source_sentence
stringlengths 23
473
| target_sentence
stringlengths 9
462
|
|---|---|
The world premiere was held in London, the first American sound production to do so. | ⴰⴷⵓⵏⵉⴰ ⵜⴰ ⴷⵉⵜⴰⵣⴰⵔⴰⵜ ⵜⴰⵙⵙⵉⵏⵜⴰ ⴶⵓⵔ ⵍⵓⵏⴷⵔⴻ, ⵉⴶⵉ ⴰⵏ ⵜⴰⴾⴰⵍⵜ ⵓⴰⵣⴰⵔⴰⵏ ⵉⵏ ⴰⵎⴻⵔⵉⵈⵓⴻ. |
Perfect Understanding, a 1933 sound production comedy, was the only film produced by this company. | ⴱⴻⵔⴼⴻⵛⵜ ⵓⵏⴷⴻⵔⵙⵜⴰⵏⴷⵉⵏⴶ (ⵟⴰⴷⵉⵓⵜ ⵜⴰ-ⵜⵉⴾⵏⴰⵜ), ⵉⴶⵓⵉ ⴰⵏ ⵜⴰⴾⴰⵍⵜ ⴷⴰⴶ ⵙⴰⵙⵜⵓ ⴶⵓⵔ 1933, ⵉⵉ ⴾⴰⵍ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵜ ⵜⴰⵣⵉⵣⴶⴰⵔ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ. |
She began appearing in stage productions and starred in The Gloria Swanson Hour on WPIX-TV in 1948. | ⵜⴰⵙⵙⴰⵏⵜⴰ ⴰⵣⴰⴶⵓⵔ ⴶⵓⵔ ⵉⴶⵓⵉ ⵏⴰⴷⴰⵍ ⵉⵣⴰⵔ ⵜⴰⵜⵉⴼ ⴻⴷⴰⴶ ⴷⴰⴶ ⵗⵍⵓⵔⵉⴰ ⵙⵓⴰⵏⵙⵓⵏ ⴰⵍⵓⴰⴾ ⴼⴰⵍ ⵓⴱⵉⵆ-ⵟⴱ ⴶⵓⵔ 1948. |
The storyline of the film follows a faded silent movie actress Norma Desmond (Swanson), in love with a failed screenwriter Joe Gillis (William Holden). | ⵜⴻⴱⴰⴷⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵍⴾⴰⵎ ⵉⵉ ⵜⴻⵎⴰⴶⵉⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵎⴰⵣⵓⵓⴶⴰⵜ ⵂⵉⵏ ⵜⵓⴾⴰⵉⴰⵜ, ⵏⵓⵔⵎⴰ ⴻⴻⵙⵎⵓⵏⴷ (ⵙⵓⴰⵏⵙⵓⵏ), ⵜⴻⵎⴰⵔⵂⵉⵜ ⵏⴻⵎⴰⴶⵓⵉ ⵏⵉⵎⴻⵛⵂⵍⴰⵏⴻ ⴻⴾⵛⵂⴰⴷⴰⵏⴻ, ⵋⵓⴻ ⵗⵉⵍⵍⵉⵙ (ⵓⵉⵍⵍⵉⴰⵎ ⵂⵓⵍⴷⴻⵏ). |
"Norma plays a card game of bridge with a group of actors also known as ""the Waxworks""." | ."ⵏⵓⵔⵎⴰ ⵜⴰⴷⴰⵍ ⴷⴰⴶ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ ⴰⵏ ⵎⴰⵙ ⵓⵙⵜⴰ ⴰⵜⵉⵓⴰⵣⴰⵉⵏⴻⵏ ⴼⴰⵍ ⵉⵙⵙⵉⵎ ⴰⵏ ""ⵓⴰⵆⵓ ⵓⵔⴾⵙ"" |
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. | ⴻⵎⴰⵏⴰⵓ-ⵏⴰⵓ ⴶⵓⵔ ⴰⵔⴰⴾⵓⵏⴻ ⴰⵏ ⵏⵓⵔⵎⴰ ⴰⵎⵍⴰⵍⴰⵉⴰⵏⴻ, ⵜⵉⵣⴰⵔⴰⵜ ⵗⵉⵍⵍⵉⵙ ⵓⵔⴰⵎ ⴻⴱⴰⴷⵉ ⴷⵉⵙ, ⵜⴰⵂⴰⴷ ⵉⴰ ⵜⴰⵏⴶⵓ ⵉⵎⴰⵏⴻⵙⵙ ⵎⴰⵛⵂⴻⵏⴻ ⵜⴰⵏⴶⵓⵉ ⴷⴰⴶ ⴻⴷⴰⴶ ⵉⵏⴻⵙⵙ. |
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. | ⴻⴰⵔⴰⵜ ⴰⵙ ⵙⵓⴰⵏⵙⵓⵏ ⵓⴰⵔ ⵜⴰⵔⴷⴰ ⴰⴷⴰⴱⴰⵔⴰ ⵏⴰ-ⵜⵓⵉⵔⵉⵎ ⵉⵙⵙ ⵜⵉⵙⵙⴻⵜ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⵉⴾⵏⴰ ⵜⴻⴷⴰⵓⵉⵜ ⵏⴰ ⵜⵉⴶⵔⵉⵓ ⴰⵣⵔⵓⵓⴼ ⴰⴶⵓⴻⵏ ⴼⴰⵍ ⵜⴰⵍⴱⵉⵣⵓⵏⵜ. |
Swanson later hosted Crown Theatre with Gloria Swanson, a television anthology series in which she occasionally acted. | ⵙⵓⴰⵏⵙⵓⵏ ⵜⵓⵎⴰⵔ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ ⵙⴰⵎⴰⵏⴷo ⵏⴰⵏ ⵎⴻⵛⵂⴰⵍⴰⵏⴻ ⴷⴰⴶ ⵗⵍⵓⵔⵉⴰ ⵙⵓⴰⵏⵙⵓⵏ,ⵜⴰⵔⵜⵉⵜ ⵜⴰⵎⵉⵣⴰⵣⴰⵔⴰⵜ ⴷⴰⴶ ⵜⵉⴷⴰⵍ. |
"She was the ""mystery guest"" on What's My Line." | "ⵜⴰⴾⴰⵍ ⵜⴰⵏⴰⴼⵜⴰⴾ" ⴰⵏ ⴷⴻⴾⴰⵜ ⵜⴰⴱⴰⵔⴰⵜⵉⵏⴻ ⵓⵂⴰⵜ'ⵙ ⵎⵉ ⵍⵉⵏⴻ. |
She made a notable appearance in a 1966 episode of The Beverly Hillbillies, in which she plays herself. | ⵗⴰⴷ ⴰⵣⴰⴶⵓⵔ ⴰⵜⵉⵓⴰⴶⵔⴰⵂⴰⵏ ⴷⴰⴶ ⵜⴻⴷⴰⴶⵓⵉⵜ ⵜⴰⵏ ⴶⵓⵔ 1966 ⵟⵂⴻ ⴱⴻⴱⴻⵔⵍⵉ ⵂⵉⵍⵍⴱⵉⵍⵍⵉⴻⵙ ⴷⴰⴶ ⵜⴰⴷⴰⵍ ⴰⵛⵂⴻⴶⴰⵍ ⴰⵏ ⵏⴻⵙⵙ. |
"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." | 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 |
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. | ⴻⴰⵔⴰⵜ ⴰⵎⵓⴾⵉⵏⴻ ⴷⴰⴶ ⵙⵓⵏⵙⴻⵜ ⴱⵓⵓⵍⴻⴱⴰⵔⴷ, ⵜⴰⴷⴰⵍ ⴶⴱⵔ ⴱⵔⴱⴰⴷⵓⴰⵉ ⴷⴰⴶ ⴰⵎⵉⵙⵙⴱ ⵓⴶⴰⵍ ⴰⵏ ⵟⵓⴻⵏⵜⵉⴻⵜⵂ ⵛⴻⵏⵜⵓⵔⵉ ⴰⴷ ⵋⵓⵙⵉ ⴼⴻⵔⵔⴻⵔ, ⴷⴰⴶ ⵏⵉⵏⴰ ⴰⴷ ⴷⴰⴶ ⴻ ⴱⵉⴷ ⵏⵉⴱⴻⵏ. |
As a Republican she supported the 1940 and 1944 campaigns for president of Wendell Willkie and the 1964 presidential campaign of Barry Goldwater. | 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. |
Taking medication given to her by Beery, purported to be for morning sickness, she aborted the fetus and was taken unconscious to the hospital. | ⴻⴰⵔⴰⵜ ⴰⵙ ⵜⵉⴶⵔⴰⵓ ⴰⵙⵙⴰⴼⴰⵔ ⵓⴰⵙ ⴾⴰⵍⴰ ⵜⴰⵜⵉⵏⴼⴰ ⴱⴻⴻⵔⵉ, ⴰⵙ ⴱⴰⵂⵓ ⵉⵏⴼⴰⵏ ⵜⵉⵏⵂⵉⵜⴻⵏ ⵜⵉⵏ ⵜⵉⴼⴰⵓⵜ, ⵜⴰⴾⵛⴰⴷ ⵜⴰⵙⵙⴰⵏⴻⵙⵙ ⵉⵣⴰⵔ ⵜⴰⵎⵉⴷⴾⴰⵍ ⴷⴰⴷ ⵉⴱⴰⵏ ⴰⵏⵉⴰⵜ ⴰⵙ ⵍⴰⴾⵜⵓⵔ. |
In 1923, she adopted 1-year-old Sonny Smith, whom she renamed Joseph Patrick Swanson after her father. | ⵗⵓⵔ 1923, ⵜⴰⵙⵙⵉⴷⵓⴰⵍ ⴰⵔⴰ ⵙ ⵓⵏⵏⵉ ⵙⵎⵉⵜⵂ, ⵉⵍⴰⵏ ⴰⵓⴰⵜⴰⵉ ⵉⵉⴰⵏ, ⵉⵙ ⴶⴰ ⵉⵙⵙⵉⵎ ⵋⵓⵙⴻⴱⵂ ⴱⴰⵜⵔⵉⵛⴾ ⵙⵓⴰⵏⵙⵉⵏ, ⵙⵓⵏⴷ ⵜⵉⵙⵙ. |
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. | ⵜⵓⵂⴰⵔ ⴷⵉⵙ ⴰⵔⴰ ⴷⴰⵜ ⴰⵎⵉⵣⵉ ⵉⵏⵜⴰ ⵙⵓⵎⴱ ⵓⵔⵏ, ⴰⵍⵓⴰⴾ ⴰⴷⵉⵓⴰⵉⴰⵏ ⴰⵜⴰⵔⴰⴾⴰ ⵉⴰ ⴷⵉⵏⴰⵜⴰⴷ ⵙⴰⵎⴰⵏⴷⵓ ⵉⵏⵜⴰⵂⴰⴶⵓⵉⵜ ⴰⵏ ⵛⵉⵏⵉⵎⴰ. |
Following a four-month recuperation from her abortion, they returned to the United States as European nobility. | ⴻⴰⵔⴰⵜ ⵉⴼⵔⵉ ⵏⴻⵙⵙ ⴰⴾⵓⵣ ⵓⵔⴰⵏ ⴰⴷⵓⵔⴰⵓ ⴰⴶⴰⵛⵂⴰⴷ ⴰⵏ ⵜⴰⵙⵙⴰ, ⴰⵈⵓⴰⵍⴰⵏ ⴶⵓⵔ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ ⵉⵙⵜⴰⴾⴰⵍ ⵜⴰⵎⴰⵏ ⵓⴾⴰⵍⵜ Eⵓⵔⵓⴱⴻ. |
He became a film executive representing Pathé (USA) in France. | ⴻⵈⵓⴰⵍ ⴰⵓⴰⴷⴰⵎ ⴰⵏ ⵛⵉⵏⵉⵎⴰ ⵉⵂⴰⵏ ⴻⴷⴰⴶ ⴰⵏ ⴱⴰⵜⵂⵉ (ⵓⵉⴰ) ⴷⴰⴶ ⴰⴼⵔⴰⵏⵛ |
"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." | "ⵙⵓⴰⵏⵙⵓⵏ ⵜⵉⵎⴰⵍ ⵉⵎⴰⵏ ⵓⵉⵏ-ⵏⴻⵙⵙ ⵙⵓⵏⴷ " ⴻⵏⴰⵎⴻⵜⵉⵏⴻ" ⴰⵓⴰⴷⴰⵎ ⵉⵎ ⵓⴶⴰⵏ ⵉⴰ ⵓⴰ ⵙⵉⴶⵍⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⵉⵣⴰⵔ ⵉⵍⴾⴰⵎⴰⵏ ⵉⵉ ⵜⴰⴷⴰⴱⵉⵜ ⵏⴰ ⵙⵓⵏⴰⴷ ⵏⴰ ⵏⵉⵉⴰⵜ ⴰⵙⵜⵉⴷⵉⵜ." |
They met by chance in Paris when Swanson was being fitted by Coco Chanel for her 1931 film Tonight or Never. | ⴰⵎⵓⴾⴰⵙⵙⴰⵏ ⴷⴰⴶ ⵉⴱⴰⵏ ⵉⵜⵓⵙⵙ ⴷⴰⴶ ⴱⴰⵔⵉⵙ, ⵎⴰⵛⴰⵏⴻ ⵙⵓⴰⵏⵙⵓⵏ ⴾⴰⵏⵓ ⴰⵏⵓⴼⵍⵉ ⴷⴰⴶ ⵛⵓⵛⵓ ⵉⵏ ⵙⵉⵍⵎⴰ ⴻⵂⴰⴷ ⵎⴻⴶ ⵉⴱⴰⵏⴻⵙⵙ (1931 |
Her friends, some of whom openly disliked him, thought she was making a mistake. | Iⵎⵉⴷⵉⵓⴰⵏ ⵏⴻⵙⵙ, ⵉⵉⴰⴷ ⵓⴰⵔ ⵜⴰⵔⵂⴻⵏ, ⵓⵔⴷⴰⵏ ⴰⵙ ⵜⴰⵎⵉⵜⴰⵍⴰ. |
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. | ⵙⵓⴰⵏⵙⵓⵏ ⴰⵗⴻⵍ ⴷⴰⵗ ⵙⴰⵏⵜⵓ ⴰⵜⵓⴷⴰⴱⴰⵜ ⴰⵜ ⵜⵉⵣⴶⵉⵔ ⵜⴰⵎⵓⴷⵔⴻ ⵜⴰⵏ ⵜⴻⵎⴰⴶⵉⵜ, ⵎⴰⵛⴰⵏ ⴰⵣⵍⵉ ⵏⴻⵙ ⴻⵈⴰⵍ ⴰⵛⴰⴷⴰⵏ ⵙⴰⵙ ⵙⴰⵎⵉⴷ ⵓⴰⵏ ⴻⴰⴱⴻⵉ ⴷⴰⵗ ⵙⴰⵏⵜⵓ. |
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. | 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. |
Swanson and her husband first got to know John Lennon and Yoko Ono because they were fans of Dufty's work. | ⵙⵓⴰⵏⵙⵓⵏ ⴷⴰⵂⴰⵍⵉⵙ-ⵏⴻⵙⵙ ⴰⵏⵉⵎⴰⵣⴰⵉⴰⵏ ⴷⴰⴶ ⵋⵓⵂⵏ ⵍⴻⵏⵏⵓⵏ ⴰⴷ ⵗⵓⴾⵓ Oⵏⵓ ⴼⴰⵍⴰⵙ ⴰⵎⵓⵙⵙⴰⵏⴻ ⵉⵎⴰⵔⵂⴰⵏ ⵏⵉⵛⵂⴰⴶⴰⵍ ⵓⵉⵏ ⵎ. ⴻⵓⴼⵜⵉ. |
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. | ⵜⴰⵜⵓⴰⵙⴰⵔⴶⴰ ⵉⵣⴰⵔ ⵉⵣⵉⴷⴰⵓⴰⵏ ⴰⵜⵓⴰⵎⴱⴰⵍⴰⵏ ⴷⴰⴶ ⵍⴰⴶⵔⵉⵙⵙ ⵓⴰⵏ ⵂⴻⴰⴱⴻⵏⵍⵉ ⵙⴻⵙⵜ ⴼⴰⵍ ⵜⴰⴱⴻⵔⴰⵜ ⵜⴰⵙⵙ ⵙⵉⵎⵓⵙⵙⴰⵜ ⴶⵓⵔ ⵏⴻⵓ ⵗⵓⵔⴾ,ⴶⵓⵔ ⵉⵍⴰ ⴰⴼⴰⵔⴰⴶ ⵏⴰⵍⴶⴰⵉⴰⵍ ⴶⴰⵙⵙ. |
In 1974, Swanson was one of the honorees of the first Telluride Film Festival. | ⵗⵓⵔ 1974, ⵙⵓⴰⵏⵙⵓⵏ ⴰⵓⴰⴷⴰⵎ ⴰⵜⵉⵓⴰⴼⵍⴰⵙⵙⴰⵏ ⴶⵓⵔ ⴰⴷⴰⵍ ⵓⴰⵣⴰⵔⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⵓⴰⵏ ⵟⴻⵍⵍⵓⵔⵉⴷⴻ |
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. | ⴻⴰⴶ ⵜⵉⴷⵉⵜ ⵏⴰ ⴷⵓⵏⵉⴰ ⵜⴰ ⵜⴰⵂⵓⵙⴾⴻⵜ ⴰⵏ ⵜⴰⴼⵔⵉⵏⵜ,ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⴰⵜ ⵓⴰⵣⴰⵎⴰⵏ ⴶⵓⵔ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⵙ, ⴰⵣⴰⵔ ⵜⴻⵎⴰⵛⵂⴰⴶⴰⵍⵜ ⵜⴰⵙⵓⵂⴰⵜ ⵉⵉ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ ⵜⴰⵏ ⴰⵎⴻⵔⵉⵈⵓⴻ. |
Nielsen's family moved several times during her childhood while her father sought employment. | ⴰⵍⴶⴰⵉⴰⵍ ⵓⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⵉⴶⴰ ⵉⵂⵉⵏⴰⵏⴻ ⴰⴶⵓⵜⵏⴻⵏ ⴶⵓⵔ ⵜⴰⵎⴰⴷⵔⵉⵜ- ⵉⵏⴻⵙⵙ ⴰⵙⵙⵉⴶⴰ ⴰⵓⴻⵏ ⵜⵉⵙⵙ ⵉⵎⴰⴶⵓⴻ ⵉⴰ ⴰⵛⵂⴰⴶⴰⵍ |
Nielsen's father died when she was fourteen years old. | ⵜⵉⵙⵙ ⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⴰⴱⴰⵜⵉ ⴶⵓⵔ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ ⵎⴰⵔⴰⵓ ⴰⴷⵉⴾⵓⵣ ⴰⵏⴻⵙⵙ. |
In 1901, 21-year-old Nielsen became pregnant and gave birth to a daughter, Jesta. | ⵗⵓⵔ 1901, 21 ⵏⵉⴻⵍⵙⴻⵏ, ⵜⴰⴾⵔⴰⵛⵂ ⵙⴰⵏⴰⵜⴰⵜ ⵜⵉⵎⵉⵔⵓⴻⵏ ⵏⴰⵓⴰⵜⴰⵉ ⴰⴷ ⴷⵉⵉⴰⵏ, ⵜⴰⵙⵙⴰⵎⵔⴰⵓ ⵉⵣⴰⵔ ⵜⵓⵔⴰⵓ ⵜⴰⵎⴰⵜ, ⵋⴻⵙⵜⴰ. |
Nielsen graduated from the Theater school in 1902. | ⵏⵉⴻⵍⵙⴻⵏ ⵉⴾⵏⴰ ⵜⴻⴶⴰⵔⵉ ⴷⴰⴶ ⵍⴻⴾⵓⵍ ⵜⴰⵏ ⴰⴷⴰⵍ ⴶⵓⵔ 1902. |
Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life. | ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⴶⴰⴷⵓⵂⴰⵜ ⴰⵏⵜⵉⵏⴰ ⵜⴰⵏ ⵏⵉⴻⵍⵙⴻⵏ ⵜⴰⴾⴰⵍ ⵙⵓⴾⵏⵉ ⴷⴰⴶ ⵙⴻⴶⴱⴰⵔ ⵉⴾⵏⴰⵏ ⴰⴷⵉⵓⴰⵉⴰⵏ ⵜⴰⵗⵔⵉⵙⵜ ⵉⴻ ⵜⴰⵎⴰⵓⴰⵜ. |
Nielsen and Gad married, then made four more films together. | ⵏⵉⴻⵍⵙⴻⵏ ⴰⴷ ⵗⴰⴷ ⴰⵣⵍⴰⵉⴰⵏ, ⵉⵣⴰⵔ ⴶⴰⵏ ⵙⵉⵍⵎⴰ ⴰⵙⵙⵉⵏⴰⵏ. |
I realised that the age of short film was past. | ⴻⵍⵎⴰⴷⴰⴶ ⴰⵙ ⴰⵣⴰⵎⴰⵏ ⵜⴰⴶⴰⵣⵓⵍⴰⵜ ⵜⴰⵎⵓⵜⴰⵉ |
It was international film sales that provided Union with eight Nielsen films per year. | ⴰⵎⵓⵙⵙ ⴻⵏⴰⵣⵉ ⴶⴰⵔ ⴾⴰⵍⴰⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⵓⵉ ⴷⵓⵙⵙⴰⵏⴻⵏ ⵓⵏⵉⵓⵏ ⴰⵜⴰⵎ ⵙⵉⵍⵎⴰ ⵓⵉⵏ ⵓⵉⴻⵍⵙⴻⵏ ⴷⴰⴶ ⴰⵉⵓⵔ. |
"I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world.""" | ." Iⴾⴰⵍⴰⴶ ⵜⵉⴷⴰⴱⵉⵜ ⴾⵓⵍ ⵜⴰ ⵜⵉⵜⴰⵍⴰⵜ -ⵉⵣⴰⵔ ⴰⵣⵏⴰⵣⴶⴰⵎⴻⴶ ⵂⵓⵍⴻⵏ -ⵉⴰⴷ ⵣⵓⵣⵓⵉⴰⴶ ⵙⵉⵍⵎⴰ ⵓⵉⵏ ⴰⵙⵜⴰ ⵏⵉⴻⵍⵙⴻⵏ ⵉⴰ ⴷⵓⵏⵉⴰ." |
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. | 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. |
In 1921, Nielsen, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet. | 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. |
However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film. | ⵂⴰⵔⴾⵓⴾ, ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⵜⴰ ⵜⴰⴾⵏⴰⵜ ⵙⵓⵏⴷ ⵙⵉⵍⵎⴰ ⵜⴰⴶⴰⵜ ⴰⵣⴰⴶⵓⵔ ⴼⵉⵍⵎⴰⵔⵛⵂⵉv ⴰⵓⵙⵜⵔⵉⴰ ⴶⵓⵔ 2010 ⵓⴰⵔ ⵙⴰⴾⵏⵉⵏ ⵙⵓⵏⴷ ⵓⴰ ⵙⵉⵍⵎⴰ |
She worked in German films until the start of sound movies. | ⵜⴰⵛⴻⴶⴰⵍ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⴰⵍⵍⴻⵎⴰⵏⴷⵙ ⵂⴰⵔ ⵙⴰⵏⵜⵓ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵣⴰⵔⴰⵜ. |
Thereafter, Nielsen acted only on stage. | "ⴻⴰⴶ ⴰⵍⴾⵓⵎ, ⵏⵉⴻⵍⵙⴻⵏ ⵓⴰⵔ |
Understanding the implications, Nielsen declined and left Germany in 1936. | ⵜⵉⵂⵔⴰ ⴰⵏ ⵜⴰⵔⵜⵉⵜ, ⵏⵉⴻⵍⵙⴻⵏ ⵓⵏⴶⴰⵉ ⴷⵉ ⴼⴰⵍ ⴰⵍⵍⴻⵎⴰⴶⵏⴻ ⴶⵓⵔ 1936 |
They were divorced by 1919 when Nielsen married the Swedish shipbuilder Freddy Windgårdh. | ⴰⵎⴰⵣⴰⵉⴰⵏ ⴶⵓⵔ 1919,ⴰⵙⵙⴰⴶⴰⵜ ⵓⴻⵏⴷⴰⴶ ⴰⴷⴰⴶ ⵜⴰⵓⴰⵉ ⵏⵉⴻⵍⵙⴻⵏ ⴻⵏⴰⵎⴻⴾⵔⴰⵙⵙ ⵙⵓⵉⴷⵓⵉⵙ ⴼⵔⴻⴷⴷⵉ ⵓⵉⵏⴷⴶⴰⵔⴷⵂ. |
They began a long-term common-law marriage that lasted from 1923 until the late 1930s. | ⴰⵙⵙ ⵏⴰⵎⴰⴷⴰⴷⴰⵏ ⴰⵣⵍⵉ ⵣⵉⴶⵔⴻⵏ ⴼⴰⵍⴰⵙⵙ ⴰⵂⵓⴶⴰ ⴶⵓⵔ 1923 ⵂⴰⵔ ⵙⴰⵎⴰⵏⴷo ⵏⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1930. |
Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American dancer, actor, singer, choreographer, and television presenter. | ⴼⵔⴻⴷ ⴰⵙⵜⴰⵉⵔⴻ ( ⵉⵓⴰ ⴼⵔⴻⴷⴻⵔⵉⵛⴾ ⴰⵓⵙⵜⴻⵔⵍⵉⵜⵣ ; 10 ⵎⴰⵉ 1899-22 ⵋⵓⵉⵏ 1987 ) ⴻⵈⵓⴰⵍ ⴰⵎⴰⴷⵍⴰⵍ,ⴻⵎⴰⵛⴻⵙⵜⵉ, ⴰⵎⴰⵏⵣⴰⵔ ,ⵛⵓⵔⴻⴶⵔⴰⴼ ⴰⴷ ⴻⵎⴰⵙⵙⴻⴾⵏⵉ ⴰⵏ ⵜⴰⵍⴱⵉⵣⵓⵏ ⴰⵎⵉⵔⵉⵛⴰⵉⵏ. |
He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and numerous recordings. | 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. |
Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace. | ⵎⴰⵙ ⵏⴰ Aⵙⵜⴰⵉⵔⴻ ⴰ ⴷⴰⵗ ⵜⵓⵓⴰ ⵉⵜⴰⵜⵙ-ⵓⵏⵉⵙ ⴰⵏ ⵎⵓⴷⴰⴾⴰⵏ ⵏⴰ ⴰⵍⵍⴻⵎⴰⵏⴷⵙ ⵍⵓⵜⵂⴻⵔⵉⴻⵏⵙ ⵓⴰⵏ ⴱⵔⵓⵙⵙⴻ ⵓⵔⵉⴻⵏⵜⴰⵍ ⴰⵏ ⴰⵍⵙⴰⵛⴻ |
Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company. | ⴼⵔⵉⵜⵣ ⵉⵎⴰⵗ ⵉⴻ ⴰⵛⴰⵆⵉⵍ ⴷⴰⵗ ⴻⴷⴰⴶ ⵓⴰⵏ ⵜⴰⵣⵓⵍⵉⵉⴰⵓⵉⵏⴻⵏ ⴰⴷ ⴰⵈⵉⵎⴰ ⴷⴰⵗ Oⵎⴰⵂⴰ, ⵏⴻⴱⵔⴰⵙⴾⴰ, ⵉⵓⵔ ⴰⵜⵓⴰⵜⴾⴰⵍ ⵉⴻ ⵙⵜⵓⵔⵣ ⴱⵔⴻⵓⵉⵏⴶ ⵛⵓⵎⴱⴰⵏⵉ |
"Johanna planned a ""brother and sister act"", common in vaudeville at the time, for her two children." | "ⵋⵓⵂⴰⵏⵏⴰ ⴰⵙⵎⴰⵜⴰⵉ ""ⴰⴷⴰⵍ ⴰⵏ ⵎⴰⴷⵔⴰⵉⴰⵏ ⴰⵏ ⵜⴰⵎⴰⴷⵔⴰⵉⴻⵏ"", ⵜⵉⵛⵉⵍⵏⴻⵏ ⴻⵂⴰⵏⵉⵏ ⴷⴰⵆ ⴱⴰⵓⴷⴻⴱⵉⵍⵍⴻ, ⵉⴻ ⴰⵔⴰⵜⴰⵏⴻⵙ ⴰⵙⵉⵏ". |
They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts. | ⴰⵙⵙⴰⵜⴰⵏ ⴰⵍⴰⵎⴰⴷ ⴶ ⵓⵔ ⵍ’ⵉⵛ ⵓⵍⴻ ⵜⴰⵏ ⴰⴷⴰⵍ ⴰⵍⴱⵉⴻⵏⴻ ⵎⴰⵙⵜⴻⵔ ⴰⴷ ⴰⵛⴰⴷⵉⵎⵉⴻ ⵓⴰⵏ ⵜⴰⵎⵓⵙⵏⴰⵓⴻⵏ. |
They were taught dance, speaking, and singing in preparation for developing an act. | ⵜⴰⵓⴰⵙⵙⴰⴶⵔⴻⵏ ⴷⴰⵍⵓⵍ, ⴰⵙⵙⵎⵓⵙⴰⴶ ⴷⴰ ⴰⵏⴰⵣⴰⵔ ⵉⴰ ⵙⴰⵜⴰⵏ ⴰⵙⴶⴰⵜ ⴰⵏ ⵏⵓⵎⴻⵔⵓ. |
In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller. | ⴻⴰⴶ ⴰⵙⵙⵓⵙⵜⴰⵏ ⵉⵉⴰⵏ, ⵓⴰⵍⴰⵜ ⴰⵙⵜⴰⵉⵔⴻ, ⴰⴱⴰ ⴰⵙⵜⴰⵉⵔⴻ ⵎⵛⴾⴻⵏⵣⵉⴻ,ⵉⴾⵉⴰⴷ ⴰⵙ ⵜⴰⴶⴰⵏ ⴰⴶⵓⴷ ⵉⵉⴰⵏ ⴼⵔⴻⴷ ⴷⴰⴶ ⵜⴰⴾⴰⴱⵓⵜ ⵜⴰⵣⵓⴰⵉⴰⵜ ⵉⴰⴷ ⵜⴰⴾⴰⵍ ⵜⵉ ⵎⴰⴾⴰⵔⴰⵜ. |
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. | 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. |
In 1912, Fred became an Episcopalian. | ⵗⵓⵔ 1912, ⵔⵔⴻⴷ ⴻⴾⴰⵍ ⵉⴱⵉⵙⵛⵓⴱⴰⵍⵉⴻⵏ. |
From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle. | ⴰⵏⵜⴰⵏⴻⴷ ⴷⴰ ⴰⵎⴰⴷⵍⴰⵍ ⵓⴰⵏ ⴱⴰⵓⴷⴻvⵉⵍⵍⴻ ⴰⵓⵔⴻⵍⵉⵓ ⵛⵓⵛⵛⵉⴰ, ⵍⴰⵎⴰⴷⴰⵏ ⴷⴰⵍⵓⵍ ⵓⴰⵏ ⵜⴰⵏⴶⵓ, ⴱⴰⵍⵙⴻ ⴰⴷ ⴷⴰⵍⵓⵍⴰⵏ ⵉⵉⴰⴷ ⵓⵉ ⴰⵜⵓⴰⵣⴰⵉⵏⴻⵏ ⴰⵙ ⵠⴻⵔⵏⵓⵏ ⴰⴷ Iⵔⴻⵏⴻ ⵛⴰⵙⵜⵍⴻ |
He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916. | ⴰⵎⵓⴾⴰⵙⵙ ⴰⴷ ⵗⴻⵓⵔⴶⴻ ⵗⴻⵔⵙⵂⵓⵉⵏ ⴷⴰⴶ ⵜⵉⵣⴰⵔⴰⵜ ⴶⵓⵔ 1916, ⵎⴰⵛⴰⵏ ⴰⵛⴻⴶⴰⵍ ⵙⵓⵏⴷ ⴰⵎⴰⵏⵣⴰⵔ ⵉⴻ ⴻⵂⴰⵏ ⵓⴰⵏ ⵉⵣⴰⵣⴶⴰⵔⴰⵏ ⵉⵏⴰⵣⴰⵔⴰⵏ ⴰⵏ Jⴻⵔⵓⵎⴻ ⵂ. ⵔⴻⵎⵉⵛⴾ |
"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.""" | “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. |
But by this time, Astaire's dancing skill was beginning to outshine his sister's. | ⵎⴰⵛⴻⵏ ⴰⵍⵓⴰⴾⴻⵏ ⴷⴰⴶ, ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⴰⵏ ⵎⴰⴷⵍⴰⵍⴰⵍ ⵓⵉⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵔⵏⴰ ⵓⵉⵏ ⵜⴰⵎⴰⴷⵔⴰⵉⵜ ⵉⵏⴻⵙ. |
Astaire's tap dancing was recognized by then as among the best. | ⵜⵉⴼⴰⴷⴻⵍⴻⵏ ⵜⵉⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴰⵜⵉⵓⴰⵣⴰⵉⵏⴰⵜ ⴷⴰⴶ ⵜⵉ ⴰⵂⵓⵙⴾⴰⵜⵏⴻⵏ. |
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. | 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 |
The end of the partnership was traumatic for Astaire but stimulated him to expand his range. | ⵙⴰⵎⴰⵏⴷⵓ ⴰⵏ ⵜⴰⵔⵜⵉⵜ ⴻⴾⴰⵍ ⵜⴰⵎⴰⵜⴻⵔⵜ ⵉⴻ Aⵙⵜⴰⵉⵔⴻ ⵎⴰⵛⴻⵏ ⴰⵎⵉⴷⴰⴶⵓⴰⵙ ⵉⴰⴷ ⵉⵙⵉⵓⴰⴷ ⴻⴷⴰⴶ ⵏⴰⵙⴰⵏⵜ. |
They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady. | ⴼⴰⴷⴰⵙⵜ ⵉⴻ ⵂⴰⵔⴰⵜ ⴰⵏ ⵂⴰⴷⴰⵏ ⴶⵓⵔ ⵎⵗⵎ ⴶⵓⵔ 1933 ⵉⴻ ⵙⴰⵏⵜⵓⵜⴰⵏ ⴶⵓⵔ Hⵓⵍⵍⵉⵓⵓⵓⴷ ⴷⴰⴶ ⵙⵉⵍⵎⴰ ⵜⵉⴾⵏⴰⵜ ⴻⴰⵏⵛⵉⵏⴶ ⵍⴰⴷⵉ. |
"He wrote his agent, ""I don't mind making another picture with her, but as for this 'team' idea, it's 'out!'" | IIⴾⵜⴰⴱ ⵉⴰ ⴰⵎⴰⵛⴰⴶⴰⵍ ⵉⵏⴻⵙⵙ : "ⴰⵔⵂⴻⴶ ⵉⴶⵓⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵜ ⴷⴰⵔⵉⵙ, ⵎⴰⵛⴻⵏ ⵉⴻ ⴰⵏⵉⴰⵜ ⵓⴰⵏ ⴰⵍⵣⴰⵎⴰⴶⴰⵜ", “ⵉⵎⴷⴰ" |
The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. | ⵜⴰⵔⵜⵉⵜ ⵜⴻⵏ, ⴰⴷ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴰⴷ Hⴻⵔⵎⵉⵙ ⴱⴰⵏ, ⴰⵍⵉⵍⴰⵍ ⵉⴻ ⵉⴶⵓⵉ ⴷⴰⴶ ⴷⴰⵍⵓⵍ ⵂⴰⵔⴰⵜ ⵎⴰⴾⵓⵔⴰⵏ ⵉⴻ ⴰⴷⴰⵍ ⴰⵏⴰⵣⴰⵔ ⵓⴰⵏ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ. |
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. | 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. |
This gave the illusion of an almost stationary camera filming an entire dance in a single shot. | ⴰⵓⴻⵏ ⵉⵂⴰⴾⵓ ⴰⵏⴰⵙⴶⵓⵎ ⴰⵏ ⵛⴰⵎⴻⵔⴰ ⵜⴰⵣⵓⴾⴻⵜ ⴷⴰⴾⴰⵍ ⴷⴰⵍⵓⵍ ⵉⵎⴷⴰⵏ ⴷⴰⴶ ⵉⵉⴰⵏ |
Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety. | ⵜⴻⵎⴰⵛⴰⴶⴰⵍⵜ ⵏⴰⵎ ⵣⵉⵣⴰⵔ ⴰⵏ ⴷⴰⵍⵓⵍ ⵓⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵉⴶⵔⴰⵓ ⵉⴻ ⵉⵎⵓⴶⵓⵂⴰ ⵉⴰ ⴰⴷⴰⵍⴾⵉⵎⴰⵏ ⵉⵎⴰⴷⵍⴰⵍⴰⵍ ⴰⴷ ⵜⴰⵎⵓⵙⵏⴻ ⴷⴰⴶ ⵉⵎⴰⵏ |
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. | ⴰⵙⵙⵉⵏⵉ ⵓⴰⵙ ⴰⵙⵉⵏⵏ ⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵉⴱⴷⴰⴷ ⵉⴱⵔⴻⵜ ⴰⵏ ⴷⴰⵍⵓⵍ,ⴻⴾⴰⵍ ⵉⴰⵙ ⵉⵎⴰⵣⴰⵔⴰⵏ ⴾⵓⵍ ⴰⴷ ⵎⵓⵙⵙⴰⵏⴰⵏ ⴰⴷ ⴰⴶⴰⵏ ⵓⴶⵉⵛⴰⵏ ⵙⵉⵍⵎⴰ. |
"One would be a solo performance by Astaire, which he termed his ""sock solo.""" | " Iⵉⴰⵜ ⴷⵉⵙⵏⴰⵜ ⵜⴰⴾⴰⵍ ⵙⵓⵍⵓ ⴰⵙⵜⴰⵉⵔⴻ,ⵓⴰ ⵉⴶⴰⵔⵓ " ⵙⵓⵍⵓ ⵓⴰⵏ ⵛⵂⴰⵓⵙⵙⴻⵜⵜⴻ" |
I think Ginger Rogers was. | Oⵔⴷⴻⴶ ⴶⴰⵙ ⴻⴾⴰⵍⵜⵉ ⵗⵉⵏⴶⴻⵔ ⵔⵓⴶⴻⵔⵙ. |
She faked it an awful lot. | ⵜⵉⴾⵏⴰ ⵜⴰⴶⴷⴰⵔⵜ ⵂⵓⵍⴻⵏ. |
In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson. | ⵗⵓⵔ 1976, ⴻⵎⴰⴷⴻⴶⵓⵉⵙ ⵓⴰⵏ ⴱⵔⵉⵜⴰⵏⵉⵈⵓⴻ ⵙⵉⵔ ⵎⵉⵛⵂⴰⴻⵍ ⴱⴰⵔⴾⵉⵏⵙⵓⵏ ⴰⵙⵉⵙⵜⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵉⵏⴷⴻⴾ ⴰⵎⴰⵔⵜⴰⵉ ⵓⴰ ⵜⴰⵔⵂⴻⴷ ⴷⴰⴶ ⴷⴰⵍⵓⵍ |
Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership. | ⵗⵓⵔ ⴰⵎⵓⴾⴰⵏ, ⴰⵙⵜⴰⵉⵔⴻ ⵓⴰⵔ ⵜⴰⵔⵂⴰ ⴰⵙ ⵜⴰⵂⴰⴶⵉⵜ ⵉⵏⴻⵙⵙ ⴰⵜ ⵜⴰⴱⴷⴰⴷ ⴶⵓⵔ ⵜⴰⵔⵜⵉⵜ. |
Throughout this period, Astaire continued to value the input of choreographic collaborators. | ⵗⵓⵔ ⴰⵍⵓⴰⴾ ⵓⴻⵏⴷⴰ, ⴰⵙⵜⴰⵉⵔⴻ ⵜⵓⴾⴰⵉ ⴷⴰⴶ ⴰⴶⴰⵔⵓⵣⴰⵜ ⵉⴰ ⵓⴰ ⴷⴻⵓⴰⵉⴰⵏ ⵉⵎⵉⵍⴰⵍⴰⵏ ⴰⵏ ⵉⵎⵓⵙⵙⴰⵏⴰⵏ. |
"They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's ""Begin the Beguine.""" | " ⴰⴷⴰⵍⴰⵏ ⴷⴰⴶ ⴱⵔⵓⴰⴷⵓⴰⵉ ⵎⴻⵍⵓⴷⵉ ⴶⵓⵔ 1940, ⵓⴰ ⴷⴰⴶ ⴰⴶⴰⵏ ⴰⵎⵓⵙⵙⴰⵏ ⴰⵙⵉⵙⵙⴰⴾⴰⵉⴰⵏ ⴰⵏⴰⵣⴰⵔ ""ⴱⴻⴶⵉⵏ ⵜⵂⴻ ⴱⴻⴶⵓⵉⵏⴻ " ⵓⴰⵏ ⵛⵓⵍⴻ ⴱⵓⵔⵜⴻⵔ. """ |
He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946). | Iⴷⴰⵍ ⴻⴷⴻⵙ ⴰⵏ ⴱⵉⵏⴶ ⵛⵔⵓⵙⴱⵉ ⴷⴰⴶ ⵂⵓⵍⵉⴷⴰⵉ Iⵏⵏ ( 1942 ) ⵉⵣⴰⵔ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ ⴱⵍⵓⴻ ⵙⴾⵉⴻⵙ ( 1946 ). |
"The latter film featured ""Puttin' On the Ritz"", an innovative song-and-dance routine indelibly associated with him." | "ⵙⵉⵍⵎⴰ ⵓⴰ ⵉⵍⴾⴰⵎⴰⵏ ⵉⵂⴻ " ⴱⵓⵜⵜⵉⵏ Oⵏ ⵜⵂⴻ ⵔⵉⵜⵣ" ⵏⵓⵎⴻⵔⵓ ⴰⵏ ⴰⵏⴰⵣⴰⵔ ⴰⴷ ⴷⴰⵍⵓⵍ ⴰⴷⵉⵙⵔⴰⵉⴰⵏ ⵂⴰⵙ ⴻⴱⴷⴰⵏ." |
The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom. | ⵙⵉⵍⵎⴰ ⵓⴰ ⴰⵣⴰⵔⴰⵏ, ‘’ⵓⴰⵔ ⵜⴰⴾⴰⵍⴰⵎ ⵉⴷⴰⴶ ⴰⵣⵔⵉⴼ’’ ( 1941 ), ⵛⴰⵜⴰⴱⵓⵍⵜⴻ ⵂⴰⵉⵓⵓⵔⵜⵂ ⵉⴱⵔⴻⵜ ⴰⵏ ⵜⴰⵎⵓⵣⵉⵉ |
"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." | "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." |
Astaire choreographed this film alone and achieved modest box office success. | ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵣⴰⵣⴶⴰⵔ ⵙⵉⵍⵎⴰ ⵉⵉⴰⵏ ⵉⵣⴰⵔ ⵜⴰⴶⵔⴰⵓ ⴰⵎⵓⴾⴰⵏ ⴰⴷⴰⵔⴰⵏ ⴶⵓⵔ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ |
The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet. | ⴰⵏⵉⴰⵜ ⵗⵓⵍⴰⵏⴷⴰ ⴰⴷ ⴻⵎⴰⴾⵔⴰⴷ ( 1945 )ⵉⴶⴰ ⴷⴰⴶ ⴰⴷⴰⵍ ⴷⴰⵍⵓⵍ ⵉⴾⵏⴰⵏ ⵜⴰⵍⴰⴱⴰⵙⵜ. |
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). | ⵂⴰⵔⴾⵓⴾ ⵉⴼⵍⴰⵙ ⵉⵏⵜⴰ ⴰⴶⵓⴻⵍ ⵜⴰⵂⵉⴶⵓⵉⵜ ⵙⴰⵏⵜⵓ ⴰⵏⴰⵙⵎⴰⴷ, ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⴶⴷⴰⵔ ⵜⴰⵎⴰⵜⴻ ⵉⵏⴻⵙ ⵜⴰⵍⴰⴶⴰⵜ ⵜⴰⵙⵓⵏⴼⴰⵜ ⵉⵏⴻⵙ ⴰⴶⵓⴷⴻⵏ ⵉⴶⵓⵉ ⴰⵏ ⵙⵉⵍⵎⴰ ⵉⵍⴾⴰⵎ ⵉⴻ ⴱⵍⵓⴻ ⵙⴾⵉⴻⵙ (1946). |
Both of these films revived Astaire's popularity and in 1950 he starred in two musicals. | ⴰⵙⵙⵉⵏⵏ ⵙⵉⵍⵎⴰ ⵓⵉⴷⴰⴶ ⵂⴰⴾⴰⵏ ⵎⵓⵣⵉⴰⵜ ⴰⵏ Aⵙⵜⴰⵉⵔⴻ ⵉⵣⴰⵔ ⴶⵓⵔ 1950, ⵉⴷⴰⵍ ⴷⴰⴶ ⴰⵙⵉⵏⵏ ⵎⴰⵏⵣⴰⵔⴰⵏ ⵏⴰⴷⴰⵍ. |
While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. | ⴰⴶⵓⴷⴻⵏ ⵟⵂⵔⴻⴻ ⵍⵉⵜⵜⵍⴻ ⵓⵓⵔⴷⵙ ⵉⵜⴰⵛⴰⵎ ⵂⵓⵍⴰⵏ ⵉⴻ ⴱⵓⵆ-ⵓⵎⵓⴼⴼⵉⵛⴻ, ⵍⴻⵜ’ⵙ ⴻⴰⵏⵛⴻ ⴻⴾⴰⵍ ⵜⴰⵎⵓⴶⵔⴰⵣⵙⵜ. |
But because of its high cost, it failed to make a profit on its first release. | ⴻⴰⴶ ⵜⵉⴷⵉⵜ ⵏⴰⵙⵓⵂⵓ,ⵓⴰⵔ ⵉⴾⵏⴰ ⴰⴶⴰⵔⴰⵓ ⴶⵓⵔ ⴰⵣⴰⴶⵓⵔ ⵓⴰ ⴰⵣⴰⵔⴰⵏ. |
Then, his wife Phyllis became ill and suddenly died of lung cancer. | Iⵣⴰⵔ, ⵂⴰⵏⵉⵙⵙ ⴱⵂⵉⵍⵍⵉⵙ ⵜⴰⵏⵉⴷ ⵉⵣⴰⵔ ⵜⴰⵏⴶⴻⵜ ⵜⵓⵔⵂⵉⵏⴰ ⵜⴰⵏ ⵜⵓⵔⴰⵓⴻⵏ ⵛⵉⴾ . |
Daddy Long Legs only did moderately well at the box office. | ⴻⴰⴷⴷⵉ ⵍⵓⵏⴶ ⵍⴻⴶⵙ ⵓⴰⵔ ⵉⴾⵏⴰ ⴰⴶⴰⵔⴰⵓ ⴶⵓⵔ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ |
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. | ⵙⵓⵏⴷ, ⴱⵔⵓⵋⴻⵜ ⵓⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ-ⵙⴰⵎⴰⵏⴷⵓ ⵏⴰⴷⴰⵍ ⴶⵓⵔ ⵎⵗⵎ, ⵙⵉⵍⴾ ⵙⵜⵓⵛⴾⵉⵏⴶ (1957), ⴷⴰⴶ ⵉⵜⵓⵣⴰⵏ ⴷⴰⴶ ⵛⵉⴷ ⵛⵂⴰⵔⵉⵙⵙⴻ,ⵉⴶⴰⵔⵉⵏ ⴷⴻⴶ ⴰⵣⵔⵓⴼ ⴶⵓⵔ ⴱⵓⵆ-ⵓⴼⴼⵉⵛⴻ. |
"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.""" | " 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""". |
"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." | " 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. |
They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage. | ⴰⵏⵜⴰⵏⴻⴷ ⴰⴶⴰⵏ ⵜⴻⵍⴱⵉⵙⵉⵓⵏ ⵜⴰⵏ ⵜⵉⴷⴰⵜ,ⴰⴷⴾⴰⵍⴰⵏ ⴰⵓⴰ ⵜⵉⵜⵉⵂⴰⵏ ⴾⵓⵍ ⴰⴶⴰⵏⵜⵉ ⴷⴰⵗ ⴻⴷⴰⴶ ⴰⵉⵏⴰⵉⴰⵏ ⴰⵣⴰⵔ ⴰⵙⵙⵉⵔⵜⴰⵉⴰⵏ ⴰⵓⴰ ⵉⴱⵔⴰⵔⴰⵏ ⴷⴰⵗ ⵉⵙⵙⵓⵂⴰⴶ ⵓⵉⴷⴰⵗ ⴾⵓⵍ, ⴾⵉⵏⴻⵙⴾⵓⴱ |
Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969. | ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵜⵓⴰⴶⴰ ⴷⴰⵗ ⴻⴷⴰⴶ ⵓⴰⵏ ⴰⵉⵜⴻⴷⵎⴻⵏ ⵓⵉⵙ ⴰⵎⵓⵙ ⵓⴰⵔⴷ ⵂⴻⵏ ⵉⴷⴰⵍⴰⵍⴰⵏ ⴷⴰⵗ ⴼⵉⵍⵎⵙ ⵜⴰⵏ ⴾⴰⵔⴰⴷⴰⵜ ⴰⴷ ⵙⴻⵔⵉⴻⵙ ⵜⴰⵏ ⴰⵏ 1957 ⴰⴷ 1969 |
Astaire's dance partner was Petula Clark, who played his character's skeptical daughter. | ⵜⴰⵎⵉⴷⴰⴷ ⵜⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⵓⵉⴷⴰⵗ ⴰⵜⴰⵓⵓⵙ ⴱⴻⵜⵓⵍⴰ ⵛⵍⴰⵔⴾ,ⴰⵏⵜⴰ ⴰ ⴰⵜⴰⴶⴰⵍⴰⵜ ⵜⴰⵔⴰⵜ ⵜⴰⵏ ⴰⴷⴰⵏⵍⴰⵏ ⵓⵉⵏ. |
Astaire continued to act in the 1970s. | ⴰⵙⵜⴰⵉⵔⴻ ⵜⵉⴶⴰ ⴰⵓⴰ ⴷⴰⵗ ⵜⵉⵣⵣⴰⵉ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⴷⴰⵗ ⵉⵓⵉⵜⵉⵉⴰⵏ ⵓⵉⵏ 1970. |
In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film. | 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 |
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. | 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. |
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. | 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. |
"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." | "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." |
Frame for frame, the two performances are identical, down to the subtlest gesture. | ⴰⵙⵓⵔⴰⵜ ⴼⴰⵍ ⴰⵙⵓⵔⴰⵜ, ⵙⴰⵏⴰⵜⴰⵜ ⵜⵉⴷⴰⴱⵉⵜⴻⵏ ⵜⵉ ⴰⵍⴰⵂ ⵏⴰⵜ, ⵂⴰⴷ ⴻⴷⴰⴶ ⵓⴰⵔ ⴰⵏⴱⴰⵙ ⴰⴱⴷⴰⵏⴰⵜ ⴰⵙⵓⴰⵍⴰ |
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. | ⴰⴷⴰⵍⴰⵍ ⵓⴰⵏ ⴰⵏⴻⵙ,ⴰⵜⵉⵓⴰⵣⴰⵉ ⴷⴰⵗ ⵙⴰⵏ ⴾⵓⵍ,ⴰⵏⵜⴰ ⵉⴾⴼⴰ ⵜⴻⵎⴱⵉ ⵉⴷⴰⵍⴰⵍⴰⵏ ⵓⵉⵏ ⴰⵎⴻⵔⵉⴾⴰ ⵙⵎⵓⵜⵂ ⵂⴰⵔⴶⵓⴷⵉ ⴰⵏⵜⴰ ⵉⴾⴼⴰⵂ ⴰⴷⴰⴱⴰⵔⴰⵜⴰⵏ ⴰⴶoⵜⵏⴻⵏ ⵉⴻ îîⵙⵙⵓⵂⴰⵆ. |