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Some saw The Old Gold Comedy Theater as being a lighter version of Lux Radio Theater, and it featured some of the best-known film and radio personalities of the day, including Fred Allen, June Allyson, Lucille Ball, Ralph Bellamy, Linda Darnell, Susan Hayward, Herbert Marshall, Dick Powell, Edward G. Robinson, Jane Wyman, and Alan Young. | Iⵉⴰⴷ ⴰⵙⵉⵜⴰⵈⴰⵍⴰⵏ Oⵍⴷ ⵗⵓⵍⴷ ⵛⵓⵎⴻⴷⵉ ⵟⵂⴻⴰⵜⴻⵔ ⵙⵓⵏⴷ ⵜⴰⵓⴰⵍⵜ ⵜⴰⵉⵏⴰⵉⴰⵜ ⴼⴰⵙⵓⵙⴰⵜ ⴷⴰⵗ Lⵓⵆ ⵔⴰⴷⵉⵓⵏ ⵟⵂⴻⴰⵜⴻⵔ, ⴰⴷ ⵂⵉⵏ ⵉⵜⵉⵓⴰⴶⴰⵣ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⴰⴷⵉⵏⴰⵜ ⵓⵉ ⴰⵜⵉⵓⴰⵣⴻⵉⵏⴻⵏ ⴷⴰⵗ ⵛⵉⵏⴻⵎⴰ ⴰⴷ ⵜⴰⵏ ⵙⴰⵍⴰⵏ ⵏⵓⵔⵓ, ⵓⵉⵏⴷⴰⵗ ⴼⵔⴻⴷ ⴰⵍⵍⴻⵏ, ⵋⵓⵏⴻ ⴰⵍⵍⵉⵙⵓⵏ, ⵍⵓⵛⵉⵍⵍⴻ ⴱⴰⵍⵍ, ⵔⴰⵍⴱⵂ ⴱⴻⵍⵍⴰⵎⵉ, ⵍⵉⵏⴷⴰ ⴻⴰⵔⵏⴻⵍⵍ ⵙⵓⵙⴰⵏ ⵂⴰⵉⵓⴰⵔⴷ, ⵂⴻⵔⴱⴻⵔⵜ ⵎⴰⵔⵛⴰⵍⵍ, ⴻⵉⵛⴾ ⴱⵓⵓⴻⵍⵍ, ⴻⴷⵓⴰⵔⴷ ⵗ. ⵔ ⵓⴱⵉⵏⵙⵓⵏ, ⵋⴰⵏⴻ ⵓⵉⵎⴰⵏ, ⴰⴷ Aⵍⴰⵏ ⵗⵓⵓⵏⴶ |
Many years later, acetate discs of 29 of the shows were discovered in Lloyd's home, and they now circulate among old-time radio collectors. | ⴰⵂⵓⵙⴾⴰⵜ ⴷⴰⵗ ⴻⵍⴰⵏ ⴷⴰⵔⴰⵜ ⴰⵓⴰ, ⴷⴰⵗ ⴷⵉⵙⵈⵓⴻ ⴰⵛⴻⵜⴰⵜⴻ ⵓⵉ 29 ⴰⵏ ⵜⵉⴷⴰⵓⴻⵏⴻⵙ ⴰⵜⵓⵏⴰⵏⵂⴰⵉⴰⵏ ⵉⵓⵔ ⴻⵂⴰⵏ ⵓⴰ ⵍⵍⵓⵉⴷ, ⴰⴷ ⵓⵔⴶⴰⵛⴰⵏ ⴰⵎⴰⵔⴰ ⴶⴰⵔ ⵎⴰⵙⴰⴷⴰⵓⴰⵏ ⴰⵏ ⵜⴰⵏ ⵙⴰⵍⴰⵏ ⴰⵔⵓⵏⴻⵏ |
He was a Past Potentate of Al-Malaikah Shrine in Los Angeles, and was eventually selected as Imperial Potentate of the Shriners of North America for the year 1949–50. | ⵓⴰⵔⵓⵓⴰⵏ ⴰⵏⴰⵎⵓⴾⴰⵍ ⴰⵜⵉⵓⴰⴷⴶⴰⵍⴰⵏ ⴰⵍ-ⵎⴰⵍⴰⵉⴾⴰⵂ ⵓⴰⵏ ⵍⵓⵙ ⴰⵏⴶⴻⵍⴻⵙ, ⴰⵜⵓⴰⴾⴰⵙ ⵙⵓⵏⴷ ⴰⵏⴰⵎⵓⴾⴰⵍ ⴰⵏ ⵜⴰⵆⵔⵉⵎⵜ ⵜⴰⵏ ⵙⵔⵉⵏⴻⵔⵙ ⵏⴰ ⴰⵎⴻⵔⵉⵈⵓⴻ ⵜⴰⵏ ⴻⵎⴰⵉⵏⴰⴶ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1949-50. |
Lloyd was invested with the Rank and Decoration of Knight Commander Court of Honour in 1955 and coroneted an Inspector General Honorary, 33°, in 1965. | ⵍⵍⵓⵉⴷ ⴰⵜⵓⴰⴶⴰ ⴷⴰⵗ ⵜⴰⵎⵆⴰⵔ ⴰⴷ ⴷⴰⵙⵉⵛⵂⴰⵆ ⵓⴰⵏ ⵆⴰⵍⵓⴶⵓⴰⵏ ⴰⵏⵎⵓⵙⵓⵂⴰ ⵏⴰⵆⴰⵍⴰ ⵓⴰⵏ ⵜⴰⵂⴰⵏⵉⵏⵜ ⴷⴰⵗ 1955 ⴰⴷ ⵜⴰⵏⵓⵎⵓⴾⵍⴰ Iⵏⵙⴱⴻⵛⵜⴻⵓⵔ ⵓⵂⴰⵔⴰⵏ ⴰⴷⵉⵏⴰⵜ ⴷⴰⵗ ⵜⴰⵎⴰⵍ, 33⁰, ⴷⴰⵗ 1965 |
It said, as first step, Lloyd will write the story of his life for Simon and Schuster. | ⴰⵍⴰⵆⴰⵜⴰⵙⴰⵏ ⴰⵙ, ⴷⴰⵗ ⵓⴰⵣⴰⵔⴰⵜ ⴰⵍⵓⴰⵈ, ⵍⵍⵓⵉⴷ ⴰⴷⴰⴾⵜⵉⴱ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰⵏ ⵜⴰⵎⵓⴷⵔⴻ ⵏⴻⵙ ⵉⴻ ⵙⵉⵎⵓⵏ ⴰⵏⴷ ⵙⵛⵂⵓⵙⵜⴻⵔ. |
He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for a number of men's magazines. | ⴰⵜⵓⴰⵣⴰⵉ ⴰⵙ ⴼⴰⵜⵓⵜⴰⵏⴻⵙ ⵏⴰⵎⵓⴾⴰⵏ ⵓⴰⵔ ⵉⵍⵙⴰ, ⵙⵓⵏⴷ ⴱⴻⵜⵜⵉⴻ ⴱⴰⴶⴻ ⴰⴷ ⵙⵜⵔⵉⴱ-ⵜⴻⴰⵙⴻⵓⵙⴻ ⴻⵉⵆⵉⴻ ⴻⴱⴰⵏⵙ, ⵉⴻ ⴰⵋⵓⵜⵏⴻⵏ ⵎⴰⴶⴰⵣⴰⵜⴰⵏ ⴰⵏ ⵎⴻⴷⵉⵏ |
"We never intended them to be played with pianos.""" | "ⵆⴰⵍⴰ ⵓⵉⵏ ⵏⴰⴾⵔⴻⵛ ⴰⵏⵓⵣⴶⵓ ⵏⴰ ⵏⵉⴷⵉⵍ ⴰⵙ ⴱⵉⴰⵏⴰⵙ." |
"They've come close to it, but they haven't come all the way up""." | "Oⵂⴰⵣⴰⵏⵉⵏ, ⵎⴰⵛⴰⵏ ⵓⴰⵔⵉⴶⵍⴻⵏ ⵂⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔ ⵙⴰⵎⴰⵏⴷ ⵓ"". |
In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy and The Funny Side of Life. | ⴻⴰⵗ ⵙⴰⵏⵜo ⵏⴻⵍⴰⵏ ⵓⵉ 1960, ⵍⵍⵓⵉⴷ ⵉⴼⴰ ⵙⴰⵏⴰⵜⴰⵜ ⵙⵉⵍⵎⴰⵜⴰⵏ ⴰⵔⵜⴰⵉⵏⴻⵏ,ⵙⴰⴾⵏⴰⵏⴻⵏ ⵜⵉⴷⴰⵓⴻⵏ ⴰⵏ ⵙⵉⵙⵜⴰ ⴰⵔⵓⵏⴻⵏ, ⵂⴰⵔⵓⵍⴷ ⵍⵍⵓⵉⴷ'ⵙ ⵍⵓⵔⵍⴷ ⵓⴼ ⵛⵓⵎⴻⴷⵉ ⴰⴷ ⵟⵂⴻ ⴼⵓⵏⵏⵉ ⵙⵉⴷⴻ ⵓⴼ ⵍⵉⴼⴻ. |
Time-Life released several of the feature films more or less intact, also using some of Scharf's scores which had been commissioned by Lloyd. | ⵜⵉⵎⴻ-ⵍⵉⴼⴻ ⴰⵣⵉⵣⴶⴰⵔ ⴰⵋⴻⵏ ⴷⴰⵗ ⵓⵉⵣⴰⴶⵔⵓⵜⵏⴻⵏ ⵏⴻⴷⴰⵏ ⵓⵉⵏ ⵏⴰⵏ ⵉⵜⵉⵓⵉⴷⵉⵙ, ⴷⴰⵎⴰⵗ ⴰⵙⵉⴾⴰⵍⴰⵏ ⵓⴶⴷⴰⵂⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⴷⴰⵗ ⵜⵉⴷⴰⵓⵜ ⵜⴰⵏ ⵙⵛⵂⴰⵔⴼ ⵓⴰⵙ ⴾⴰⵍⴰ ⵂⵉⵙ ⵉⵏⵉⵂⴰⴷ ⵍⵍⵓⵉⴷ. |
The Brownlow and Gill documentary was shown as part of the PBS series American Masters, and created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. | ⴰⴾⵉⵜⴱⴰⵏ ⵓⵉⵏ ⴱⵔⵓⵓⵏⵍⵓⵓ ⴰⴷ ⵗⵉⵍⵍ ⵉⵣⴶⴰⵔⴰⵏⵉⴷ ⴷⴰⵗ ⴰⵎⴰⵙ ⴰⵏ ⵙⴻⵔⵉⴻ ⵜⴰⵏ ⴰⵎⴻⵔⵉⵛⴰⵏ ⵎⴰⵙⵜⴻⵔⵙ ⵓⴰⵏ ⴱⴱⵙ, ⴰⴷ ⴰⵙⵉⵏⵜ ⵏⴰⵙⵓⵎⵓⵙⵓⵆⵉⵍ ⵏⴰⴶⵔⴰⵓⴰⵏ ⵉⴻ ⴰⵍⴾⵉⵜⴰⴱ ⵓⴰⵏ ⵍⵍⵓⵉⴷ ⴷⴰⵗ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ, ⵎⴰⵛⴰⵏ ⵙⵉⵍⵎⴰⵜⴰⵏ ⴰⵈⵉⵉⵎⴰⵏⴰⵜ ⴷⴰⵙ ⵂⵓⵔⵓⵓ ⴰⵏ ⵓⵉⵜⵉⵍⴻⵏⴰⵜ |
"They also adopted Gloria Freeman (1924–1986) in September 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as ""Peggy"" for most of her life." | "ⴰⵍⴰⵏ ⴰⵙ ⵓⴶⴷⴰⵂⴰⵏ ⵉⵍⵎⴰⴷⴰⵏ ⵗⵍⵓⵔⵉⴰ ⴼⵔⴻⴻⵎⴰⵏ (1924-1986) ⴷⴰⵗ ⵙⴻⴱⵜⴻⵎⴱⵔⴻ 1930, ⴰⴷ ⵂⴰⵙ ⵉⴶⴰⵏ ⵉⵙⵉⵎ ⵎⴰⵔⵋⵓⵔⵉⴻ ⴻⵍⵉⵣⴰⴱⴻⵜⵂ ⵍⵍⵓⵉⴷ ⵎⴰⵛⴰⵏ ⴰⵙ ⵜⵉⵜⵉⵓⴰⵣⴰⵉ ⵉⵙⵉⵎ ⵓⴰⵏ ""ⴱⴻⴶⴶⵉ"" ⴷⴰⵗ ⵜⴰⵂⴰⴶⵉⵜ ⵜⴰ ⵎⴰⵈⴰⵔⴰⵜ ⴰⵏ ⵜⵉⵎⵓⴷⵔⴻⵏⴻⵙ" |
Davis died from a heart attack in 1969, two years before Lloyd's death. | ⴻⴰⴱⵉⵙ ⴰⴱⴰⵜⵉ ⴰⵙ ⵜⴰⴱⴰⴷⴻ ⵏⵓⵍⵂ ⴷⴰⵗ 1969, ⵉⵙⵉⵏ ⵓⵉⵜⵉⴰⵏ ⴷⴰⵜ ⵜⴰⵎⴰⵜⴰⵏⵜ ⴰⵏ ⵍⵍⵓⵉⴷ. |
In 1925, at the height of his movie career, Lloyd entered into Freemasonry at the Alexander Hamilton Lodge No. | ⵗⵓⵔ 1925,ⴶⵓⵔⴻ ⴷⴰⴶ ⵓⴰⵏ ⵙⴰⵎⴰⵏⴷⵓ ⴰⵏ ⴰⵛⵂⴰⴶⴰⵍ ⵓⴰⵏ ⵙⵉⵍⵎⴰ,ⵍⵍⵓⵉⴷ ⴶⴰⵔ ⴶⵓⵔ ⴰⵍⴻⵆⴰⵏⴷⴻⵔ ⵂⴰⵎⵉⵍⵜⵓⵏ ⵍⵉⴷⴶⴻ ⵏⵓ. |
In 1926, he became a 32° Scottish Rite Mason in the Valley of Los Angeles, California. | ⵗⵓⵔ 1926, ⴻⵈⴰⵍ ⴻⵎⴰⵙⴻⵈⴰⵏ ⵓⴰⵏ 32° ⴰⵏ ⴰⴷⴰⴱⴰⵔⴰ ⵓⴰⵏ ⴻⵛⵓⵙⵙⴻ ⴷⴰⴶ ⵜⴻⴱⴰⴶⴰⵓⵜ ⵜⴰⵏ ⵍⵓⵙ ⴰⵏⴶⴻⵍⴻⵙ, ⴶⵓⵔ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ |
A portion of Lloyd's personal inventory of his silent films (then estimated to be worth $2 million) was destroyed in August 1943 when his film vault caught fire. | ⴰⵙ ⴰⵙⵙⵓⵂⵓ ⵏⴻⵙⵙ ⵉⴱⴷⴰⴷ ⴶⵓⵔ 2 ⵎⵉⵍⵍⵉⵓⵏⵜⴰⵏ ⴰⵏ ⴷⵓⵍⵍⴰⵔⵙ) ⴻⴾⵛⵂⴰⴷ ⴶⵓⵔ ⴰⵓⵓⵜ 1943 ⴰⵙ ⴻⵂⴰⵏ ⵓⴰ ⵎⴰⵈⴰⵔⴰⵏ ⵓⵏ ⵙⵉⵍⵎⴰ ⴻⵔⵆⴰ. |
The fire spared the main house and outbuildings. | ⵜⴻⵔⴰⵆⴻ ⵜⵓⵉⴰⵂⵉⵏ ⴻⵂⴰⵏ ⵓⴰⵏ ⴰⵣⴰⵔⴰⵏ ⴰⴷ ⵉⴰⵔⴰⵜⴰⵏ ⵓⵉ ⵜⵉⵂⴰⵏⴻⵏ. |
Lloyd was honored in 1960 for his contribution to motion pictures with a star on the Hollywood Walk of Fame located at 1503 Vine Street. | ⵍⵍⵓⵉⴷ ⴰⵜⵓⴰ ⵙⴰ ⵓⵏⵎⵆⴰⵔ ⴶⵓⵔ 1960 ⵉⴻ ⵜⴰⵍⵉⵍⵜ ⵉⵏⴻⵙⵙ ⴶⵓⵔ ⵙⵉⵍⵎⴰ ⴰⴷ ⴻⵜⴰⵔ ⴼⴰⵍ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ ⵓⴰⵍⴾ ⵓⴼ ⴼⴰⵎⴻ ⵉⵍⴰⵏⴶ ⵓⵔ 1503 ⵠⵉⵏⴻ ⵙⵜⵔⴻⴻⵜ |
The second citation was a snub to Chaplin, who at that point had fallen foul of McCarthyism and had his entry visa to the United States revoked. | ⵜⴰⵏⵏⴰ ⵜⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ ⵜⴰⵈⴰⵍ ⴰⵉⴼⴰⵔⴰⵏ ⵉⴻ ⵛⵂⴰⴱⵍⵉⵏ, ⴰⵏⵜⴰ, ⴰⵍⵓⴰⵈ ⵓⴻⵏⴷⴰⴶ,ⴰⴷ ⴻⵈⴰⵍ ⵜⴻⴷⴰⴶⴰⵔⵜ ⴰⵏ ⵎⴰⵙⵓⴰⵏ ⵉⵣⴰⵔ ⴰⵜⵓⴰⵏ ⵂⴰⵉ ⵉⵔⴰⵎⴰⵙⵙ ⴱⵉⵙⴰ ⵏⴻⵙⵙ ⴶⵓⵔ ⵓⴶⵓⵉⵛⵂ ⴰⵏ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ |
Gladys Marie Smith (April 8, 1892 – May 29, 1979), known professionally as Mary Pickford, was a Canadian-American film actress and producer with a career that spanned five decades. | ⵗⵍⴰⴷⵉⵙ ⵎⴰⵔⵉⴻ ⵙⵎⵉⵜⵂ ( 8 ⴰⴱⵔⵉⵍ 1892-29 ⵎⴰⵉ 1979), ⵜⴰⵜⵉⵓⴰⵣⴰⵉ ⵜⴻⵎⴰⵛⵂⴰⴶⴰⵍⵜ ⴼⴰⵍ ⵉⵙⵙⴰⵎ ⵓⴰⵏ ⵎⴰⵔⵉ ⴱⵛⴾⴼⵓⵔⴷ,ⵜⴰⵈⴰⵍ ⵜⴻⵎⴰⵙⴻⵙⵜⵉⵜ ⴰⴷ ⵜⴻⵎⴰⴶⵓⵉⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵛⴰⵏⴰⴷⵓ-ⴰⵎⴻⵔⵉⵛⴰⵉⵏⴻ ⴰⵙ ⵜⴰⵂⴰⴶⵓⵉⵜ ⵜⴰⵣⴰⴶ ⴼⴰⵍ ⵙⴰⵎⵓⵙⴰⵜ ⵜⴰⵎⴰⵔⵓⴻⵏ ⵏⴰⵓⴰⵜⴰⵉ |
Her father, John Charles Smith was the son of English Methodist immigrants, and worked a variety of odd jobs. | ⵜⵉⵙⵙ, ⵋⵓⵂⵏ ⵛⵂⴰⵔⵍⴻⵙ ⵙⵎⵉⵜⵂ,ⴻⵈⴰⵍ ⵔⵓⵔⴻⵙⵙ ⴰⵏ ⴰⵎⴰⵙⴰⴾⵓⵍ ⴰⵏ ⴰⵏⴶⵍⴰⵉⵙ,ⵉⵜⴰⴶⴰⵏ ⴰⵛⵂⴰⴶⴰⵍⴰⵏ ⵎⴰⴷⵔⵓⵉⵏⴻⵏ |
To please her husband's relatives, Pickford's mother baptized her children as Methodists, the religion of their father. | ⵗⴻ ⵓⴶⵔⴰⵣ ⴰⵏ ⵎⴰⵔⴰⵓⴰⵏ ⴰⵏ ⴰⵂⴰⵍⴰⵙⵙ ⵏⴻⵙⵙ, ⵎⴰⵙⵙ ⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵜⴰⴾⴼⴰ ⴰⵔⴰⵜⴰⵏ ⵏⴻⵙⵙ ⵉⵙⵙⴰⵎ ⵙⵓⵏⴷ ⵉⵎⵓⵙⴰⵏⴰⵏ,ⵜⴰⵏⴰⵙⵍⵉⵍⴰ ⵜⴰⵏ ⵜⵉⵙⵙⴰⵏ |
Gladys, her mother and two younger siblings toured the United States by rail, performing in third-rate companies and plays. | ⴰⴷ ⵛⵂⴰⵜⵎⴰⵙ ⵓⵉ ⵎⴰⴷⵔⵓⵉⵏⴻⵏ ⵜⴰⴾⴰⵏ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ ⴷⴰⴶ ⵣⵉⵔⴶⵓⵉ,ⵜⴰⴷⴰⵍⴰⵏ ⴷⴰⴶ ⵜⴰⴷⴰⵓⴻⵏ ⴰⴷ ⴰⴷⴰⴶ ⵓⴰⵙ ⵈⴰⵔⴰⴷ ⴷⴰⴶ ⴰⵍⴾⵓⵎ. |
Gladys finally landed a supporting role in a 1907 Broadway play, The Warrens of Virginia. | ⵗⵍⴰⴷⵉⵙ ⵜⴰⵙⵙⴰⵎⴷⴰ ⴰⵙ ⴰⴶⴰⵔⴰⵓ ⴰⵏ ⴰⵛⵂⴰⴶⴰⵍ ⵓⴰⵙ ⴰⵙⵉⵏⵏ ⴷⴰⴶ ⴻⴷⴰⴶ ⵓⴰⵏ ⴱⵔⵓⴰⴷⵓⴰⵉ ⴶⵓⵔ 1907, ⵟⵂⴻ ⵓⴰⵔⵔⴻⵏⵙ ⵓⴼ ⴱⵉⵔⴶⵉⵏⵉⴰ. |
After completing the Broadway run and touring the play, however, Pickford was again out of work. | ⴰⴶⵓⴷⴻⵏ,ⴷⴰⵔⴰⵜ ⴰⵙ ⵜⴰⵎⴰⵏⴷⴰ ⵜⵉⴷⴰⵓⵜ ⵜⴰⵏ ⴱⵔⵓⴰⴷⵓⴰⵉ ⴰⴷ ⴻⴷⴰⴶ, ⵂⴰⵏⵏⵉⵙ ⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵜⴰⵈⵉⵎⴰ ⴷⴰⴶ ⵉⵛⵂⵔⴰⵉ ⵓⴰⵍⴰ ⴰⵛⵂⴰⴶⴰⵍ. |
She quickly grasped that movie acting was simpler than the stylized stage acting of the day. | ⵜⴰⵍⵎⴰⴷ ⵛⵉⴾ ⴰⵙ ⴰⴷⴰⵍ ⴶⵓⵔ ⵙⵉⵍⵎⴰ ⵔⴰⵈⵉⵙⵙ ⴼⴰⵍ ⴰⴷⴰⵍ ⵓⴰⵏ ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⴷⴰⴶ ⴰⵣⴰⵎⴰⵏ. |
As Pickford said of her success at Biograph:I played scrubwomen and secretaries and women of all nationalities ... I decided that if I could get into as many pictures as possible, I'd become known, and there would be a demand for my work. | ⵙⵓⵏⴷ ⴰⵓⴰ ⵉⵏⴰ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴷⴰⴶⴰⴶⴰⵔⴰⵓ ⵉⵏⴻⵙⵙ ⴶⵓⵔ ⴱⵉⵓⴶⵔⴰⴱⵂ : " Iⴷⴰⵍⴰⴶ ⴷⴻⴷⴻⵏ ⵜⵉⵏ ⴰⵛⴰⴶⴰⵍ, ⵜⵉⵏⴰⴾⵜⵉⴱⴻⵏ ⴰⴷ ⴷⴻⴷⴻⵏ ⴰⵏ ⴰⴾⴰⵍ ⴾⵓⵍ…". Iⵜⴾⴰⵍⴰⴶ ⴰⵙ ⴰⴷⵓⴱⴻⵆ ⴰⴷⴰⵍ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⵓⵉ ⴰⴶⵓⵜⵏⴻⵏ,ⴰⴷ ⵣⵓⵣⵉⵉⴰⵆ ⵉⵎⴰⵏⵉⵏ ⵉⵣⴰⵔ ⵜⴰⵎⴰⵍⵜⵉ ⵜⴰⵎⴰⴷⵉⵍⵜ ⵉⴰ ⴰⵛⴰⴶⴰⵍ ⵉⵏⵏ |
In January 1910, Pickford traveled with a Biograph crew to Los Angeles. | ⵗⵓⵔ ⵋⴰⵏⴱⵉⴻⵔ 1910, ⴱ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⴾⴰ ⵍⵓⵙ ⴰⵏⴶⴻⵍⴻⵙ ⴰⵏⵜⴰ ⴰⴷ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ ⴰⵏ ⴱⵉⵓⴶⵔⴰⴱⵂ |
Actors were not listed in the credits in Griffith's company. | Iⵎⴰⵙⵓⵙⵜⴰ ⵓⴰⵔ ⴷⴰⵣⴶⴻⵔⴰⵏ ⴶⵓⵔ ⵙⴰⵏⵜⵓ ⴷⴰⴶ ⵜⵉⴷⴰⵓⵜ ⵜⴰⵏ ⵗⵔⵉⴼⴼⵉⵜⵂ. |
Pickford left Biograph in December 1910. | ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⴼⴰⵍ ⴱⵉⵓⴶⵔⴰⴱⵂ ⴶⵓⵔ ⴷⴻⵛⴻⵎⴱⵔⴻ 1910. |
She returned to Broadway in the David Belasco production of A Good Little Devil (1912). | ⵜⴰⵈⴰⵍ ⴶⵓⵔ ⴱⵔⵓⴰⴷⵓⴰⵉ ⴷⴰⴶ ⵜⴰⵣⴰⵣⴶⴰⵔⵜ ⵜⴰⵏ ⴻⴰⴱⵉⴷ ⴱⴻⵍⴰⵙⵛⵓ, ⴰ ⵗⵓⵓⴷ ⵍⵉⵜⵜⵍⴻ ⴻⴻⴱⵉⵍ (1912). |
In 1913, she decided to work exclusively in film. | ⵗⵓⵔ 1913, ⵜⴰⵙⴰⵏⵜⴰ ⴰⵛⴰⴶⴰⵍ ⵉⴻ ⵙⵉⵍⵎⴰ ⴼⴰⵍ ⵎⴰⵏⴻⵙⵙ. |
Pickford left the stage to join Zukor's roster of stars. | ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⴼⴰⵍ ⴻⴷⴰⴶ ⵓⴰⵏ ⴰⴷⴰⵍ ⵉⴰⴷ ⴰⴶⵉⵛ ⵍⴰⵉ ⵓⴰⵏ ⵉⵍⵉⴰⴷⴰⵏ ⵓⵉⵏ ⵌⵓⴾⵓⵔ |
Comedy-dramas, such as In the Bishop's Carriage (1913), Caprice (1913), and especially Hearts Adrift (1914), made her irresistible to moviegoers. | Iⵙⵓⵙⵜⴰ ⵓⵉⵏ ⴰⴷⴰⵍ,ⵙⵓⵏⴷ Iⵏ ⵜⵂⴻ ⴱⵛⵓⴱ’ⵙ ⵛⴰⵔⵔⵉⴰⴶⴻ (1913), ⵛⴰⴱⵔⵉⵛⴻ (1913), ⴰⴷ ⵂⵓⵍⴻⵏ ⵂⴻⴰⵔⵜⵙ ⴰⴷⵔⵉⴼⵜ (1914),ⵉⴶⴰⵜⴰⵏ ⵉⴱⴰⵏ ⴰⵛⴰⵎⴰⵔ ⵉⴻ ⴾⴰⵍ ⵙⵉⵍⵎⴰ |
Tess of the Storm Country was released five weeks later. | ⵜⴻⵙⵙ ⵓⴼ ⵜⵂⴻ ⵙⵜⵓⵔⵎ ⵛⵓⵓⵏⵜⵉ ⵉⵣⴶⴰⵔ ⵂⴻⴱⵓⵜⴰⵏ ⵙⴰⵎⴰⵙⵙ ⴷⴰⵔⴰⵜ ⴰⵓⴰ. |
Only Charlie Chaplin, who slightly surpassed Pickford's popularity in 1916, had a similarly spellbinding pull with critics and the audience. | ⵛⵂⴰⵔⵍⵉⴻ ⵛⵂⴰⴱⵍⵉⵏ ⵆⴰⵙ, ⴰ ⵓⴶⴰⵔⴰⵏ ⴰⵙ ⴰⴷⴰⵔⴰⵏ ⵜⴰⵎⵓⵣⵉⴻ ⵜⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴶⵓⵔ 1916,ⵉⴶⴰ ⴰⵏⵎⴰⵜⴰⴼ ⴰⵜⵉⵓⴰⴶⵔⴰⵣⴰⵏ ⴼⴰⵍ ⵜⴻⵣⵎⵉⵜⴻⵏ ⴰⴷ ⴰⴷⵉⵏⴰⵜ. |
She also became vice-president of Pickford Film Corporation. | ⵜⴰⵈⴰⵍ ⵜⴰⵎⴰⵓⴾⴰⵍⵜ ⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴼⵉⵍⵎ ⵛⵓⵔⴱⵓⵔⴰⵜⵉⵓⵏ. |
Due to her lack of a normal childhood, she enjoyed making these pictures. | ⴰⵙⵙⴰⴷⴰⵜⵓ ⵏⵉⴱⴰⵏ ⵜⴰⵎⴰⴷⵔⵉⵜ ⵜⵉⴾⵏⴰⵜ, ⵜⴰⴾⴰⵍ ⵜⵓⵔⵂⴰⴶⴰⵜ ⵉⴻ ⵉⴶⵓⵉ ⵓⵏ ⵙⵉⵍⵎⴰ. |
In August 1918, Pickford's contract expired and, when refusing Zukor's terms for a renewal, she was offered $250,000 to leave the motion picture business. | ⴻⴰⵆ ⴰⵓⵓⵜ 1918, ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵜⴰⵎⴰⴷⴰ ⴰⴷ, ⴷⴰⵔⴰⵜ ⵜⵓⵏⴶⵉⵜ ⵏⴰⵍⵎⴰⵆⵏⴰ ⵏⴰⵙⵓⵎⵓⵜⵉⵉ ⵓⴰ ⵂⴰⵙ ⵉⵏⴰ ⵤⵓⴾⵓⵔ, ⵂⴰⵏⴰⵉ ⴰⵙ ⴰⵜⴰⴼⵓ 250 000 $ ⴼⴰⵍ ⴰⵜⵉⴼⵉⵍ ⴻⵂⴰⵏ ⵓⴰⵏ ⵙⵉⵏⴻⵎⴰ. |
Through United Artists, Pickford continued to produce and perform in her own movies; she could also distribute them as she chose. | ⴼⴰⵍ ⴰⵙ ⵓⵏⵉⵜⴻⴷ, ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⵜⵉⴾⵉ ⴷⴰⴶ ⵂⵓⴾ ⵉⵣⴰⵔ ⵉⴷⴰⵍ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⵓⵉⵏ ⵏⴻⵙⵙ ; ⵜⴰⴷⵓⴱⴰⵜ ⴷⴻⴶ ⴰⵜⴰⵏ ⵜⵓⵣⴰⵏ ⴰⵙ ⴰⵓⴰ ⵙⵜⴰⵔⵂⴰ. |
"During this period, she also made Little Annie Rooney (1925), another film in which Pickford played a child, Sparrows (1926), which blended the Dickensian with newly minted German expressionist style, and My Best Girl (1927), a romantic comedy featuring her future husband Charles ""Buddy"" Rogers." | " ⵜⴰⵂⴰⴶⵉⵜ ⵏⴰⵙⵙⴰⵆⴰⵜ,ⵜⴰⴶⴰ ⵍⵉⵜⵜⵍⴻ ⴰⵏⵏⵉⴻ ⵔⵓⵓⵏⴻⵉ (1925),ⵙⵉⵍⵎⴰ ⵉⵉⴰⵏ ⴷⴰⴶ ⵓⴰ ⴻⵈⴰⵍ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴰⵔⴰ,ⵙⴱⴰⵔⵔⵓⵓⵙ (1926),ⴰⵙⴻⵔⵜⴰⵉ ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⴷⵉⵛⴾⴻⵏⵙⵉⴻⵏ ⴶⴰⵔ ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⵜⴰⵉⵏⴰⵉⴰⵜ ⴰⵏ ⴰⵍⵍⴻⵎⴰⵏⴷ,ⴰⴷ ⵎⵉ ⴱⴻⵙⵜ ⵗⵉⵔⵍ (1927),ⴰⴷⴰⵍ ⴰⵣⴻⴷⴰⵏ ⴷⴰⴶ ⴰⵂⴰⵍⴰⵙ ⵉⵏⴻⵙⵙ ⵙⴰⵔⵍⴻⵙ "" ⴱⵓⴷⴷⵉ"" ⵔⵓⴶⴻⵔⵙ". |
She played a reckless socialite in Coquette (1929), her first talkie, a role for which her famous ringlets were cut into a 1920s' bob. | ⵜⴰⴷⴰⵍ ⵉⴻ ⴰⴷⵓⵏⵉⴰ ⵓⴰⵔⴻⵏ ⵜⴰⵔⵎⴻⴶ ⴷⴰⴶ ⵛⵓⵈⵓⴻⵜⵜⴻ (1929), ⵙⵉⵍⵎⴰ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⵉⵏⴰ,ⴰⵛⴰⴶⴰⵍ ⵉⴻ ⵉⴰⵔⴰⵔⵓ ⴰⵏ ⵎⵓⵣⴰⵉⴰⵏ ⴰⵣⵓⵏⴰⵏ ⴷⴰⴶ ⵜⴰⴾⴰⴱⵓⵜ ⵏⴻⵍⴰⵏ ⵓⵉⵏ 1920. |
The public failed to respond to her in the more sophisticated roles. | ⴰⴷⵉⵏⴰⵜ ⵓⴰⵔ ⵜⴰⵔⵂⴻⵏ ⴷⴰⴶ ⵜⴻⵎⴰⵛⴰⴶⴰⵍ ⵜⴰ ⵜⵉⴾⵏⴰⵜ. |
Established Hollywood actors were panicked by the impending arrival of the talkies. | Iⵎⴰⵙⵓⵙⵜⴰ ⵓⵉ ⵂⴰⵏⴻⵏ ⴷⴰⴶ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ ⴰⵔⵎⴰⴶⴰⵏ ⴼⴰⵍ ⴰⴶⴰⴷ ⴷⵉⵎⴰⵍⴰⵏ ⴰⵏ ⴰⵎⴰⴶⵔⴰⴷ ⵙⵉⵍⵎⴰ |
She retired from film acting in 1933 following three costly failures with her last film appearance being Secrets. | ⵜⵉⵣⴶⴰⵔ ⵙⵉⵍⵎⴰ ⴶⵓⵔ 1933 ⴷⴰⵔⴰⵜ ⵉⴱⴰⵏ ⴰⴶⴰⵔⴰⵓ ⴰⵙⵓⵂⴻⵏ,ⴰⵣⴰⴶⴰⵔ ⵉⵏⴻⵙⵙ ⵓⴰ ⵉⵍⴾⴰⵎⴰⵏ ⴶⵓⵔ ⵙⵉⵍⵎⴰ ⴻⵈⴰⵍ ⴷⴰⴶ ⵓⴼⴰⵔ. |
During World War I she promoted the sale of Liberty Bonds, making an intensive series of fund-raising speeches, beginning in Washington, D.C., where she sold bonds alongside Charlie Chaplin, Douglas Fairbanks, Theda Bara, and Marie Dressler. | ⵗⵓⵔ ⴰⴾⵉⵏⴰⵙⵙ ⴰⵏ ⴰⴷⵓⵏⵉⴰ ⵓⴰⵣⴰⵔⴰⵏ, ⵜⴰⴶ ⵂⴻⴱⵓ ⴰⵏ ⴰⵛⴰⵏⵛ ⵓⴰⵏ Lⵉⴱⴻⵔⵜⵉ ⴱⵓⵏⴷⵙ,ⴷⴰⴶ ⵜⴰⵍⴰⵆⴰⵜ ⵜⴻⴷⴰⴶⵉⵜ ⵎⴰⵈⴰⵔⴰⵜ ⴰⵏ ⵎⴰⴶⵔⴰⴷ ⵓⴰⵏ ⵜⴰⴾⵓⵜⴻ,ⴶⵓⵔ ⵙⴰⵏⵜⵓ ⴶⵓⵔ Wⴰⵙⵂⵉⵏⴶⵜⵓⵏ,ⴷⵉⵂⴰ ⴰⴷ ⵛⵓⵏⵛⴰ ⵜⴰⵂⴰⵛⵉⵍⵜ ⴶⵓⵔ ⴻⴷⴻⵙⵙ ⴰⵏ ⵙⴰⵔⵉⴻ ⵙⴰⴱⵍⵉⵏ, ⴻⵓⵓⴶⵍⴰⵙ ⴼⴰⵉⵔⴱⴰⵏⴾⵙ, ⵟⵂⴻⴷⴰ ⴱⴰⵔⴰ ⴰⴷ ⵎⵔⵉⴻ ⴻⵔⴻⵙⵙⵍⴻⵔ. |
In a single speech in Chicago, she sold an estimated five million dollars' worth of bonds. | ⵗⵓⵔ ⵎⵉⴶⵔⴰⴷ ⴶⵓⵔ ⵛⵂⵉⵛⴰⴶⵓ,ⵜⴰⵛⴰⵏⵛⴰ ⵉⴻ ⴰⵓⵓⴶⴷⴰⵂⴰⵏ ⴰⴷ ⵙⴰⵎⵓⵙ ⵎⵉⵍⵍⵉⵓⵏⵜⴰⵏ ⵓⵏ ⴷⵍⵍⴰⵔ ⵓⵏ ⵜⴰⵂⴰⵛⵉⵍⵜ. |
At the end of World War I, Pickford conceived of the Motion Picture Relief Fund, an organization to help financially needy actors. | ⵗⵓⵔ ⵙⴰⵎⴰⵏⴷⵓ ⵏⴰⴾⵉⵏⴰⵙ, ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⴶⵔⴰⵓ ⵎⵓⵜⵉⵓⵏ ⴱⵉⵛⵜⵓⵔⴻ ⵔⴻⵍⵉⴻⴼ ⴼⵓⵏⴷ, ⵜⴰⵔⵜⵉⵜ ⵜⵉⴾⴰⵜ ⵜⴰⵍⵉⵍⵜ ⵏ ⵓⵉⵏ ⵓⴰⵔⴻⵏ ⵉⵍⴰ ⵂⴰⵔⴰⵜ. |
As a result, in 1940, the Fund was able to purchase land and build the Motion Picture Country House and Hospital, in Woodland Hills, California. | ⴻⴰⴶ ⵉⵛⵔⴰⵉ,ⴶⵓⵔ 1940,ⴰⴶⵉⵍⴰⵍ ⴰⵛⴰⵏⵛⴰ ⴰⴾⴰⵍ ⵉⵣⴰⵔ ⴰⵙⵓⵈⴰⵏ ⵎⵓⵜⵉⵓⵏ ⴱⵉⵛⵜⵓⵔⴻ ⵛⵓⵓⵏⵜⵔⵉ ⵂⵓⵙⴻ ⴰⵏⴷ ⵂⵓⵙⴱⵉⵜⴰⵍ, ⴶⵓⵔ ⵓⵓⵓⴷⵍⴰⵏⴷ ⵂⵉⵍⵍⵙ, ⴶⵓⵔ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ. |
She demanded (and received) these powers in 1916, when she was under contract to Zukor's Famous Players in Famous Plays (later Paramount). | ⵜⴰⵙⵙⴰⵙⵜⴰⵏ (ⵉⵣⴰⵔ ⵜⴰⴶⵔⴰⵓ) ⴰⵏəⵎⵓⴾⵓⵍ ⴶⵓⵔ 1916,ⴰⴶⵓⴷ ⵓⴰⴷ ⵜⴰⵛⴰⴶⴰⵍ ⴷⴰⴶ ⴼⴰⵎⵓⵓⵙ ⴱⵍⴰⵉⴻⵔⵙ ⵉⵏ ⴼⴰⵎⴱⵓⵙ ⴱⵍⴰⵉⵙ ⵓⴰⵏ ⵤⵓⴾⴱⵔ(ⴷⴰⵔⴰⵜ ⴰⵓⴰ ⴱⴰⵔⴰⵎⵓⵓⵏⵜ). |
The Mary Pickford Corporation was briefly Pickford's motion-picture production company. | ⵎⴰⵔⵉ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵛⵓⵔⴱⵓⵔⴰⵜⵉⵓⵏ ⵜⴰⴾⴰⵍ ⵙⴰⵍⴰⵏ ⵜⵉⴷⴰⵓⵜ ⵜⴰ ⵜⴰⴶⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰ ⵂⴰⵏⵏⵉⵙ ⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ |
Distributors (also part of the studios) arranged for company productions to be shown in the company's movie venues. | Iⵎⵓⵣⴰⵏⴰⵏ (ⵓⵉ ⵂⴰⵏⴻⵏ ⴷⴻⴶ ⵙⵜⵓⴷⵉⵓⵜⴰⵏ) ⵜⴰⵎⴰⴶⴷⴰⵂⴰⵏ ⵉⴰⴷ ⵓⴶⴰⵜⴰⵏ ⵏ ⴻⵂⴰⵏ ⴰⴷ ⵉⵣⴶⴰⵔⴰⵏ ⴷⴰⴶ ⵂⴰⵏⴰⵏ ⵓⵉⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵜⵉⴷⴰⵓⵜ. |
It was solely a distribution company, offering independent film producers access to its own screens as well as the rental of temporarily unbooked cinemas owned by other companies. | "ⵜⴰⵈⴰⵍ ⴶⴰⵙ ⵜⵉⴷⴰⵓⵜ ⴰⵏ ⵜⴰⵣⵓⵏⵜ, ⵂⴰⴾⴰⵜ ⵉⴻ ⵎⴰⴶⴰⵏ |
As a co-founder, as well as the producer and star of her own films, Pickford became the most powerful woman who has ever worked in Hollywood. | ⴰⵙ ⵜⴰⴾⴰⵍ ⵜⴰⵎⴰⵏⵓⴾⴰⵍⵜ,ⵙⵓⵏⴷ ⵜⴻⵎⴰⴶⵓⵉⵜ ⴰⴷ ⴻⴷⴰⴶ ⵓⴰⵏ ⵙⵉⵍⵎⴰ ⵓⵉⵏ ⵏⴻⵙⵙ,ⴱⵉⵛⴾⴼⵓⵔⴷ ⵜⴰⴾⴰⵍ ⵜⴰⵎⴰⵜ ⵜⴰ ⵜⴰⴾⵏⴰⵜ ⴰⵙⵙⵓⵂⵓ ⴰⵙ ⴾⴰⵍⴰ ⵓⴰⵔ ⵜⴰⵛⴰⴶⴰⵍ ⴶⵓⵔ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ. |
She and Chaplin remained partners in the company for decades. | "ⴰⵏⵜⴰ ⴰⴷ ⵛⵂⴰⴱⵍⵉⵏ ⴰⵈⵉⵎⴰⵏⴰⵜ ⵜⵉⵎⵉⴷⴰⵓⴻⵏ ⵜⵉⵏ ⵜⴰⴷⴰⵓⵜ |
It is rumored she became pregnant by Moore in the early 1910s and had a miscarriage or an abortion. | ⵏⴰⵏⵏⴰ ⵜⴰⵙⵙⴰⵎⵔⴰⵓ ⴷⴰⴶ ⵎⵓⵓⵔⴻ ⴶⵓⵔ ⵙⴰⵏⵜⵓ ⴰⵏ ⴻⵍⴰⵏ ⵓⵉⵏ 1910 ⵉⵣⴰⵔ ⵜⴰⴶⵛⴰⴷ ⵜⴰⵙⵙⴰ ⵏⴻⵙⵙ ⵎⴻⴶ ⵜⴰⴶⵛⴰⴷ ⴰⵙⵙⴰⵎⵔⴰⵓ ⵉⵏⴻⵙⵙ ⵉⵏⵜⴰ ⵉⵎⴰⵏⴻⵙ |
The couple lived together on-and-off for several years. | Iⵎⴰⵣⵍⴰⵉⴰⵏ ⴰⵂⵓⴰⴶⴰⵏ ⴷⴰⴶ ⵜⴰⵎⵓⴷⵔⴻ ⵜⴰ ⵓⴰⵔⴻⵏ ⵜⵉⴾⴰ ⵜⴰⵂⴰⴶⵉⵜ ⴷⴰⴶ ⴻⵍⴰⵏ ⴰⴶⵓⵜⵏⴻⵏ |
Around this time, Pickford also suffered from the flu during the 1918 flu pandemic. | ⴻⴰⴶ ⴰⵣⴰⵎⴰⵏ ⵓⴻⵏ,ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⵂⴰⵏⴰⵉ ⵜⴰⵎⴰⴾⵉⵏⵜ ⴰⵏ ⴶⵔⵉⴱⴱⴻ ⴶⵓⵔ ⵜⵓⵔⵂⴰⵏⵏⴰ ⵜⴰⵏ ⴶⵔⵉⴱⴱⴻ ⴶⵓⵔ 1918 |
They went to Europe for their honeymoon; fans in London and in Paris caused riots trying to get to the famous couple. | ⵏⴰⵙⵙⴰⵏ ; ⵉⵎⴰⵔⵂⴰⵏ ⴶⵓⵔ ⵍⵓⵏⴷⵔⴻⵙ ⴰⴷ ⴱⴰⵔⵉⵙ ⴰⴷⵍⴰⵎⴰⵏ ⵉⵎⴰⴶⵔⴰⵣⴰⵏ ⵉⴻ ⵉⵔⵓⵎ ⴰⵏ ⵓⵂⴰⵣ ⴰⵏ ⵎⴰⵔⵂⴰⵏ ⵓⵉ ⴷⴰⴶ ⵉⴾⵏⴰⵏⴻⵏ ⴰⵜⵓⴰⵣⵉ |
Pickford continued to epitomize the virtuous but fiery girl next door. | ⴱⵉⵛⴾⴼⵓⵔⴷ ⵓⴾⴰⵉ ⴷⴰⴶ ⴰⵙⵙⴰⴾⴰⵏ ⴰⵏ ⵜⴰⵎⴰⵓⴰⵜ ⵜⴰ ⵛⴰⴷⵉⴶⴰⵜ ⵎⴰⵛⴻⵏ ⵜⴰⴾⵓⵙ ⴷⴰⴶ ⵉⵂⴰⵣ. |
Foreign heads of state and dignitaries who visited the White House often asked if they could also visit Pickfair, the couple's mansion in Beverly Hills. | Iⵏⴰⵎⵓⴾⴰⵍⴰⵏ ⵏⴰⴾⴰⵍ ⴰⴷ ⵉⵏⴰⴼⵜⴰⴶⴰⵏ ⵓⵉ ⴰⵜⵓⴰ ⵙⴰⵎⴶⴰⵔⵏⴻⵏ ⴰⴷ ⴷⵓⵙⵙⴰⵏⴻⵏ ⴻⵂⴰⵏ ⵓⴰ ⵎⴰⵍⴰⵏ ⵙⴰⵙⵜⴰⵏⴰⵏ ⴰⴶⵓⴷ ⴰⵙ ⴰⴱⵓⴱⴻⵏ ⴰⴷⴰⴾⴰⵏ ⴱⵉⵛⴾⴼⴰⵉⵔ,ⵜⴰⵎⵓⵣⴰⵈ ⵜⴰⵏ ⵎⴰⵣⵍⴰⵉⴰⵏ ⴶⵓⵔ ⴱⴻⴱⴻⵔⵍⵉ ⵂⵉⵍⵍⵙ. |
Other guests included George Bernard Shaw, Albert Einstein, Elinor Glyn, Helen Keller, H. G. Wells, Lord Mountbatten, Fritz Kreisler, Amelia Earhart, F. Scott Fitzgerald, Noël Coward, Max Reinhardt, Baron Nishi, Vladimir Nemirovich-Danchenko, Sir Arthur Conan Doyle, Austen Chamberlain, Sir Harry Lauder, and Meher Baba, among others. | ⵗⴰⵔ ⵉⵏⴰⴼⵜⴰⴶⴰⵏ ⵓⵉⵉⴰⴷⵏⴻⵏ ⵉⵂⴻⵏ ⵗⴻⵓⵔⴶⴻ ⴱⴻⵔⵏⴰⵔⴷ ⵛⵂⴰⵓ, ⴰⵍⴱⴻⵔⵜ ⴻⵉⵏⵙⵜⴻⵉⵏ, ⴻⵍⵉⵏoⵔ ⵗⵍⵉⵏ, ⵂⴻⵍⴻⵏ ⵆⴻⵍⵍⴻⵔ, ⵂ. ⵓⴻⵍⵍⵙ, ⵍⵓⵔⴷ ⵎⵓⵓⵏⵜⴱⴰⵜⵜⴻⵏ, ⴼⵔⵉⵜⵣ ⵆⵔⴻⵉⵙⵍⴻⵔ,ⴰⵎⴻⵍⵉⴰ ⴻⴰⵔⵂⴰⵔⵜ,ⴼ. ⵙⵛⵓⵜⵜ ⵠⵍⴰⴷⵎⵉⵔ ⵏⴻⵎⵉⵔⵓⴱⵉⵛⵂ-ⴻⴰⵏⵛⵂⴻⵏⴾⵓ, ⵙⵉⵔ ⴰⵔⵜⵂⵓⵔ ⵛⵓⵏⴰⵏ ⴻⵓⵉⵍⴻ, ⴰⵓⵙⵜⴻⵏ ⵛⵂⴰⵎⴱⴻⵔⵍⴰⵉⵏ, ⵙⵉⵔ ⵂⴰⵔⵔⵉ ⵍⴰⵓⴷⴻⵔ ⴰⴷ ⵎⴻⵂⴻⵔ ⴱⴱⴰ,ⴷⴰⴶ ⵙⴰⵏ . |
They were also constantly on display as America's unofficial ambassadors to the world, leading parades, cutting ribbons, and making speeches. | ⵌⴰⴶⴰⵔⴰⵏ ⵂⴰⵔⴾⵓⴾ ⴷⴻⴶ ⵙⵓⵏⴷ ⵉⵏⴰⵎⵓⵛⴰⵍ ⴰⵏ ⴰⵍⵂⴰⴾⵓⵎ ⵜⴰⵏ ⴰⵎⴻⵔⵉⵈⵓⴻ ⴷⴰⴶ ⴰⴷⵓⵏⵉⴰ,ⵜⴰⴶⴰⵏ ⵜⵉⵓⵉⵜ,ⵜⵉⴾⵔⴰⵎⵉⵏ ⵜⴻⴾⴰⵔⵛⴰⵉⵜ ⵉⵣⴰⵔ ⵜⴰⴶⴰⵏ ⴱⴰⵜⵓ. |
They divorced January 10, 1936. | ⴰⵎⵉⵣⴰⵉⴰⵏ ⴶⵓⵔ 10 ⵋⴰⵏⴱⵉⴻⵔ 1936. |
She criticized their physical imperfections, including Ronnie's small stature and Roxanne's crooked teeth. | ⵜⵉⵣⴰⵎ ⵉⴱⴰⵏ ⵜⴰⴼⵔⴰⵏⵜ ⵏⴰⵙⵏⴰⵜ, ⴶⵓⵔ ⵜⴰⵎⴰⴷⵔⵉⵜ ⴰⵏ ⵜⴻⴱⴰⴷⴻ ⵜⴰⵏ ⵔⵓⵏⵏⵉⴻ ⴰⴷ ⵉⵙⵙⴻⵏⴰⵏ ⵓⵉ ⵉⵣⴶⴰⵔⵏⴻⵏ ⵓⵉⵏ ⵔⵓⵆⴰⵏⵏⴻ. |
Her siblings, Lottie and Jack, both died of alcohol-related causes in 1936 and 1933, respectively. | ⴰⵉⵜⵎⴰⵙ ⴰⴷ ⵛⴰⵜⵎⴰⵙ, ⵍⵓⵜⵜⵉⴻ ⴰⴷ ⵋⴰⵛⴾ, ⴰⵎⵓⵏ ⴰⵙⵙⴰⵏⴰⵏ ⴰⵙ ⴰⵓⴰ ⵂⴰⵙⵙⴰⵏ ⵉⴶⴰ ⴰⵙⵎⴰⴷ ⴶⵓⵔ 1936 ⴰⴷ 1933, ⴷⴰⴶ ⴰⵎⵣⵉⵣⴰⵔ. |
Pickford withdrew and gradually became a recluse, remaining almost entirely at Pickfair and allowing visits only from Lillian Gish, her stepson Douglas Fairbanks Jr., and few other people. | ⴱⵉⵛⴾⴼⵓⵔⴷ ⵜⴰⵔⴾⴰⵏ ⴼⴰⵍ ⵎⴰⵏⴻⵙⵙ ⵉⵣⴰⵔ ⵜⴰⴾⴰⵍ ⵜⴰⴾⴼⴰⵍ ⵉⵏⵜⴰ ⵙⵓⵍⴰⵏ,ⵜⴰⵈⵉⵎⴰ ⵂⴰⵔⴾⵓⴾ ⴶⵓⵔ ⴱⵉⵛⴾⴼⴰⵉⵔ ⵉⵣⴰⵔ ⵓⴰⵔ ⵔⴰⴷⵓ ⴰⵔ ⵓⵙⵙ ⵓⴰⵏ ⵍⵉⵍⵍⵉⴰⵏ ⵗⵉⵛ,ⵓⴰⵏ ⴰⴷⴰⴶⴰⵍ ⵉⵏⴻⵙⵙ ⴻⵓⵓⴶⵍⴰⵙ ⴼⴰⵉⵔⴱⴰⵏⴾⵙ ⵋⵔ. ⴰⴷ ⴰⴷⵉⵏⴰⵜ ⵉⵉⴰⴷ |
She appeared in court in 1959, in a matter pertaining to her co-ownership of North Carolina TV station WSJS-TV. | ⵙⴰⵎⴰⴶⴷⴰⵂ ⴷⴰⵜ ⴰⵍⵂⴰⴾⵓⵎ ⴶⵓⵔ 1959, ⴷⴰⴶ ⴰⴷⴰⴱⴰⵔⴰ ⴼⴰⵍ ⵎⴰⵙⵙⴰⵙ ⴰⵏ ⴰⵙⵙⴰⴱⴷⴰⵏ ⴰⵏ ⵜⴰⵍⴱⵉⵣⵓⵏⵜ ⵓⵙⵋⵙ-ⵟⵠ ⴶⵓⵔ ⵛⴰⵔⵓⵍⵉⵏⴻ ⵜⴰⵏ ⵜⴰⵙⴰⴶⴰ ⵏⴰⴾⴰⵍ. |
"Charles ""Buddy"" Rogers often gave guests tours of Pickfair, including views of a genuine western bar Pickford had bought for Douglas Fairbanks, and a portrait of Pickford in the drawing room." | " ⵛⵂⴰⵔⵍⴻⵙ ""ⴱⵓⴷⴷⵉ"" ⵔⵓⴶⴻⵔⵙ ⵉⵜⴰⴶⵓ ⴰⵍⵓⴰⵈ ⵉⵉⴰⵏ ⵜⵉⵙⵙⴰⵓⵜ ⵉⴻ ⵏⴰⴼⵜⴰⴶⴰⵏ ⴶⵓⵔ ⴱⵉⵛⴾⴼⴰⵉⵔ, ⴰⴷ ⴻⴷⴰⴶ ⴰⴷⵓⵜⴻⵏ ⵓⴰⵏ ⴰⴷⴰⴾⴰⵍ ⵏⴰⵎⴰⵏ ⴰⵏ ⵓⴻⵙⵜⴻⵔⵜⴰⵏ ⵓⴰ ⴰⵛⴰⵛⴰ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵉⴻ ⴹⵉⵓⴶⵍⴰⵙ ⴼⴰⵉⵔⴱⴰⵏⴾⵙ, ⴰⴷ ⴼⴰⵜⵓ ⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴷⴰⴶ ⴻⵂⴰⵏ". |
She also owned a house in Toronto, Ontario, Canada. | ⵆⴰⵍ ⵜⴰⵍⴰ ⴷⴻⴶ ⴻⵂⴰⵏ ⴶⵓⵔ ⵟⵓⵔⵓⵏⵜⵓ,ⴷⴰⴶ Oⵏⵜⴰⵔⵉⵓ, ⴶⵓⵔ ⵛⴰⵏⴰⴷⴰ. |
Her handprints and footprints are displayed at Grauman's Chinese Theatre in Hollywood, California. | ⴰⴷⴰⵔⵉⵛ ⴰⵏ ⴼⴰⵙⵙⴰⵏ ⵏⴻⵙⵙ ⴰⴷ ⴷⴰⵔⴰⵏ ⴰⵙⵙⴰⵏ ⴶⵓⵔ ⵗⵔⴰⵓⵎⴰⵏ’ⵙ ⵛⵂⵉⵏⴻⵙⴻ ⵟⵂⴻⴰⵜⵔⴻ ⴶⵓⵔ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ,ⴶⵓⵔ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ. |
The Mary Pickford Theater at the James Madison Memorial Building of the Library of Congress is named in her honor. | ⵎⴰⵔⵉ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵟⵂⴻⴰⵜⴻⵔ ⵓⴰⵏ ⵋⴰⵎⴻⵙ ⵎⴰⴷⵉⵙⵓⵏ ⵎⴻⵎⵓⵔⵉⴰⵍ ⴱⵓⵉⵍⴷⵉⵏⴶ ⵓⴰⵏ ⴻⵂⴰⵏ ⵏⴰⵍⴾⴰⴷⴰⵏ ⵓⵉⵏ ⵜⴰⵔⵜⵉⵜ ⵉⴶⵔⴰⵓ ⵉⵙⵙⴰⵎ. |
A first-run movie theatre in Cathedral City, California is called The Mary Pickford Theatre, which was established on May 25, 2001. | ⴶⵓⵔ ⵛⴰⵜⵂⴻⴷⵔⴰⵍ ⵛⵉⵜⵉ,ⴶⵓⵔ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ,ⵉⵙⵙⴰⵎ ⵉⵏⴻⵙⵙ ⵟⵂⴻ ⵎⴰⵔⵉ ⴱⵉⵛⴾⴼⵓⵔⴷ ⵟⵂⴻⴰⵜⴻⵔ, ⵓⴰ ⵉⴶⴰⵏ ⴶⵓⵔ 25 ⵎⴰⵉ 2001. |
Among them are a rare and spectacular beaded gown she wore in the film Dorothy Vernon of Haddon Hall (1924) designed by Mitchell Leisen, her special Oscar, and a jewelry box. | ⵗⴰⵔ ⵂⴰⵔⴰⵜⴰⵏ ⵓⵉⵏ,ⵏⴰⴶⵔⴰⵓ ⴻⵔⴰⵙⵓⴰⵉ ⵂⴰⵏⴰⵜ ⵜⵉⵎⴰⴶⵓⴰⵏⴻⵏ ⴰⵙⵙⵓⵂⴰⵜⵏⴻⵏ ⴰⵜⵉⵓⴰⴶⵔⴰⵂⵏⴻⵏ ⵜⴰⵍⴰⵙⵙⴻ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⴻⵓⵔⵓⵜⵂⵉ ⵠⴻⵔⵏⵓⵏ ⵓⴼ ⵂⴰⴷⴷⵓⵏ ⵂⴰⵍⵍ (1924),ⵜⴰⴾⵔⴰⵛ ⵎⵉⵜⵛⴻⵍⵍ ⵍⴻⵉⵙⴻⵏ,ⴰⴶⴰⵔⴰⵓ ⵉⵏⴻⵙⵙ ⵓⴰ ⴰⵂⵓⵙⴾⴻⵏ ⴰⴷ ⵜⴰⴾⴱⴰⵜ ⵜⴰⵏ ⵜⵉⵎⴰⴶⵓⴰⵏⴻⵏ. |
The family home had been demolished in 1943, and many of the bricks delivered to Pickford in California. | ⴻⵂⴰⵏ ⴰⵏ ⴰⵍⴶⴰⵂⴰⵍ ⴻⴶⵛⴰⴷ ⴶⵓⵔ 1943, ⵉⵣⴰⵔ ⴼⴰⵔⴰⴶⵉⵜⴰⵏ ⴰⴶⵓⵜⵏⴻⵏ ⴰⵜⵓⴰⵂⴰⴾⴰⵏ ⵉⴻ ⵂⴰⵏⵏⵉⵙ ⴰⵏ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴷⴰⴶ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ. |
In 1993, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to her. | ⵗⵓⵔ 1993, ⵗⵓⵍⴷⴻⵏ ⴱⴰⵍⵎ ⵙⵜⴰⵔ ⵉⵉⴰⵜ ⵜⴰⵜⵓⴰⴶⴰⵙ ⴼⴰⵍ ⴱⴰⵍⵎ ⵙⴱⵔⵉⵏⴶⵙ ⵓⴰⵍⴾ ⵓⴼ ⵙⵜⴰⵔⵙ. |
From January 2011 until July 2011, the Toronto International Film Festival exhibited a collection of Mary Pickford memorabilia in the Canadian Film Gallery of the TIFF Bell LightBox building. | ⵗⵓⵔ ⵋⴰⵏⴱⵉⴻⵔ 2011 ⵂⴰⵔ ⵋⵓⵉⵍⵍⴻⵜ 2011,ⴰⴷⴰⵍⴰⵏ ⵉⵏ ⵜⴰⵔⵜⵉⵜ ⴶⴰⵔ ⴾⴰⵍⴰⵏ ⵓⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵟⵓⵔⵓⵏⵜⵓⴰⵙⵙⴰⵙⴰ ⴰⵎⵙⴰⴷⵓ ⴰⵏ ⵏⴰⵣⴶⴰⵎ ⵓⵉⵏ ⵎⴰⵔⵉ ⴱⵉⵛⴾⴼⵓⵔⴷ ⴷⴰⴶ ⵛⴰⵏⴰⴷⵉⴰⵏ ⴼⵉⵍⵎ ⵗⴰⵍⵍⴻⵔⵉ ⴰⵏ ⵜⴰⵆⴰⵛⴰⵎⵜ ⴱⴻⵍⵍ ⵍⵉⴶⵂⵜⴱⵓⵆ ⵓⴰⵏ ⵟⵉⴼⴼ. |
It was donated to Keene State College and is currently undergoing restoration by the Library of Congress for exhibition. | ⵟⴰⵎⵙⴰⴷⴰⵓⵜ ⵜⴻⵏ ⵜⴰⵜⵉⵓⴰⴾⴼⴰ ⵉⴻ ⵆⴻⴻⵏⴻ ⵙⵜⴰⵜⴻ ⵛⵓⵍⵍⴻⴶⴻ ⵉⵣⴰⵔ ⵜⵉⵂⴰ ⴷⴰⴱⴻⵔⴰⵜ ⵏⴰⵣⴰⵏ ⴼⴰⵍ ⵍⵉⴱⵔⴰⵔⵉ ⵓⴼ ⵛⵓⵏⴶⵔⴻⵙⵙ ⴷⴰⴶ ⴰⵏⵉⴰⵜ ⴰⵏ ⴰⵂⴰⵏⴰⵉ. |
The Google Doodle of April 8, 2017 commemorated Mary Pickford's 125th birthday. | ⵗⵓⵓⴶⵍⴻ ⴻⵓⵓⴷⵍⴻ ⵓⴰⵏ 8 ⴰⴱⵔⵉⵍ 2017 ⵉⴶⴰ ⴰⴷⴰⵍ ⵓⴰⵙ 125 ⴰⵏ ⵙⴰⵏⵜ ⵓ ⵉⵏⴻⵙⵙ ⴶⵓⵔ ⵎⴰⵔⵉ ⴱⵉⵛⴾⴼⵓⵔⴷ |
Gloria Josephine May Swanson (March 27, 1899 – April 4, 1983) was an American actress, producer, and businesswoman. | ⵗⵍⵉⵔⵉⴰ ⵋⵓⵙⴻⴱⵂⵉⵏⴻ ⵎⴰⵉ ⵙⵓⴰⵏⵙⵓⵏ(27ⵎⴰⵔⵙ 1899-4 ⴰⴱⵔⵉⵍ 1983) ⵜⴰⵈⴰⵍ ⵜⴻⵎⴻⴷⴰⵍⵜ,ⵜⴻⵎⴰⴶⵓⵉⵜ ⴰⴷ ⵜⴰⵎⴰⵜ ⵏⴰⵛⴰⴶⴰⵍⴰⵏ ⴰⵏ ⴰⵎⴻⵔⵉⵈⵓⴻ. |
Her schoolgirl crush on Essanay Studios actor Francis X. Bushman led to her aunt taking her to tour the actor's Chicago studio. | ⵜⴰⴾⴰⴱⵓⵜ ⵉⵏⴻⵙⵙ ⵜⴰⵏ ⵜⴻⵆⴰⵔⴻ ⵜⴰⵏ ⴻⵎⴰⴷⴰⵍ ⴼⵔⴰⵏⵛⵉⵙ ⵆ. ⴱⵓⵛⵎⴰⵏ ⵓⴰⵏ Eⵙⵙⴰⵏⴰⵉ ⵙⵜⵓⴷⵉⵓⵙ ⵉⵓⴰⵉ ⵎⴰⵙⵙ ⵉⴻ ⴰⵜⴰⵜ ⵉⵙⵙⴰⴾⴰⵏ ⵙⵜⵓⴷⵉⵓ ⵓⴰⵏ ⴻⵎⴰⴷⴰⵍ ⴷⴰⴶ ⵛⵉⵛⴰⴶⵓ |
Her sound film debut performance in the 1929 The Trespasser, earned her a second Academy Award nomination. | ⵜⴰⴼⵔⴰⵏⵜ ⵉⵏⴻⵙⵙ ⵜⴰ ⵜⴰⵣⴰⵔⴰⵜ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⵜⴰⵏⵣⴰⵔⴰⵜ,ⵟⵂⴻ ⵜⵔⴻⵙⴱⴰⵙⵙⴻⵔ,ⴶⵓⵔ 1929,ⵓⴶⴷⴰⵂⴰⵙ ⴰⴷ ⴰⵛⴰⵏⵣⵉ ⵓⴰⵙ ⴰⵙⵙⵉⵏ ⴶⵓⵔ Oⵙⵛⴰⵔⵙ |
Her father was a Swedish American and her mother was of German, French, and Polish ancestry. | ⵜⵉⵙⵙ ⴻⵈⴰⵍ ⴰⵓ ⴰⵎⴻⵔⵉⴾⵜⴰⵏ ⵙⵓⴻⴷⵜⴰⵏ ⵎⴰⵙⵙ ⵓⴰⵍⴰⵜ ⴰⵍⵍⴻⵎⴰⵏⵜⴰⵏ, ⵓⴰⵍⴰⵜ ⴰⴼⵔⴰⵏⵛⴻ ⴰⴷ ⴱⵓⵍⵓⴶⵏⴻⵜⴰⵏ. |
In either version, she was soon hired as an extra. | ⴻⴰⴶ ⵉⴷⴰⴶⴰⵏ ⵓⵉⵏ ⴰⵙⵙⵉ,ⵜⴰⵙⵙⴰⵏⵜⴰ ⵛⵉⴾⴰⵏⴻⵏ ⵙⵓⵏⴷ ⵜⴰⵏⴰⵎⴰⵜⴾⵓⵍⵜ. |
Her first role was a brief walk-on with actress Gerda Holmes, that paid an enormous (in those days) $3.25. | ⴰⵛⴰⴶⴰⵍ ⵉⵏⴻⵙⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⵉⴾⵓⵉ ⴶⴰⵣⵉⵍⴰⵏ ⴷⴰⴶ ⵗⴻⵔⴷⴰ ⵂⵓⵍⵎⴻⵙ,ⴰⴷ ⴷⵉⵜⵉⵓⴰⵉⴰⵜ ⴰⵣⵔⵓⴼ ⴰⴶⴻⵏ (ⴷⴰⴶ ⴰⵣⴰⵎⴰⵏ) ⴰⵏ 3,25 ⴷⵓⵍⵍⴰⵔⵙ |
In 1915, she co-starred in Sweedie Goes to College with her future first husband Wallace Beery. | ⵗⵓⵔ 1915,ⵜⵓⵣⴰⵏ ⴻⴷⴰⴶ ⴷⴰⴶ ⵙⵓⴻⴻⴷⵉⴻ ⵗⵓⴻⵙ ⵜ ⵓ ⵛ ⵓⵍⵍⴻⴶⴻ ⴰⴷ ⴰⵂⴰⵍⴰⵙ ⵉⵏⴻⵙⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⵓⴰⵍⵍⴰⵛⴻ ⴱⴻⴻⵔⵉ. |
Vernon and Swanson projected a great screen chemistry that proved popular with audiences. | ⵠⴻⵔⵎⵓⵏ ⴰⴷ ⵓⵓⴰⵏⵙⵓⵏ ⵉⴶⴰⵏ ⵙⵉⵍⵎⴰ ⵎⴰⵈⵓⴰⵔⴰⵜ ⵜⵉⴷⵉⵜ ⵉⴰ ⴰⴷⵉⵏⴰⵜ. |
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. | ⴱⴰⴷⴶⴻⵔ ⴰⵙⵙⵉⴶⴰⴷⴰⵂ ⴷⴰⴶ ⴰⵜⵓⴰⴷⵉⵙ ⵓⴰⵏ ⵙⵓⴰⵏⵙⵓⵏ ⵉⴰ ⵜⵉⵙⴰⵎⵓⵎⵓⵏ ⵉⴰ ⵎⴰⴶⵛⵂⴰⴷ ⵋⴰⵛⴾ ⵛⵓⵏⵓⴰⵉ ⵉⴰ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1918. |
1920), Something to Think About (1920), and The Affairs of Anatol (1921) soon followed. | 1920), ⴰⵏⵉⵣⴶⴰⵎⴰⵜ ⵂⴰⵔⴰⵜ ⴷⴰⴶ ⵓⵂⴰⵣ (1920),ⴰⴷ ⵂⴰⵔⴰⵜⴰⵏ ⵓⵉⵏ ⴰⵏⴰⵜⵓⵍ (1921) ⴰⵍⴾⴰⵎⴰⵏⵉⴷ ⵛⵂⵉⴾⴰⵏⴻⵏⴻ. |
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. | 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. |
Filming was allowed for the first time at many of the historic sites relating to Napoleon. | Iⵙⵙⴰⴼⵉⵍⴰⵓⵉⵜⴰⵏ ⴰⵜⵉⵓⴰⵉⴰⵜ ⴷⴰⴶ ⵜⵉⵣⴰⵔⴰⵜ ⴼⴰⵍ ⵉⴷⴰⴶⴰⵏ ⴰⴶoⵜⵏⴻⵏ ⵜⵉⵏⴼⵓⵙⵙⴻⵏ ⵉⴾⵔⴰⵙⵏⴻⵏ ⵉⵉ Nⴰⴱⵓⵍⴻ ⵓⵏ. |
At the time, Swanson was considered the most bankable star of her era. | ⴻⴰⴶ ⴰⵣⴰⵎⴰⵏⴻ, ⵙⵓⴰⵏⵙⵓⵏ ⴻⴾⴰⵍ ⵙⵓⵏⴷ ⴰⵍⵉⴰⴷ ⵓⴰ ⴰⵜⵓⴰⴶⴷⴰⵂⴰⵏ ⴷⴰⴶ ⴰⵣⴰⵎⴰⵏⴻ |
The production was a disaster, with Parker being indecisive and the actors not experienced enough to deliver the performances she wanted. | ⴰⵎⵓⴾⵉⵏⴻ ⵉⵉ ⴾⴰⵍ ⵜⴰⵎⵉⵔⵉⵙⵙⴻⵜ, ⴱⴰⵔⴾⴻⵔ ⴻⴾⴰⵍ ⵉⵔⵉ ⵓⴰⵔⴻⵏ ⴰⵙⵙⵓⵔⴷⴰ, ⵉⵎⴰⵙⵓⵙⵜⴰ ⵓⴰⵔⴻⵏ ⴻⴾⴻⵍ ⵉⵎⵓⵙⵙⴰⵏⴰⵏⴻ ⵉⴰ ⴰⴷⴰⴼⵉⵏⴻ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉ-ⵜⵓⵔⴷⴰ. |
The members took further steps by registering their discontent with Will H. Hays, Chairman of the Motion Picture Producers and Distributors of America. | ⴰⵉⵜⴻⴷⵉⵎ ⴷⴰⴾⴰⵍⴰⵏⴻ ⴰⴷⴰⴱⴰⵔⴰⵜⴰⵏ ⵓⵉⵏ-ⴰⵙⵙⵉⵍⵎⵉⴷⴰⵏⴻ ⵉⴱⴰⵏ ⵜⴰⴷⴰⵓⵉⵜ ⵏⴰⵙⵙⴰⵏⴻ ⵉⵉ ⵓⵉⵍⵍ ⵂ. ⵂⴰⵉⴻⵙ, ⴰⵎⴰⵏⵓⴾⴰⵍ ⵏⴰⵎⴰⵔⵓⵎⴰⵔ ⴰⵏ ⵙⵉⵍⵎⴰ ⴷⴰⵎⵓⴾⵉⵏⴻ ⴰⵏⴻⵙⵙ ⴷⴰ ⴰⵎⵓⵣⴰⵏⴻ ⵏⴰⵎⴻⵔⵉⵛ. |
Hays was enthusiastic about the basic story, but did have specific issues that were dealt with before the film's release. | ⵂⴰⵉⵙ ⴰⵎⵉⵔⴰⵎⴰⵔ ⴶⵓⵔ ⵜⴰⵏⴼⵓⵙⵜ ⵜⴰ ⵜⴰⵣⴰⵔⴰⵜ, ⵎⴰⵛⵂⴰⵏⴻ ⴰⵛⵂⴻⴶⴰⵍⴰⵏⴻ ⴰⴾⵏⴰⵏⴻ ⴷⴰⵜ ⴰⵣⴰⴶⵓⵔ ⴰⵏ ⵙⵉⵍⵎⴰ. |
He proposed to personally bankroll her next picture and conducted a thorough examination of her financial records. | ⴰⵙⵙⵉⴷⴰⴱⴰⵔⴰⵜ ⵉⵏⵜⴰ ⵉⵎⴰⵏⴻⵙⵙ ⵜⴰⵎⴰⵣⵉⵍⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵏⴻⵙⵙ ⵜⴰ-ⵜⵉⵍⴾⴰⵎⴰⵜ ⵉⵣⴰⵔ ⵉⵙⵙⴰⵏⵜⵓ ⴰⴾⴰⵉⴰⴷ ⵎⴰⴾⵓⵔⴰⵏ ⵏⴰⵍⴾⴰⴷⴰⵏ ⵏⴻⵙⵙ. |
Kennedy, however, advised her to hire Erich von Stroheim to direct another silent film, The Swamp, subsequently retitled Queen Kelly. | ⵆⴻⵏⵏⴻⴷⵉ ⴰⵙⵙⵉⴷⴰⴱⴰⵔⴰⵜ ⵂⴰⵔⴾⵓⴾ ⵉⴰⴷ ⵣⵉⵣⴰⵔⴰⵏⴻ ⴻⵔⵉⵛⵂ ⵠⵓⵏ ⵙⵜⵔⵓⵂⴻⵉⵎ ⵉⴰⴷ ⵉⵣⵉⵣⴶⴰⵔ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵜ ⵎⴰⵣⵓⴶⴰⵜ, ⴻⴱⴰⵏⴶ,ⵙⵉⵜⴰⵓⴰⵏⵉ ⴷⴰⴶ ⴰⵍⴾⵓⵎ ⵟⴰⵍⵉⴰⵜ ⵆⴻⵍⵍⵉ. |
Stroheim worked for several months on writing the basic script. | ⵙⵜⵔⵓⵂⴻⵉⵎ ⴰⵛⵉⴶⴰⵍ ⵍⴰⵔⴰⵏ ⴰⴶⵓⵜⵏⴻⵏ ⴷⴰⴶ ⵙⴰⵏⵜⵓ ⵏⴰⴾⴰⵜⴰⴱ ⵓⴰⵏ ⴰⵎⴰⵙⵙ. |
Shooting was shut down in January, and Stroheim fired, after complaints by Swanson about him and about the general direction the film was taking. | ⴰⵙⵙⴰⴼⴰⵍⴰⵓⵉ ⵉⴱⴷⴰⴷ ⴶⵓⵔ ⵋⴰⵏⴱⵉⴻⵔ ⵉⵣⴰⵔ ⵙⵜⵔⵓⵂⴻⵉⵎ ⴰⵜⵉⵓⴰⵔⴾⴰⵏⵉⴷ ⴷⴰⵔⴰⵜ ⴰⵙ ⵙⵓⴰⵏⵙⵓⵏ ⵉⴶⴰ ⵜⴰⴾⵎⵓ ⴰⴷ ⵜⴰⴱⴻⵔⴰⵜ ⵜⴰⴷⴰⴾⴰⵍ ⵙⵉⵍⵎⴰ. |
The Trespasser in 1929 was a sound production, and garnered Swanson her second Oscar nomination. | ⵗⵓⵔ 1929, (ⵟⵂⴻ ⵟⵔⴻⵙⴱⴰⵙⵙⴻⵔ) ⴰⵏⴰⴼⵜⴰⴶ ⴻⴾⴰⵍ ⴻⵎⴰⴶⵉ ⴰⵏ ⵜⴰⴾⴰⵍⵜ ⵉⵓⴰⴷⴰⵏ ⵉⴰ ⵙⵓⴰⵏⵙⵓⵏ ⵜⴰⵏⴰⵉⴰ ⵜⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ ⴶⵓⵔ Oⵙⵛⴰⵔⵙ |