰⴾⴰⵜ ⴰⵍⵓⴰⵈ ⵓⴰⵏ ⵜⴰⵙⵏⵉⵜ ⵜⴰⵜⵓⴰⴶⴰⵔ ⴰⵙ ⴻⴼⴻⵓ
English: While changing trains in Boston, the handcuffed prisoner reportedly asked Bogart for a cigarette.
Tamasheq: ⴰⵙ ⵜøⴶⴰⵣ ⴰⵍⵓⴰⵈ ⵓⴻⵏⴷⴰⵗ ⵉⵏⵣⴰⵔ ⴷⴰⵗ ⵜⵔⴰⵉⵏ ⴰⵏ ⴱⵓⵙⵜⵓⵏ,ⴰⵉⵜⴻⴷⴻⵎ ⴻⵈⴼⴰⵍⴰⵏ ⴰⵙ ⵜⵉⵙⵙⵉⵈⴼⴰⵍ ⴰⵙⵙⵉⵙⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵉⵉⴰⵜ ⴰⵏ ⵜⴻⵣⴻⵜ ⴰⵏ ⵙⵉⴶⴰⵔⴻⵜⵜⴻ
English: By the time Bogart was treated by a doctor, a scar had formed.
Tamasheq: ⴰⵍⵓⴰⵈ ⵓⴰ ⵉⴾⴰⵍ ⴰⵙⵙⵉⵙⵙⴰⴼⴰⵔ ⵓⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵆⵓⵔ ⴻⵏⴰⵙⵙⴰⴼⴰⵔ,ⴰⵂⴰⵉⵓⴶ ⵉⵉⴰⵏ ⴰⵎⴻⵔⴰ ⵂⵉⴷ.
English: Instead of stitching it up, he screwed it up."
Tamasheq: "ⴰⵏⵜⴰ ⵓⴰⵔ ⵂⴰⵙ ⵉⵙⵙⴰⴼⴰⵔ,ⵓⴾⵏⴻⵜ ⴰⵙⵙⵉⵏⴰⵏⵜⵉⴼ."
English: His character and values developed separately from his family during his navy days, and he began to rebel.
Tamasheq: ⵜⴰⵍⵈ ⴰⵏⴻⵙ ⴰⴷ ⵙⵓⵔⵂⵓ ⴰⵏⴻⵙ ⴰⵙⵙⵉⵙⴾⴰⵏⴰⵏ ⵜⵉ ⵜⴰⵓⵙⴻⵜ ⴰⵏⴻⵙ ⵉⵂⴰⴷⴰⵏ ⵓⵉⵏ ⵉⴶⴰ ⴼⴰⵍ ⴰⵎⴰⵏ,ⴰⵓⴻⵏ ⴻⵈⴰⵍⴰⵙ ⴰⴷ ⵜⴰⵙⵙⵉⵙⴾⴰⵏⴰⵏ ⵜⴰⵎⵉⵜⴻⵏ ⵏⴻⵙ.
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.
Tamasheq: ⴱⵓⴶⴰⵔⵜ ⵉⴶⴰ ⵜⴰⵎⵉⴷⵓⴰ ⵜⴰⵉⵏⴰⵉⴰⵜ ⴰⴷ ⴱⵉⵍⵍ ⴱⵔⴰⴷⵉ ⵂⵔ.(ⴰⴱⴰ ⴰⵏⴻⵙ ⵉⵍⴰ ⵉⵎⵓⵣⴰⵉⴰⵏ ⵓⵍⴰⵏ ⴷⴰⵗ ⵙⵂⵓⵓ-ⴱⵓⵙⵉⵏⴻⵙⵙ)ⴷⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴰⴻⵏⵜⴰ ⵉⴶⵔⴰⵓ ⴰⵙⵂⴰⵆⴰⵍ ⴷⴰⵗ ⴰⴷⴰⴶ ⴰⵏ ⵜⵉⵎⴰⵙⵂⴰⵆⴰⵍⴻⵏ ⴷⴰⵗ ⵓⵓⵔⵍⴷ ⴼⵉⵍⵎⵙ ⴷⴻ ⵓⵉⵍⵍⵉⴰⵎ ⴰ.ⴱⵔⴰⴷⵉ.
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.
Tamasheq: "ⵜⴰⵔⴰⵜ ⴰⵏ
English: A barroom brawl at this time was also a purported cause of Bogart's lip damage, dovetailing with Louise Brooks' account.
Tamasheq: Iⵉⴰⵏ ⴰⵏ ⴰⴾⵉⵏⴰⵙ ⵉⴶⴰⵏ ⴷⴰⵗ ⴱⴰⵔ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴻⵏ ⴷⴰⵗ ⵉⵓⴰⵉⵉⴷ ⴱⵓⴶⴰⵔⵜ ⴷⴰⵗ ⵍⴻⵙⵉⵓⵏⵙ ⵍⴰⴱⵉⴰⵍⴻⵙ,ⴰⵓⴻⵏⴷⴰⵗ ⴰ ⵜⵉⵓⴰⵉⴰⵏⵉⴷ ⴷⴰⵗ ⵔⵉⵛⵉⵜ ⵓⴰⵏ ⵍⵓⵓⵉⵙⴻ ⴱⵔⵓⵓⴾⵙ.
English: Bogart disliked his trivial, effeminate early-career parts, calling them "White Pants Willie" roles.
Tamasheq: "ⴱⵓⴶⴰⵔⵜ ⵓⴰⵔ ⴻⵔⵂⴰ ⴰⴷ ⴰⵈⴻⵍ ⴰⵓⴰⴷⴰⵎ ⵓⴰ ⵓⵏⵉⵙⵙⴻⵏ ⵂⴰⵔⴰⵜ ⴰⴷ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴰⵏ ⵜⵓⴷⴻⴷⴻⵏ ⵉⵜⴰⴶⵓ ⴷⴰⵗ ⴰⵣⴰⵎⴰⵏ ⵓⴰⵂⵉⵏ ⵓⴾⴻⵉⴻⵏ,ⴰⵏⵜⴰ ⴰ ⵉⵔⵂⴰ ⴰⴷ ⵜⵉⴾⴼⵉⵏ"ⵓⵂⵉⵜⴻ ⴱⴰⵏⵜⵙ ⵓⵉⵍⵍⵉⴻ".
English: Menken said in her divorce filing that Bogart valued his career more than marriage, citing neglect and abuse.
Tamasheq: ⵎⴻⵏⴾⴻⵏ ⵜⵉ ⵙⵉⵙⵙⵜⴰⵏⵜ ⴷⴰⵗ ⵎⴰⴶⵔⴻⴷ ⴰⵏⴻⵙ ⵓⴰⵏ ⴰⵎⵉⵣⵉⵉ ⴱⵓⴶⴰⵔⵜ ⴰ ⵜⴰⵙⵙⵓⴼⴰ ⴰⵙⵂⴰⵆⴰⵍ ⴰⵏⴻⵙ ⴼⴰⵍ ⴰⴷⵓⴱⵉⵏ ⵉⵏⴰ ⴰⵏⵜⴰ ⵓⴰⵔ ⵜⵉⴶⴰ ⴰⴷⵓⴱⵉⵏ ⵓⴰⵍⴰ.
English: There he met Spencer Tracy, a Broadway actor whom Bogart liked and admired, and they became close friends and drinking companions.
Tamasheq: ⴻⴷⴻⴶ ⵓⴻⵏ ⴷⴰⵗ ⴰⴷ ⵉⵎⴰⵏⵂⴰⵉ ⴰⴷ ⵙⴱⴻⵏⵛⴻⵔ ⵟⵔⴰⵛⵉ,ⴰⵛⵜⴻⵓⵔ ⴰⵏ ⴱⵔⵓⴰⴷⵓⴰⵉ ⵓⴰ ⵜⴰⵔⵂⴰ ⴱⵓⴶⴰⵔⵜ ⴰⵙ ⵜⵉⵂⵓⵙⵙⴰⵉ,ⴷⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴰⵈⴰⵍⴰⵏ ⵉⵎⵉⴷⵉⵓⴻⵏ ⴼⴰⵍ ⵂⴰⵔⴰⵜⴻⵏ ⴰⴶⴰⵜⵏⴰⵏ.
English: Tracy received top billing, but Bogart appeared on the film's posters.
Tamasheq: "Iⵙⵙⴰⵎ ⵓⴰⵏ ⵟⵔⴰⵛⵉ ⴰⵉⵂⴰⵏ ⴻⵈⴰⴼ,ⵎⴰⵙⵂⴰⵏ
English: A quarter of a century later, the two men planned to make The Desperate Hours together.
Tamasheq: ⴰⴾⵓⵣⴰⵜ ⵜⴰⵣⵓⵏⴰⵓⴰⵏ ⴷⴰⵆ ⵜⴻⵎⴻⴷⴻ ⵏⴰⵓⴰⵜⴰⵉ ⵏⴰⴶⵓⴷⵉⵉⴰⵏ, ⵎⴻⴷⵉⵏ ⴶⴰⵏⴰⵏ ⴰⴷⵉⵈⵉⵍⴰⵏ ⵙⴰⵔⵜⴰⵉⴰⵏ ⴰⵍⵓⴰⵈ ⵓⴰⵏⵉⴱⴰ ⴰⵏ ⵎⵓⵔⴷⴰ.
English: Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, out of work for long periods.
Tamasheq: ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1930 ⴰⴷ 1935,ⴱⵓⴶⴰⵔⵜ ⵉⵍⴰ ⴶⴰⵔ ⵋⵓⵍⵍⵉⵓⵓⵓⴷ ⴰⴷ ⵙⵛⵉⵏⴻ ⵏⴻⵓ-ⵉⵓⵔⴾⴰⵉⵙⴻ,ⴰⵏⵜⴰ ⵉⴶⴰ ⴻⵍⴰⵏ ⴰⴶⵓⵜⵏⴻⵏ ⵓⴰⵔⴷ ⵉⵍⴰ ⴰⵙⵂⴰⵆⴰⵍ
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."
Tamasheq: ⵍⴻⵙⵍⵉⴻ ⵂⵓⵓⴰⵔⴷ ⴰⵏⴷⴻⵔ ⴰⵏⵜⴰ ⴰⵙ ⴱⴻⴷⴻⵜⵜⴻ ,ⵉⵎⴰⴶⵔⵉⴷⴰⵏ ⴼⴰⵍ ⴱⵔⵓⵓⴾⵙ ⴰⵜⴾⵉⵏⵙⵓⵏ ⵓⴰⵏ ⵏⴻⵓ-ⵗⵓⵔⴾ ⵔⵉⵎⴻⵙ ⴰⵏⵜⴰ ⵜⴰⵏⴰ ⴱⵉⵉⵛⴻ ⵜⴰ ⴰⵜⴰⵈⴰⵍ"ⵓⵏⴻ ⴱⴻⵛⵂⴻ...ⵓⵏ ⵎⵉⵍⵓⴷⵔⴰⵎⴻ ⵓⴻⵙⵜⴻⵔⵏ ⵔⵓⴶⵉⵙⵙⴰⵏⵜ...ⵂⵓⵎⴱⵂⵔⴻⵉ ⴱⵓⴶⴰⵔⵜ ⵉⴶⴰ ⴰⵙⵂⴰⵆⴰⵍ ⴰⵂⵓⴾⵙⵙⴻⵏ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻⵏⴻⵙ.
English: Warner Bros. bought the screen rights to The Petrified Forest in 1935.
Tamasheq: ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ ⵜⴰ ⵙⵂⵉⵏⵙⵂⴰⵂⵉⴷ ⴷⵔⵓⵉⵜⵙ ⵟⵂⴻ ⴱⴻⵜⵔⵉⴼⵉⴻⴷ ⴼⵓⵔⴻⵙⵜ ⴰⵏ ⴰⵓⴰⵉ ⵓⴰⵙ 1935.
English: Howard, who held the production rights, made it clear that he wanted Bogart to star with him.
Tamasheq: ⵂⵓⵓⴰⵔⴷ, ⴰⵏⵜⴰ ⴰⵜⵉⵜⴰⴼⴰⵜ ⴰⵙⵙⴰⵂⴰⵜ ⵓⴰⵏ ⴱⵔⵓⴷⵓⵛⵜⵉⵓⵏ,ⵉⵏⴰ ⴰ ⴻⵔⵂⴰ ⴰⵙ ⴱⵓⴶⴰⵔⵜ ⴷⴻⴷⴻⵙ ⴰⵏⴻⵙ.
English: When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart.
Tamasheq: ⵓⴶⵓⴷ ⵓⴰ ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ, ⵉⵣⴰⵆ ⵂⵓⵓⴰⵔⴷ ⵓⴰⵔⵉⵜⵉⵉⵓ, ⵉⵜⵉⵎⴰⵍ ⴰⴷ ⵉⴾⴰⵙ ⴱⵓⴶⴰⵔⵜ
English: According to Variety, "Bogart's menace leaves nothing wanting".
Tamasheq: ⵠⴰⵔⵉⴻⵜⵉ ⵜⵉⵏⴰ,""ⵜⴰⵙⵙⵉⵏⴻ ⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵓⴰⵔ ⵜⵓⵉⴰ ⵜⴰⵔⵂⴰ ⵓⴰⵍⴰ ⴷⴰⵗ ⵉⵉⴻⵜ"
English: There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody.
Tamasheq: Iⵍⴰⵉ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⵎⴰⴶⵔⴰⴷ ⵓⴰ ⵏⵉⵏ,ⵎⴻⵆ ⵉⴷⴰⵎ ⵓⴰ ⵉⴱⵔⴰⵔⴰⵏ...ⵂⴰⵔⴻⵜ ⵉⵉⴻⵏ ⵉⴷⴶⴰⵣⴰⵏ ⴰⵉⵜⴻⴷⴻⵎⴰⵏ ⴾⵓⵍ.
English: In spite of his success, Warner Bros. had no interest in raising Bogart's profile.
Tamasheq: ⵂⴾⵉⴷ ⴷⴰⵗ ⴰⵓⴰ ⵜⵉⴶⵔⴻⵓ, ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵂⵙ. ⵓⴰⵔ ⵜⵉⵍⴰ ⵜⴰⴱⵓⵆⵓⵔⵜ ⴰⵏ ⴰⵜⵉⴼⵏⴰⵣ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ.
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.
Tamasheq: ⴱⵓⴶⴰⵔⵜ ⵉⴾⵏⴰ ⴷⴰⵆ ⵓⵉⵜⵉⴰⵏ ⴼⴰⵍ ⴰⵔⵉⵙⴰⵏⵜⵓ ⴰⵙⵉⵓⵉⴷ ⵏⴰⴷⵉⵏⴰⵜ ⴰⵏⴻⵙ ⵓⵉ ⵙⵉⵍⵎⴰ : ⴰⴷⵎⴰⵏⴻⵙ ⵉⵂⵉⴰⴶ, ⴰⵜⴰⵂⴰⵏⵉⵏⵜ, ⵛⵉⵏⵉⵈⵓⴻ, ⴰⵂⵓⵙⴾⴻⵏ, ⵜⴰⵍⵉⵈⴻ ⴰⴷ ⴰⵋⵓⵜⵏⴻⵏ ⴰⵏ ⵜⴰⵔⵂⴰⵏⴰⵙⴰⵏ ⴷⴰⵔ ⵜⵉⵔⵉⴷⴰⵓⵜ ⴰⵏ ⵜⴰⵔⵂⴰ.
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.
Tamasheq: ⵜⴰⵎⴰⴷⴰⵙⵂ ⴰⵏⴻⵙ ⴰⴷ ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ.ⴼⴰⵍ ⵉⵙⵙⴰⵍⴰⵏ ⴰⵓⴰ ⴰⵏⴱⴰⴷ ⵜⴰⴶⵉ ⴰⴷ ⴰⵣⵔⵓⴼⵓⴻⵍⴰⵂ ⴰⴷ ⵓⴰ ⵉⵓⴰⵉⵉⴷ ⵙⵜⵓⴷⵉⵓ ⴰⴷ ⵉⵎⴰⵏⵣⴰⵔⴰⵏ ⵓⵉ ⵓⵍⴰⵂⵏⴻⵏ ⴰⴷ ⴱⴻⵜⵜⴻ ⴻⴰⴱⵉⵙ ⴰⴷ ⵋⴰⵎⴻⵙ ⵛⴰⴶⵏⴻⵉ.
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.
Tamasheq: ⴰⵙⵂⴰⵗⴰⵍ ⴰⵏⴻⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ ⵉⴶⴰ ⴷⴰⵗ ⴻⴻⴰⴷ ⴻⵏⴷ (1937,ⴰⵜⵓⴰⵂⴰⴾⴰ ⵉⴻ ⵙⴰⵎⵓⴻⵍ ⵗⵓⵍⵓⵉⵏ) ⴻⵉⵂⴰ ⴰⴷ ⵉⴶⵔⴰⵓ ⴶⴰⵏⴶⵙⵜⴻⵔ ⴰⵉⴻⵏ ⵙⴰⴼⴰⵍⴰ ⴰⵏ ⴱⴰⴱⵉ ⴼⴰⵛⴻ ⵏⴻⵍⵙⵓⵏ.
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.
Tamasheq: "ⴻⴰⵆ ⴱⵍⴰⵛⴾ ⵍⴻⴶⵉⵓⵏ (1937), ⵉⵉⴰⵜ ⵙⵉⵍⵎⴰ ⵉⵙ ⵗⵔⴰⵂⴰⵎ ⵗⵔⴻⴻⵏⴻ ⵉⴾⵜⴰⴱ ⵙⵓⵏⴷ ""ⴰⵏⵉⵉⴰⵜ ⴰⴷ ⴰⵣⵉⴾⴰⵔⴰⵏ, ⴰⵂⵓⵙⴾⴰⵜ ⴰⵙ ⵉⵜⴱⴰⵜ"", ⵉⵜⴰⴶⵓ ⴰⵂⴰⵍⵉⵙ ⴰⵂⵓⵙⴾⴻⵏ ⴻⵈⴰⵍⴰⵏ ⴰⵜⵉⵓⴰⵜⴰⴼⴰⵏ (ⴰⴷ ⴻⵆⵛⴰⴷ) ⵉⵙ ⵜⵉⴷⴰⵓⴻⵏ ⴰⴱⴷⴰⵏⴻⵏ ⵜⵉⵓⵙⴰⵜⴻⵏ
English: The trouble was they were drinking mine and I was making this stinking movie."
Tamasheq: ⴰⵍⵎⴰⵙⵉⴱⴰⵜ ⴰⵙ ⴰⵏⵜⴰ ⵉⵙⵙⴰⵙ ⴻⴷⴰⴶⴰⵔ ⵓⴰⵏⵉⵏ ⵂⴰⴾⵓⴷⵉ ⵜⴰⴶⴰⵆ ⵓⴰⴷⴰⵗ ⴼⵉⵍⵎ."
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.
Tamasheq: 21 ⴰⵏ ⵜⴰⵍⵉⵍ ⵜⴰⵙ 1938,ⴱⵓⴶⴰⵔⵜ ⴰⵙⵙⵉⵏⵜⴰ ⴰⴷⵓⴰⵏ ⴰⵏⴻⵙ ⵓⴰⵙ ⴰⵙⵙⵉⵏ ⴰⴷ ⵎⴰⵉⵓ ⵎⴻⵜ ⵂⵓⵜ,ⵜⴰⵎⴰⵜ ⴷⴰⵔ ⴰⵎⴻⴷⴰⵓ ⵂⵓⵍⴻⵏ ⵎⴰⵙⵂⴰⵏ ⵜⴰⵎⴰⵜ ⵜⴻⵏ ⵓⴰⵔ ⵍⴰⵎⵉⴷ ⴰⵣⴰⵔ ⵜⴰⴾⴼⴰⵔ ⵂⵓⵍⴻⵏ ⵉⵂⴻⵜ ⴰⴾⵉⵏⴰⵙ ⵂⵓⵍⴻⵏ ⴰⴶⵓⴷ ⴾⵓⵍ ⵓⴰ ⴰⴷ ⵜⵉⵙⵓⴰ ⴰⵙⵎⵉⴷ.
English: She set their house afire, stabbed him with a knife, and slashed her wrists several times.
Tamasheq: ⴰⵏⵜⴰ ⵜⵉⴶⴰ ⴻⴼⴻⵓ ⴷⴰⵗ ⴻⵂⴰⵏ ⵏⴰⵙⵙⴻⵏ, ⵜⵉⴷⴰⴾⴻⵜ ⵙⴰⴱⵙⵉⵔ
English: According to their friend, Julius Epstein, "The Bogart-Methot marriage was the sequel to the Civil War".
Tamasheq: “ⴰⵓⴰ ⵉⵏⴰ ⴰⵎⵉⴷⵉ ⵏⴰⵙⵙⴻⵏ, ⵋⵓⵍⵉⵓⵙ ⴻⴱⵙⵜⴻⵉⵏ,""ⴰⵣⵍⵉ ⵓⴰⵏ ⴱⵓⴶⴰⵔⵜ ⴰⴷ ⵎⴻⵜⵂⵓⵜ ⴻⵈⴰⵍ ⴰⵙ ⵉⵍⴾⴰⵎ ⴰⴾⵉⵏⴰⵙ ⴶⴰⵔ ⵜⵉⵓⵙⵙⴰⵜⴻⵏ."
English: Methot's influence was increasingly destructive, however, and Bogart also continued to drink.
Tamasheq: ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏ ⵎⴻⵜⵂⵓⵜ ⵜⴰⵈⴰⵍ ⴰⵍⵎⴰⵙⵙⵉⴱⴰⵜ ⴰⵏ ⵜⵉⴼⴰⵓⵜ ⴾⵓⵍ, ⵎⴰⵙⵂⴰⵏ, ⴱⵓⴶⴰⵔⵜ ⴷⴰⵗ ⵉⵙⵙⴰⵙ ⵂⴰⴶⵓⴷⵉ.
English: When he thought an actor, director or studio had done something shoddy, he spoke up publicly about it.
Tamasheq: ⴰⵍⵓⴰⵆ ⵓⴰ ⴰⴷ ⵉⴾⵜⴰⵂⵉⴷ ⴰⵙ ⵉⵉⴻⵏ ⴰⵏ ⴰⵛⵜⴻⵓⵔ, ⵔⵉⴰⵍⵉⵙⴰⵜⴻⵓⵔ ⵎⴻⵆ ⵙⵜⵉⴷⵉo ⵉⴶⴰ ⵂⴰⵔⴰⵜ ⵉⴱⵔⴰⵔⴰⵏ, ⴰⵏⵉⵂⴰⴶⴰ ⴰⴷ ⴰⵏⴻⵏ ⴷⴰⵜ ⴰⴷⵓⵉⴰⵜ ⴾⵓⵍ.
English: Paul Muni, George Raft, Cagney and Robinson turned down the lead role, giving Bogart the opportunity to play a character with some depth.
Tamasheq: ⴱⴰⵓⵍ ⵎⵓⵏⵉ, ⵗⴻⵓⵔⴶⴻ ⵔⴰⴼⵜ, ⵛⴰⴶⵏⴻⵉ ⴰⴷ ⵔⵓⴱⵉⵏⵙⵓⵏ ⵓⴶⴰⵉⴰⵏ ⵉⴻ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵙⴰⵏⵜⵓ, ⵜⴰⵏ ⵉⴼⴰ ⴱⵓⴶⴰⵔⵜ ⴷⴰⵆ ⵜⴰⴱⴰⵆⵓⵔ ⵏⵓⵆⵉⵍ ⵏⴰⵓⴰⴷⵉⵎ ⴷⴰⵔ ⴰⵏⴷⵉⵔⴰⵏ ⴷⴰⵆ ⵉⴷⴻⵔ.
English: He worked well with Ida Lupino, sparking jealousy from Mayo Methot.
Tamasheq: ⴰⵙⵂⵉⵗⴰⵍ ⴰⵙ ⵜⵉⵂⵓⵙⵙⴰⵉ ⴰⴷ Iⴷⴰ ⵍⵓⴱⵉⵏⵓ, ⴻⴰⵗ ⴰⵂⴰⵏⴰⵜ ⵜⵉⵙⵎⵉⵜⴻⵏ ⴰⵏ ⵎⴰⵉⵓ ⵎⴻⵜⵂⵓⵜ
English: He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare, and subscribed to the Harvard Law Review.
Tamasheq: .ⴰⵏⵜⴰ ⵉⵈⵔⴰ ⴱⵍⴰⵜⵓⵏ,ⴱⵓⴱⴻ, ⵔⴰⵍⴱⵂ ⵓⴰⵍⴷⵓ ⴻⵎⴻⵔⵙⵓⵏ ⴰⴷ ⴰⵓⴰ ⵓⴶⴰⵔⴰⵏ ⴻⴼⴰⴷ ⴶⵓⵔ ⵙⵂⴰⴾⴻⵙⴱⴻⴰⵔⴻ,ⵎⴰⵙⵂⴰⵏ ⴰⵏⵜⴰⵏⴻⴷ ⵉⴶⴰⵏ ⵉⵙⵙⵎⴰⵓⴰⵏ ⵏⴰⵙⵙⴻⵏ ⴷⴰⴶ ⵂⴰⵔⴱⴰⵔⴷ ⵍⴰⵓ ⵔⴻⴱⵉⴻⵓ.
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.
Tamasheq: Iⵍⴰⵉ ⴼⴰⵍ ⵔⵓⵎⴰⵏ ⵓⴰⵏ ⵔⴰⵙⵂⵉⴻⵍⵍ ⵂⴰⵎⵍⴻⵜ,ⴼⵉⵍⵎ ⵜⴰⵜⵓⴰⵙⴰⴶⵔⴰⵂ ⴰⵙ ⵙⵉⵔⵉⴻ ⴻⴰⵗ ⵎⴰⴶⴰⵣⵉⵏⴻ ⵓⴰⵏ ⴱⵓⵍⴱ ⴱⵍⴰⵛⴾ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1929 ⴰⵣⴰⵔ ⵉⴶⴰ ⵉⴾⴼⴰ ⵜⴰⴱⴰⵔⴰⵜ ⵉⴻ ⴰⵙⵙⵉⵏ ⴱⴻⵔⵙⵉⵓⵏⵜⴰⵏ ⴰⵏ ⵛⵉⵏⵉⵎⴰⵜⵓⴶⵔⴰⴱⵂⵉⵈⵓⴻ ⵜⴰ ⵙⴰⵏⴰⵜⴰⵜ ⴰⵙ ⵙⴰⵜⴰⵏ ⵎⴻⵜ ⴰ ⵍⴰⴷⵉ(1936), ⴰⴷ ⴱⴻⵜⵜⴻ ⴻⴰⴱⵉⵙ.
English: Huston then eagerly accepted Bogart as his Sam Spade.
Tamasheq: ⵂⵓⵙⵜⵓⵏ ⴻⵔⴷⴰⵂ ⴰⵙⵜⵉⵂⵓⵙⵙⴰⵉ ⴰⵙ ⴱⵓⴶⴰⵔⵜ ⵉⵜⴰⴶ ⵙⴰⵎ ⵙⴱⴰⴷⴻ ⴰⵏⴻⵙ.
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.
Tamasheq: ⴼⵉⵍⵎ ⵜⴰ ⵉⴶⴰ ⵎⵉⵛⴰⴻⵍ ⵛⵓⵔⵜⵉⵣ, ⵉⴾⵏⴰ ⵂⴰⵍ ⵓⴰⵍⵍⵉⵙ,ⵜⵉⴾⴼⴰ ⴰⵂⵓⴾⵙⵙⴻⵏ ⵉⵉ Iⵏⴶⵔⵉⴷ ⴱⴻⵔⴶⵎⴰⵏ,ⵛⵍⴰⵓⴷⴻ ⵛⵔⴰⵉⵏⵙ, ⵙⵉⴷⵏⴻⵉ ⵗⵔⴻⴻⵏⵙⵜⵔⴻⴻⵜ, ⴱⴰⵓⵍ ⵂⴻⵏⵔⴻⵉⴷ,ⵛⵓⵏⵔⴰⴷ ⵠⴻⵉⴷⵜ,ⴱⴻⵜⴻⵔ ⵍⵓⵔⵔⴻ ⴰⴷ ⴻⵓⵓⵍⴻⵉ ⵓⵉⵍⵙⵓⵏ.
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.
Tamasheq: ⴱⵓⴶⴰⵔⵜ ⴰ ⵉⴶⵔⴰⵓⴻⵏ ⵜⴰⵎⴾⵉⵔⴻ ⴰⵙ ⵔⵉⵛⴾ ⴱⵍⴰⵉⵏⴻ ⴰⵏⵉⵂⴰⴶⴰ ⴰⴷ ⴰⵜⵓⵉⴶⵓ ⴰⵎⴰⴷⵍⴰⵍ ⵓⴰ ⵉⵆⴰⵙⵂⴰⴷⴰⵏ,ⵜⵉⵎⴾⴰⵔⴰⵓⴻⵏ ⴰⵂⴰⵏⴻⵏ ⴶⴰⵔⴻⵙⵙⴰⵏ ⴰⵏⵜⴰ ⴰⴷ ⵎⵉⴷⴰⵓⴰⵏ ⴰⵏⴻⵙ ⵂⴰⴾⵉⴷ ⴻⴰⵗ ⵉⵎⵉⴾⵙⵙⴰⵏⴰⵏ ⴰⵏⴻⵙ.
English: Bogart was nominated for Best Actor in a Leading Role, but lost to Paul Lukas for his performance in Watch on the Rhine.
Tamasheq: ⴻⴰⵗ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴰ ⴰⵏ ⵜⵉⴷⴰⵜ,ⴱⵓⴶⴰⵔⵜ ⴰⵜⵓⴰⴶⴰ ⴰⵛⵜⴻⵓⵔ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⴾⵓⵍ,ⵎⴰⵙⵂⴰⵏ ⴰⵣⴰⵔⴰⵙ ⴱⴰⵓⵍ ⵍⵓⴾⴰⵙ ⴰⵙ ⵜⵉⵂⵓⵙⵙⴰⵏ ⴻⴰⵗ ⵓⴰⵜⵛⵂ ⵓⵏ ⵜⵂⴻ ⵔⵂⵉⵏⴻ
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).
Tamasheq: ⴱⵓⴶⴰⵔⵜ ⴷ ⵎⴻⵜⵂⵓⵜ ⵓⵙⴰⵏ ⵓⵏⵉⵜⴻⴷ Oⵔⴶⴰⵏⵉⵣⴰⵜⵉⵓⵏⵙ ⴷ ⵓⴰⵔ ⴱⵓⵏⴷ ⵟⵓⵓⵔⵙ ⴷⴰⴶⵂ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1943 ⴷ ⵓⴰⵏ 1944, ⵉⵋⵋⴰⵏ ⵉⵙⵉⴾⵉⵍⴰⵏ ⴰⵙⵙⵓⵂⴰⵜ ⵏⴻⵏ ⵙ Iⵜⴰⵍⵉⴰ ⴷ ⴰⴼⵔⵉⴾⵉⵉⴰ ⵜⴰⵏ ⵟⴰⵎⴰⵙⵏⴰ (ⵜⴰⵂⴰ ⵛⴰⵙⴰⴱⵍⴰⵏⵛⴰ).
English: When they met, Bacall was 19 and Bogart 44; he nicknamed her "Baby."
Tamasheq: ⴰⵍⵓⴰⵈ ⵓⴰⴷ ⴰⵎⴰⵏⵂⴰⵉⴻⵏ, ⴱⴰⵛⴰⵍⵍ ⵉⵍⴰ ⴻⵍⴰⵏ 19, ⴱⵓⴶⴰⵔⵜ 44 ⴰⵏ ⴰⵓⴰⵜⴰⵉ; ⴰⴷ ⵂⴰⵙ ⵉⴶⴰⵏⵓ " ⴱⴰⴱⵉ"
English: We'll have a lot of fun together".
Tamasheq: ⵏⴰⴾⴰⵏⴻⴷ ⵏⴰⴶⴰ ⵏⵉⴷⴰⵍ ⵂⵓⵍⴻⵏ ⴶⴰⵔⴻⵏ ⵏⴰⵆ.
English: By Myself and Then Some, HarperCollins, New York, 2005.
Tamasheq: ⴱⵉ ⵎⵉⵙⴻⵍⴼ ⴰⵏ ⵟⵂⴻⵏ ⵙⵓⵎⴻ, ⵂⴰⵔⴱⴻⵔⵛⵓⵍⵍⵉⵏⵙ, ⵏⴻⵓ ⵗⵓⵔⴾ, 2005.
English: He considered himself Bacall's protector and mentor, and Bogart was usurping that role.
Tamasheq: ⴰⵏⵜⴰⵏⴻⴷ ⴰⴶⴰⵏⴰⵙ ⵉⵙⵜⵓⵙⵙⴰⵂ ⵓⴶⴰⵣ ⴰⵎⵉⴷⵉ ⴰⵏⴻⵙ, ⵎⴻⵏⵜⵓⵔ ⵓⴰⵏ ⴱⴰⵛⴰⵍⵍ ⴰⴷ ⴱⵓⴶⴰⵔⵜ ⵉⵜⵉⴾⴰⵔ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴻⵏ
English: Also, he has a sense of humor that contains that grating undertone of contempt."
Tamasheq: ⴻⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ, ⴰⵏⵜⴰ ⵉⵜⴰⴶ ⵉⵙⵙⴰⵙⵜⴰ ⵓⵉ ⵜⴰⵂⴰ ⵉⴰⵙⵙⵉⵏⴻ. ""
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.
Tamasheq: ⴻⴷⴰⵓⴰⵏⵉ,ⵂⵓⵍⴻⵏ ⵓⴰ ⵉⴶⴰ ⵂⴰⵓⴾⵙ ⴼⴰⵍ ⵙⵛⵉⵏⴻ, ⴰⵂⴰⵏⵜⵉ ⵉⵎⵉⴶⵔⵉⴷⴻⵏ ⴰⵗⴼⴰⵍⵏⴻⵙ ⵂⵓⵍⴻⵏ ⴼⴰⵍ ⴰⴷⵓⴱⴰⵏ, ⴱⵓⴶⴰⵔⵜ ⵉⴶⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⵓⵉ ⴰⵔⵏⴰⴻⵏ ⴻⴰⵗ ⵜⴻⵎⴰⵙⵂⴰⵆⴰⵍ ⵜⴰⵏ ⴷⵉⵜⴻⵛⵜⵉⴱⴻ ⴱⵔⵉⴱⵉⴻ ⵜⴰⵏ ⴱⵂⵉⵍⵉⴱ ⵎⴰⵔⵍⵓⵓⴻ
English: The marriage was a happy one, with tensions due to their differences.
Tamasheq: ⴰⵣⵍⵉ ⴰⵂⵓⴾⵙⵙⴰⵜ ⵂⵓⵍⴻⵏ, ⴼⴰⵍ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉ ⴰⴱⴷⴰⵏⴻⵏ ⴶⴰⵔⴻⵙⵙⴰⵏ.
English: According to Bogart's biographer, Stefan Kanfer, it was "a production line film noir with no particular distinction".
Tamasheq: Iⵏⴰ ⴱⵉⵓⴶⵔⴰⴱⵂⴻ ⵓⴰⵏ ⴱⵓⴶⴰⵔⵜ, ⵙⵜⴻⴼⴰⵏ ⵆⴰⵏⴼⴻⵔ, ⴰⵏⵜⴰ""ⵉⵉⴻⵏ ⴰⵏ ⴼⵉⵍⵎ ⴰⵏ ⴰⵎⵉⴾⵓⴰⵍ, ⵓⴰⵔⴷⵉⵍⴰ ⵉⴱⴰⴷⵂⵉ.
English: Lacking a love interest or a happy ending, it was considered a risky project.
Tamasheq: ⵓⴰⵔⵉⵍⴰ ⴰⵏⴰⴼⴰ ⵓⴰⵔⵉⵍⴰ ⴰⵣⵉⴶⵔⴰⵣ ⴰⵏ ⵎⴰⵏ, ⴰⵓⴻⵏ ⵓⵍⴰⵂⴷ ⴰⴷ ⴱⵔⵓⵋⴻⵜ ⵉⴱⵔⴰⵔⴰⴻⵏ
English: James Agee wrote, "Bogart does a wonderful job with this character ... miles ahead of the very good work he has done before."
Tamasheq: ⵋⴰⵎⴻⵙ ⴰⴶⵔⴻⴻ ⵉⴾⵜⴰⴱ""ⴱⵓⴶⴰⵔⵜ ⵉⵜⴰⴶ ⴰⵙⵂⴰⵈⴰⵍ ⴰⵂⵓⴾⵙⴻⵏ ...ⴰⵙⵂⴰⵈⴰⵍ ⵉⵍⴰⵏ ⴾⵉⵍⵓⵎⵉⵜⵔⴻⵙ ⵜⴻⵏ.
English: Bogart appeared in his final films for Warners, Chain Lightning (1950) and The Enforcer (1951).
Tamasheq: ⴱⵓⴶⴰⵔⵜ ⵉⵣⴶⴰⵔⵉⴷ ⴹⴰⵗ ⴼⵉⵍⵉⵎⵜⴻⵏ ⵜⵉ ⴷⴰⵍⴾⴰⵎⵏⴻⵏ ⴾⵓⵍ ⵉⴻ ⵓⴰⵔⵏⴻⵔ, ⵛⵂⴰⵉⵏ ⵍⵉⴶⵂⵜⵉⵏⴶ(1950) ⴰⴷ ⵟⵂⴻ ⴻⵏⴼⵓⵔⵛⴻⵔ (1951).
English: Santana also made two films without him: And Baby Makes Three (1949) and The Family Secret (1951).
Tamasheq: ⵙⴰⵏⵜⴰⵏⴰ ⵜⵉⴶⴰ ⴰⵏⵜⴰ ⴻⴰⵗ ⴼⵉⵍⵎⵙ ⵜⴻⵏ ⵙⴰⵏⴰⵜⴻⵜ ⵓⴰⵔ ⵉⵂⴰ ⴰⵏⵜⴰ :ⴰⵏⴷ ⴱⴰⴱⵉ ⵎⴰⴾⴻⵙ ⵟⵂⴻⴻ(1949)ⴰⴷ ⵜⵂⴻ ⴼⴰⵎⵉⵍⵉ ⵙⴻⵛⵔⴻⵜ (1951)