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Lillian Diana Gish (October 14, 1893 – February 27, 1993) was an American actress, director and screenwriter. | lilyan dyana gic (14 kṭubṛ, 1893 - 27 bṛayṛ, 1993) tkattin tga tasmdayt, d tamssufɣt d tanasrayt n usinaryu tamirikanit. |
Gish was a prominent film star from 1912 into the 1920s, being particularly associated with the films of director D. W. Griffith. | gic tkkatin tga titrit bahra imqqurn sg 1912 ar isggasn n 1920, liɣ tkkatin tssur g laflam n usffug d. w. grifit. |
She also did considerable television work from the early 1950s into the 1980s, and closed her career playing opposite Bette Davis in the 1987 film The Whales of August. | tskr dag yat lxdmt istawhmman g sizwar n isggwasn n 1950 ar isggwasn n 1980, d tqqn taɣarast nns lliɣ tmttl d bitti diyfis g lfilm da waylz uf ugust n 1987. |
The first several generations of Gishes were Dunkard ministers. | mnnaw iɣrfn zwarnin n ait gic kanttin gan irgazn n ddin amasiḥi. |
Their mother opened the Majestic Candy Kitchen, and the girls helped sell popcorn and candy to patrons of the old Majestic Theater, located next door. | trzem innasnt majistik kandy kitcen d tfrxin ɛawnnt ɣuzznz n tirufin d lfanid i idbu lmsraḥ majestik, tama nnsn. |
The seventeen-year-old Lillian traveled to Shawnee, Oklahoma, where James's brother Alfred Grant Gish and his wife, Maude, lived. | liɣ dars sa d mraw lilyan tmmudda s cawni uklahoma lliɣ n izdɣ gmas n jims alfrid grant gic d, mud, tamɣart nns. |
Her father died in Norman, Oklahoma, in 1912, but she had returned to Ohio a few months before this. | immut ibbas g nurman, uklahoma, g 1912, mac turrid s uhayu mnnaw iyyurn sizwar. |
When Lillian and Dorothy were old enough they joined the theatre, often traveling separately in different productions. | lliɣ tmqqur lilyan d duruti kcmnt s umzgun, mmuddunt zlint ḥina g usffuɣn zlinin. |
Gish continued to perform on the stage, and in 1913, during a run of A Good Little Devil, she collapsed from anemia. | gic tmḍfar tawwuri nns g umzgun ar 1913, liɣ illa a gud littl difil, tusxi s faqr ddam. |
Her performance in these frigid conditions gave her lasting nerve damage in several fingers. | tawwurnis ɣ dduruf ad hrcnin fanas aquccḥ ɣ iḍuḍan. |
He utilized her expressive talents to the fullest, developing her into a suffering yet strong heroine. | issmrs lmawahib nns ar uzzur nnsn d isbuɣlat s yat tabḥleyt tasḥusit mac tamakayt. |
She directed her sister Dorothy in one film, Remodeling Her Husband (1920), when D. W. Griffith took his unit on location. | tskr usufɣd ultmas duruti ɣ yan lfilm, remudlin hir hazband (1920), liɣ yusi d. w. grifit taggaytns s udɣar. |
She turned down the money, requesting a more modest wage and a percentage so that the studio could use the funds to increase the quality of her films — hiring the best actors, screenwriters, etc. | tugi iqariḍn mac tssutr s yan ṣṣalir ittnkcufn d yat tigmiḍi i studyu bac ad ssuɣlin taɣara n laflamns — itssxdm amafay n ismdayn d inasrayn n usinaryu. |
Many of the silent era's leading ladies, such as Gish and Pickford, had been wholesome and innocent, but by the early 1930s (after the full adoption of sound and before the Motion Picture Production Code was enforced) these roles were perceived as outdated. | tuggt n tilallatin n lḥiqbt iḥissin, zund gic d bikfurd, dusnt d gant tizzidga, mac ɣ usggwasn zwarnin n 1930 (ḍaṛt assgm n umsli d dat azzgir n uzrf n tasyafut n laflam) tilalatin kantik gant iwssarn. |
"Louis Mayer wanted to stage a scandal (""knock her off her pedestal"") to garner public sympathy for Gish, but Lillian didn't want to act both on screen and off, and returned to her first love, the theater." | "ira luis mayr aissuds ya udacaf (""nuk her uff her bedestll"") bac aysmun taɣusi i gic, mac lilyan tugi atlɛb ɣ ssinima d bṛṛans, d turrid s tayrins izwarn, amzgun. |
Returning to movies, Gish was nominated for the Academy Award for Best Supporting Actress in 1946 for Duel in the Sun. | lliɣ turrid s laflam, tsmma gic i tasmɣurt ntkadimit l tasmdayt tamafayt ɣ 1946 i dul in da ṣṣan. |
She was considered for various roles in Gone with the Wind ranging from Ellen O'Hara, Scarlett's mother (which went to Barbara O'Neil), to prostitute Belle Watling (which went to Ona Munson). | tswingm ɣ mnnaw n tilalin ɣ gun wid da wind g illin ohara, innas n skarlit (lli iftan s barbara onil), ar tamggant bill walting (lli iftan s una munsun). |
She appeared as Dowager Empress Maria Feodorovna in the short-lived 1965 Broadway musical Anya. | tuggwi am maria fyudurufna tagldit n dowager ɣ tamzgult n uzawan idrusn ɣ brudway n 1965 anya. |
She was interviewed in the television documentary series Hollywood: A Celebration of the American Silent Film (1980). | tmsqsa ɣ usddi untim n tilifizyun huliwud: a silibricn uf da amirikan saylnt film (1980). |
She has a star on the Hollywood Walk of Fame at 1720 Vine Street. | tars yat titrit ɣ walk of fim ɣ huliwud ɣ 1720 fayn strit. |
At the Cannes festival, Gish won a 10-minute standing ovation from the audience. | ɣ ulmuggar n kan, gic trbḥ asbid n 10-ntusdidin dar ugdud. |
"The episode ""Marry for Murder"" was broadcast on September 9, 1943." | "tzussr tindrt ""mari fur murdr"" ɣ 9 cutanbir, 1943." |
She was awarded an Academy Honorary Award in 1971, and in 1984 she received an AFI Life Achievement Award. | uccnas tasmɣurt tasllummt n tkadimit ɣ 1971, ɣ 1984 uccnas tasmɣurt n afi layf atcifmnt. |
The University awarded Gish the honorary degree of Doctor of Performing Arts the next day. | tasdawit tuc i gic dduktura tasllummt ɣ ass awar. |
Following Gish's 1993 death, the University raised funds to enlarge its gallery to display memorabilia received from Gish's estate. | lliɣ tmmut gic ɣ 1993, tsmun tasdawit iqaṛiḍn bac ad sxatarn tasnniɣt n ikttayn n gic. |
The association between herself and D. W. Griffith was so close that some suspected a romantic connection, an issue never acknowledged by Gish, although several of their associates were certain they were at least briefly involved. | acrak ngras d D. W. grifit iqṛb bahra ayliɣ nnan kra is gan imarayn, ɣayad ur jju gis tsawl gic, mac mnnaw lli dis iqqrbn awrn is gan emarayn. |
In the 1920s, Gish's association with Duell became something of a tabloid scandal when he sued her and made the details of their relationship public. | ɣusggwasn n 1920, acrak n gic d dull innfl s ukacaf liɣ tiḍfṛ ɣ tasnbdayt d isffuɣ efruritn n ucraknsn i wagdud. |
George Jean Nathan praised Gish's acting glowingly—comparing her to Eleonora Duse. | issimɣur jurj jin natan bahra urarns —d ismyeft s ilionora dus. |
During the period of political turmoil in the US that lasted from the outbreak of World War II in Europe until the attack on Pearl Harbor, she maintained an outspoken non-interventionist stance. | lliɣ tlla tassast tasrtant ɣ mirikan lli tkka ɣ lliɣ ibda amgaru amaḍlan wiss sin ɣ lurup ar asugi n berl harber, tɣama ɣ timsri tasfnẓayt. |
Joseph Frank Keaton (October 4, 1895 – February 1, 1966), known professionally as Buster Keaton, was an American actor, comedian, film director, producer, screenwriter, and stunt performer. | juzif frank kitun (4 kṭubṛ, 1895 – 1 bṛayṛ, 1966), itussan s bustr kitn, ikkatin iga asmdy, amsufɣ n laflam, amsyafu, anasray l usinaryu amirikani. |
His career declined when he signed with Metro-Goldwyn-Mayer and lost his artistic independence. | tdrus lxdmtns lliɣ isgmḍ d mitru-guldwyn-mayer d iɛddm tasimant tanazurtns. |
Many of Keaton's films from the 1920s remain highly regarded, such as Sherlock Jr. (1924), The General (1926), and The Cameraman (1928). | tuggt n laflam n kitun ɣ isggwasn n 1920 darsn ahamya iggutn, zug cirluk jr. (1924), da djiniral (1926), d da kifman (1928). |
"His father was Joseph Hallie ""Joe"" Keaton, who owned a traveling show with Harry Houdini called the Mohawk Indian Medicine Company, or the Keaton Houdini Medicine Show Company, which performed on stage and sold patent medicine on the side." | "ibbas iga jozif halli ""ju"" ketun, lli immuddan d harri hudini ɣ ufṛṛjnsn ismas da muhak indyan midisin kumbani, nɣd da ketun hudini midicin cu kombani, gan afṛṛj d ar ẓnzan asafar." |
In Keaton's retelling, he was six months old when the incident occurred, and Harry Houdini gave him the nickname. | s wallas n kitun, ikkatin dars sdis iyyurn liɣ igguru amzzu, d ifayas hudini ismns. |
The act was mainly a comedy sketch. | ikkatin iga skitc n lkumidia. |
A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing. | akaram n tasufrt igna ɣ imkraḍ n kitun bac atn iɛawn ɣ agwr n wallas. |
However, Buster was always able to show the authorities that he had no bruises or broken bones. | mac, bustr iẓḍar ayml i tinbaḍil maf dars ur llant ibrayn. |
Several times I'd have been killed if I hadn't been able to land like a cat. | mnnawt twal ad nniɣ is rad mmutɣ liɣ ur ggwizɣ zud amuc. |
Noticing that this caused the audience to laugh less, he adopted his famous deadpan expression when performing. | lliɣ izra igdudn ur asul bahra dṣṣan, issgm aɛrins lliɣ ayttlɛab. |
Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater. | waxxa dars timukrisin d izrf d ljawla taɛdriq n tadala n uzawan ɣ briṭanya, kitun iga itri ɣ umzgun. |
"In February 1917, he met Roscoe ""Fatty"" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck." | "ɣ brayr n 1917, immaqqaṛ d rusku ""fatti"" arbukl ɣ studiu n talmaj ɣ tamdint n nyu yurk, liɣ tlla arbukl ɣ tamxunt d juzif m. cink." |
Buster was such a natural in his first film, The Butcher Boy, he was hired on the spot. | bastr ikkatin iga agaman g lfilmns izwarn, da bitcr buy, ixdm nican. |
Keaton later claimed that he was soon Arbuckle's second director and his entire gag department. | awrinn kitun inna is rayga anmhal wissin n arbukl d kullu tazunins. |
It was based on a successful play, The New Henrietta, which had already been filmed once, under the title The Lamb, with Douglas Fairbanks playing the lead. | itukssa g yat tamzgunt yttussan, da nyu hinriyitta, lli ittadyafusn yad yat twal, s uzwl n da lamb, d duglas firbanks iɛyyrn anaḍ. |
He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922). | iskr snat takumidiyin, gisn wan wik (1920), da plihaws (1921), kubs (1922), d da iliktrik haws (1922). |
"Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, ""All of us tried to steal each other's gagmen." | "amssufɣ n tkumidit lyu mkkari, lli ikttin ussan n umssufɣ n syyiḥn n takumidiyin, inna, ""kul yan didnɣ ira ayyakwr iwayyad azffals." |
During the railroad water-tank scene in Sherlock Jr., Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterward. | ɣ luqt n tamuɣlit n uɣaras n alaway d ccarij ɣ cirluk, irza umggrd n kitun lliɣ fllas idr amudwu, mac ur as ittaka arkiɣ zrin isggwasn. |
Keaton's character emerged unscathed, due to a single open window. | awrik n kitun iffuɣd idus s ya ubɛij irzmn. |
Aside from Steamboat Bill, Jr. (1928), Keaton's most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1926). | ilmm s stimbut bill jr. (1928), laflam lli kullu isulann ɣ laflam n kitun gisn awr husbitaliti (1923), da nafigatur (1924), cirluk jr. (1924), sifin tcansiz (1925), da kifman (1928), d da jiniral (1926). |
Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time. | lfilm yumz imazam umsin, mac iga amafay ɣ iniḍi n kitun. |
His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements. | anbḍuns, yunaytid artists, isddid f ya unmhal n tasyafut lli igabln aqqarṛiḍ d imckcum ɣ karn yfrdas n taḥajit. |
The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. | ismdayn uṭṭfn imsisli n tutlayt tamzzit imik simik dat ad ssulfn. |
The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's famous Three Stooges shorts. | insi juls wayt ayg umssufɣ, tuffaytns ɣ syyḥ ɣayad mafgan tugt n laflamns zud tri stujez n wait. |
However, director White's insistence on blunt, violent gags resulted in the Columbia shorts being the least inventive comedies he made. | mac aɣanen n wait s takumidit isyyḥn, d ukṛiḍn yujja laflam ikuḍaḍn n kulumbya gwilli kullu isnulfun ɣ laflamns. |
He made his last starring feature El Moderno Barba Azul (1946) in Mexico; the film was a low-budget production, and it may not have been seen in the United States until its release on VHS in the 1980s, under the title Boom in the Moon. | issufɣ lfilmns lli kullu igguṛan il mudirnu barba azul (1946) ɣ tamazirt n miksik, lfilm dars tasayafut n tamsastnt idrusn, d ur ittmzra ɣ tamazirt n marikan aylliɣ ffuɣnt tisfifin ɣ isggwasn n1980, s uzwl n bum in da mun. |
In In the Good Old Summertime, Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together, where they bump into each other on the street. | ɣ lfilm n gud uld samrtaym, essugur kitun itran judi garland d fan junsun ɣ tamuɣlitnsn ezwarn, lliɣ mmiggiṛn ɣ uɣaras. |
Reaction was strong enough for a local Los Angeles station to offer Keaton his own show, also broadcast live, in 1950. | iḥmlt ugdud aylliɣ tssmnid yat tanzwayt ɣ lus anjlis i kitun asaysns, isradn, ɣ 1950. |
Buster Keaton's wife Eleanor also was seen in the series (notably as Juliet to Buster's Romeo in a little-theater vignette). | ttmzra ilanur lli igan tamɣart n bastr kitun ɣ umsddi (tga julyit n rumyu n bastr ɣ yat tawrmt mẓẓin n umzgun). |
Keaton's periodic television appearances during the 1950s and 1960s helped to revive interest in his silent films. | ilwi izmzan n kitun ɣ ttilifizyun ɣ isggwasn n 1950 d 1960 awsnt ayyamz unfrar i laflamns iḥissin. |
Well into his fifties, Keaton successfully recreated his old routines, including one stunt in which he propped one foot onto a table, then swung the second foot up next to it and held the awkward position in midair for a moment before crashing to the stage floor. | lliɣ ikwcm s isggwasn n sin wagnarn d mraw, isxxr kitun s uls n iṣniɛns iqburn, gisn yat syyḥ isrs gis yaw aḍaṛ ɣ iggi n tdabut, d iẓṛṛḍ aḍaṛ yaḍni tamans d ibid ɣikan ɣ uḍu dat annignugi ɣ tsfri n umzgun. |
"Keaton had prints of the features Three Ages, Sherlock Jr., Steamboat Bill, Jr., and College (missing one reel), and the shorts ""The Boat"" and ""My Wife's Relations"", which Keaton and Rohauer then transferred to Cellulose acetate film from deteriorating nitrate film stock." | kantin dar kitun inzaɣn n laflam tri ijiz, cirluk jr., stimbutbill, jr. and kullij (tḥrmt yat tajṛṛaṛt), d laflam ikuḍaḍn ""da but"" d ""may wayfs rilaycnz"", smattint kitun d ruhawr s silluluz asitat zɣ asatim n lfilm n nitrat iɛdmn. |
In a series of silent television commercials for Simon Pure Beer made in 1962 by Jim Mohr in Buffalo, New York, Keaton revisited some of the gags from his silent film days. | ɣ usddi n usussn n tinifizyun i lbiṛṛa n saymun byur lli issofɣ jim muhr ɣ bufalu, nyu yurn, ɣ 1962, yuls kitun yuls kra n syyḥns lli ikkattin ayskar ɣ laflam iḥissins. |
"In December 1958, Keaton was a guest star in the episode ""A Very Merry Christmas"" of The Donna Reed Show on ABC." | "ɣ dujanbir 1958, iga kitun anuji ɣ tandrt ""a firi miri krismas"" n usays n duna rid ɣ abc. |
In 1960, he returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's The Adventures of Huckleberry Finn. | ɣ 1960, yurrid s mgm s tiklit igguran, yurar aḥṛṛb n ugrzam ɣ yat takssuyt ɣ 1960 n udlis n mark twayn da adfnturz uf haklbirifin. |
"He worked with comedian Ernie Kovacs on a television pilot tentatively titled ""Medicine Man,"" shooting scenes for it on January 12, 1962—the day before Kovacs died in a car crash. """ | iswuri d usffan erni kufaks ɣ yat tindrt izwarn tmzwl ""midisin man"", sulfn timuɣliyinns ɣ 12 innayr, 1962—yaw ass dat aymmut kufaks ɣ ungas. |
He traveled from one end of Canada to the other on a motorized handcar, wearing his traditional pork pie hat and performing gags similar to those in films that he made 50 years before. | immudda ɣ kullu tamaziṛt n kanada ɣ yat tasnsɣalt, ilsa acmrir mẓẓin d irar syyḥ zud ɣwilli ɣ laflam lli imssufɣ 50 isggwasn aya. |
Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring Franco Franchi and Ciccio Ingrassia. | daɣ ɣ 1965, immuda s tamaziṛt n ṭalyan bac ay irar yat tilalt ɣ du marinis i un jinirali, nttan d franku franci d tcicu ingrassya. |
One of his most biting parodies is The Frozen North (1922), a satirical take on William S. Hart's Western melodramas, like Hell's Hinges (1916) and The Narrow Trail (1917). | yat ɣ iɣrsisn ihrcn tga da fruzen nurt (1922), syyḥ n ḍḍrama taggrwt n wiliam s. hart, zud hillz hingez (1916) d da naṛṛu trayl 1917). |
Audiences of the 1920s recognized the parody and thought the film hysterically funny. | issn wagdud n isggwasn n 1920 syyḥan d idṣṣa bahra d lfilm. |
The short also featured the impression of a performing monkey which was likely derived from a co-biller's act (called Peter the Great). | lfilm akuḍaḍ gis daɣ tasyaft n yaw zɛḍuḍ itthḍaṛn lli innufɣn ɣ urar (ismas biter da grit). |
"Note: Source misspells Keaton's frequent appellation as ""Great Stoneface""." | "amQyyd: asagm ar iskar aznzri ɣ tirra n uzwl n kitun ""drit stunfays""." |
Keaton dated actress Dorothy Sebastian beginning in the 1920s and Kathleen Key in the early 1930s. | iddukl kitun d tasmdayt duruti sibastyan ɣ umzwaru n isggwasn n 1920 d katlin ki ɣ umzwaru n isggwasn n 1930. |
He escaped a straitjacket with tricks learned from Harry Houdini. | injm ɣ yat tikbrt iqqnn s tinannasin lli isslmd ɣ dar hari hudini. |
She filed for divorce in 1935 after finding Keaton with Leah Clampitt Sewell, the wife of millionaire Barton Sewell, in a hotel in Santa Barbara. | tḍalb tabrattns ɣ 1935 lliɣ tufa kitun d liya klambit siwel, tamɣart n umillyunir bartun siwel, ɣ ya wasnsu ɣ santa barbara. |
He stopped drinking for five years. | ibbi ccrab smmus isggwasn. |
The marriage lasted until his death. | iɣama itihalns aylliɣ immut. |
Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home. | innumẓ ɣ usngaf ɣ ussanns gguranin, kitun ur igiwr d ar bdda ifttu d ar idttachka ɣ uḥanu, ira as yurri s tigmmins. |
The screenplay, by Sidney Sheldon, who also directed the film, was loosely based on Keaton's life but contained many factual errors and merged his three wives into one character. | ittufra lfilm imik, n sidni cildun, lli timssufɣn, ɣ tudrt n kitun mac gis tuggt n tizglin d issrɛa timɣarinns s kraḍ ɣ ya uwrik. |
Dedicated to bringing greater public attention to Keaton's life and work, the membership includes many individuals from the television and film industry: actors, producers, authors, artists, graphic novelists, musicians, and designers, as well as those who simply admire the magic of Buster Keaton. | iltaɣ, lli illan bac atsmun tuggt n igdudn s tudrt d tawwuri n kitun, gis tuggt n middn iswwurin ɣ tilifizyun d laflam: ismdayn, imsayufa, imaran, inaẓuṛn, imaran n tisisklt, imẓawann, d imamkn, d kullu wanna titɛjabn bastr kitun. |
"Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton ""looked like their caricatures""." | “inna hurcfild maf ismdayn n ɣaṣṣad cqqan ad tgzzun, d izffan n laflam iḥissiyin zud luril d hardi d kitun “”rwasn isfrɣnsn””.” |
"Film critic Roger Ebert stated, ""The greatest of the silent clowns is Buster Keaton, not only because of what he did, but because of how he did it." | "amaẓam n laflam reji ibirt inna, ""amsyyḥ aḥissi umafayn iga bastr kitn, urd mayskar, mac mani s tiskr." |
"Filmmaker Mel Brooks has credited Buster Keaton as a major influence, saying: ""I owe (Buster) a lot on two levels: One for being such a great teacher for me as a filmmaker myself, and the other just as a human being watching this gifted person doing these amazing things." | “amssɛfɣ n laflam mil bruks inna maf iga bastr kitun iḍiṣ imqqurn, “”dfarɣ (bastr) mnck ɣ sin iswirn: yan lliɣ iga aslmad amafayn i umssufɣ zud nkki, d wayyad lliɣ iga yan lli ddar lmawhiba d izdar ayskr tuggt n iskkinn ɛdlnin.” |
Actor and stunt performer Johnny Knoxville cites Keaton as an inspiration when coming up with ideas for Jackass projects. | asmday d asyyḥ juny nuksfil f kitun iq iga tufrayt i twangimin n instayn n jakass. |
Lewis was particularly moved by the fact that Eleanor said his eyes looked like Keaton's. | iḥml lwis lliɣ as tnna ilanur maf tiwallinns rwasnt xtin nkitun. |
"In 1964, he told an interviewer that in making ""this particular pork pie"", he ""started with a good Stetson and cut it down"", stiffening the brim with sugar water." | “ɣ 1964, inna i yan umsqsi is liiɣ ar ssufuɣn “”acmrirad””, ‘’’ibda s ya ucmrir n stitsun ifulkin ibbit””, issdus tamans s waman ḥlanin.” |
His paternal great-grandparents were Welsh. | ayddars n ibbas gan ɣ tamazirt n wilz. |
Lloyd began collaborating with Roach who had formed his own studio in 1913. | ixdm luyd d rutc lli innurzmn sstudyuns ɣ 1913. |
In 1919, she left Lloyd to pursue her dramatic aspirations. | ɣ 1919, tfl luyd bac attḍfr imaggumns ɣ ḍḍṛama. |
Reportedly, the more Lloyd watched Davis the more he liked her. | ar ttinin, ɣunck lli s aytẓṛṛa luyd dafis ɣunck lli s artittiṛi. |
Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism. | iggwj luyd ɣ iwrikn lli ismunan trajidya d takumidit, d irar awrik s tamyamant iggutn. |
"To create his new character Lloyd donned a pair of lensless horn-rimmed glasses but wore normal clothing; previously, he had worn a fake mustache and ill-fitting clothes as the Chaplinesque ""Lonesome Luke"". """ | “bac ayskr awrikad issni luyd ana n tismmaqqalin mac ilsa imkṛaḍ n bdda; tizwira, ilsa aclɣum n imlẓyn d imkṛaḍ ur dis gaddan lliɣ iga da cablinisk “”lunsum luk””.”” |
"They were natural and the romance could be believable.""" | ""gan igamann d tayrinsn ttyuman."" |
On Sunday, August 24, 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he picked up what he thought was a prop bomb and lit it with a cigarette. | ɣ usamas, wuss 24 ɣuct, 1919, lliɣ ikkatin ar iskar tiwlafin ɣ studyu n lus anjlis witzl n tawlaft, yusi mas inna tga yat tasbuqqit n urmidi issrɣattin s lgaṛṛu. |
Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye. | ikkatin luyd ar issadd lgarru ɣ imicc n talqqnbult lliɣ fllas tbbaqqi, tskras lɛfit ilɣuɣsn ɣ udmns d idmarns d tuggsdas allns. |
Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films. | luyd d ruc mrruzzgn ɣ 1924, d isyufɣ luyd laflamns waḥdut. |
All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s. | laflam ad kullutn mmursn d imṛwint bahra, rad ig luyd asmday lli kullu izzln g isggwasn n 1920. |
However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s. | mac, awrikns idrramn uṛ ittuḥmal dar igdudn n lkasad amqqran n isggwasn n 1930. |
On March 23, 1937, Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints. | ɣ wuss 23 maṛṣ, 1937, izznza luyd akal n ustudyuns, haruld luyd mucn biktcr, i tamẓẓglut n iṛumiyn jisus krayst uf lattr day saynts. |
He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes. | yurrid ɣ yat titlat yaḍnin ɣ da sin uf haruld didlbuk, asmɣr imxlin n taɣarast tazulantns, issufɣt bitrsen sturjes d ixllṣt huard hyuz. |
"Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, ""the last two-thirds of it he wrote in a week or less""." | “luyd d sturges mmaɣn bdda f twwuṛi lliɣ attṣwwaṛn; ixmmim luyd bahṛa f maf sturgis ikkan kṛaḍ nɣd kkuẓ iyyuṛn ɣ uskrib n tulut amzwaru n lfilm, “”yura tulutayl imggura ɣ yan imalass””.” |
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it's just a test data set converted from tifinagh script to latin script, origine data set "https://huggingface.co/datasets/Tamazight-NLP/NLLB-Seed_Standard-Moroccan-Tamazight"
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