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The world premiere was held in London, the first American sound production to do so. | ⵉⵜⵜⵓⴳⴰ ⵓⵙⴼⵙⵔ ⴰⵎⴰⴹⵍⴰⵏ ⴰⵎⵣⵡⴰⵔⵓ ⴳ ⵍⵓⵏⴷⵓⵏ, ⵉⴳⴰ ⵜⴰⵢⴰⴼⵓⵜ ⵜⴰⴳⵕⴹⴰⵏⵜ ⵜⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⵉⵙⵙⴽⵔⵏ ⴰⵢⵏⵏⴰⵖ. |
Perfect Understanding, a 1933 sound production comedy, was the only film produced by this company. | ⴰⵔⵎⴰⵙ ⵙ ⵜⴼⵉⵍⴰⵡⵜ, ⵜⴰⵎⵙⴹⵚⵉⵜ ⴷ ⵜⴰⵢⴰⴼⵓⵜ ⵜⴰⴳⵕⴹⴰⵏⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1933, ⵉⴳⴰ ⴰⴼⵉⵍⵎ ⴰⵎⵢⵉⵡⵏ ⵏⵏⴰ ⵜⵙⵢⴰⴼⵓ ⵜⵎⵙⵙⵓⵔⵜ ⴰⴷ. |
She began appearing in stage productions and starred in The Gloria Swanson Hour on WPIX-TV in 1948. | ⵜⵙⵙⵏⵜⵉ ⵓⴼⵓⵖ ⴳ ⵓⴼⴰⵔⵙ ⵏ ⵓⵎⵣⴳⵓⵏ ⵜⵓⵔⴰⵔ ⵜⴰⵏⴰⴹⵜ ⵜⴰⵙⵔⴰⴳⵜ ⵏ ⴳⵍⵓⵔⵢⴰ ⵡⴰⵏⵙⵓⵏ ⴳ WPIX-TV ⴰⵙⴳⴳⵯⴰⵙ ⵏ 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). | ⴷⴰ ⵜⵙⴰⵡⴰⵍ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⵓⴼⵉⵍⵎ ⴰⴷ ⵅⴼ ⵢⴰⵜ ⵜⵙⵎⴷⴰⵢⵜ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵉⴼⵙⵜⴰⵏ ⵜⴰⵎⵙⴽⴽⴼⵜ ⵏⵓⵕⵎⴰ ⴷⵉⵙⵎⵓⵏⴷ (ⵙⵡⴰⵏⵙⵓⵏ), ⵉⵎⵢⴰⵔⴰⵏ ⴷ ⵓⵎⵉⵔⴰⵢ ⵏ ⵓⵙⵉⵏⴰⵔⵢⵓ ⴰⵏⴰⴳⵓⴼ ⵊⵓ ⴳⵉⵍⵉⵙ (ⵡⵉⵍⵢⴰⵎ ⵀⵓⵍⴷⵏ). |
"Norma plays a card game of bridge with a group of actors also known as ""the Waxworks""." | ⵏⵓⵕⵎⴰ ⴰⵔ ⵜⵜⵉⵔⵉⵔ ⵢⴰⵜ ⵜⵉⵔⴰⵔⵜ ⵏ ⵜⴽⴰⵕⴹⴰ ⵏ ⵜⵍⴳⴳⵯⵉⵜ ⵏⵜⵜⴰⵜ ⴷ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵉⵙⵎⴷⴰⵢⵏ ⵉⵜⵡⴰⵙⵙⵏ ⵙ ⵢⵉⵙⵎ ⵏ ""ⵜⵉⵡⵓⵔⵉⵡⵉⵏ ⵏ ⵓⴷⵇⵇⵉⵙ""." |
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. | ⵓⵛⴽⴰⵏⵜ ⵜⵡⵉⵔⴳⴰ ⵏ ⵓⴷⵡⴰⵍ ⵏ ⵏⵓⵕⵎⴰ, ⴷ ⵉⴳ ⵜⵔⴰ ⴳⵉⵍⵉⵙ ⴰⴷ ⵉⴷⵙ ⵜⴱⴹⵓ, ⴷⴰ ⵜⵜ ⵜⵙⴷⵉⴷⴷⵉⵢ ⴰⴷ ⵜⵏⵖ ⵉⵖⴼ ⵏⵏⵙ, ⵎⴰⵛⴰ ⵏⵜⵜⴰ ⴰⵢⴷ ⵜⵏⵇⵇⴰ. |
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. | ⵎⵇⵇⴰⵔ ⵢⵓⴳⵉ ⵙⵡⴰⵏⵙⵓⵏ ⴰⴷ ⵉⵥⵥⵉⴹⵕ ⵉ ⵓⵣⵣⵔⴰⵢ ⵏ ⵓⵎⵉⵥⴰⵕ ⵉ ⵓⴼⵉⵍⵎ, ⵎⴰⵛⴰ ⵜⵎⴷⵣ ⴽⵉⴳⴰⵏ ⴰⵛⴽⵓ ⵜⵓⵡⵉ ⵉⴷⵔⵉⵎⵏ ⵓⴳⴳⴰⵔ ⵏ ⵓⵢⵏⵏⴰ ⵜⴽⴽⴰ ⵜⴳⴰ ⴳ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⴷ ⵓⵎⵣⴳⵓⵏ. |
Swanson later hosted Crown Theatre with Gloria Swanson, a television anthology series in which she occasionally acted. | ⵜⵙⵎⵔⵙ ⵙⵡⴰⵏⵙⵓⵏ ⴳ ⵢⴰⵜ ⵜⵉⵣⵉ ⵢⴰⴹⵏ ⴰⵎⵣⴳⵓⵏ ⵏ ⴽⵔⵓⵡⵏ ⵏⵜⵜⴰⵜ ⴷ ⴳⵍⵓⵔⵢⴰ ⵙⵡⴰⵏⵙⵓⵏ, ⴰⵙⴷⴷⵉ ⵏ ⵜⵎⵙⵜⴰⵢⵉⵏ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵏⵏⴰ ⴳ ⵜⵙⵡⵓⵔⵉ ⴽⵔⴰ ⵏ ⵜⵉⴽⴽⴰⵍ. |
"She was the ""mystery guest"" on What's My Line." | "ⵏⵜⵜⴰⵜ ⴷ "" ⵜⴰⵏⴱⴳⵉⵡⵜ ⵜⴰⵅⵏⴷⴰⵍⵍⴰⵙⵜ"" ⵡⴰⵜⵣ ⵎⴰⵢ ⵍⴰⵢⵏ." |
She made a notable appearance in a 1966 episode of The Beverly Hillbillies, in which she plays herself. | ⵜⴳⴰ ⵢⴰⵏ ⵡⵓⴼⵓⵖ ⴰⵏⵎⵖⵓⵔ ⴳ ⵢⴰⵜ ⵜⵏⴷⵔⵜ ⴳ ⴱⵓⴼⵔⵍⵢ ⵀⵉⵍⴱⵉⵍⵉ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1966, ⴳ ⵜⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵉⵖⴼ ⵏⵏⵙ. |
"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." | "ⴰⵙⵎⴷⴰⵢ ⴷ ⵓⵎⵉⵔⴰⵢ ⵏ ⵓⵎⵣⴳⵓⵏ ⵀⴰⵕⵓⵍⴷ ⵊ. ⴽⵉⵏⵉⴷⵉ, ⵏⵏⴰ ⵉⵍⵎⴷⵏ ⵉⵙⴷⴷⵉⵜⵏ ⵏ ⵜⵏⵣⵓⵍⵉⵏ ⴳ ⵢⴰⵍ ⴷ ⵓⵎⵣⴳⵓⵏ ⵏ ⵓⵕⵙⵓⵏ ⵡⵉⵍ ⵎⵉⵔⴽⵓⵔⵉ, ⵉⵜⵜⵔ ⵙⴳ ⵙⵡⴰⵏⵙⵓⵏ ⴰⴷ ⵉⵙⵙⴽⵔ ⵢⴰⵏ ⵓⵙⵙⵓⵜⵍ ⴳ ""ⵔⵉⴼⵍⵉⴽⵜ ⴳⵍⵓⵕⵉ"", ⵢⴰⵜ ⵜⴽⵓⵎⵉⴷⵉⵢⵜ ⵏⵏⴰ ⵉⵜⵜⵓⵙⵎⵔⵙⵏ ⴳ ⵜⵎⵓⵖⵍⵉⵜ ⵏ ⴱⵕⵓⴷⵡⴰⵢ ⴷ ⵜⵉⵜⵔⵉⵜ ⵏⵏⵙ ⵜⴰⵍⵓⵍⴰ ⴱⴰⵏⴽⵀⵉⴷ. " |
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. | ⴹⴰⵕⵜ ⵓⵎⵓⵔⵙ ⵏⵏⵙ ⴷ ⵙⵓⵏⵙⵉⵜ ⴱⵓⵍⵉⴼⴰⵔ, ⵜⴳⴰ ⵜⴰⵏⴰⴹⵜ ⴳ ⴱⵔⵓⵡⴷⵡⴰⵢ ⴳ ⵓⵙⵙⵉⴷⵔ ⵏ ⵜⴰⵙⵓⵜ ⵜⵉⵙⵙ ⵙⵉⵎⵔⴰⵡ ⴷ ⵊⵓⵣⵉ ⴼⵉⵔⵔⵉⵔ, ⴰⵡⴷ ⴳ ⵏⵉⵏⴰ ⵏⵜⵜⴰⵜ ⴷ ⴷⴰⵖⵉⴷ ⵏⵉⴼⵏ. |
As a Republican she supported the 1940 and 1944 campaigns for president of Wendell Willkie and the 1964 presidential campaign of Barry Goldwater. | ⴷ ⵜⴰⴳⴷⵓⴷⴰⵏⵜ, ⵜⵓⵡⵙ ⵉⵎⵣⵉⵣⵣⵉⵍⵏ ⵏ 1940 ⴷ 1944 ⵏ ⵓⵙⵍⵡⴰⵢ ⵏ ⵡⵉⵏⴹⵍ ⵡⵉⵏⴽⵉ ⴷ ⵓⵎⵣⵉⵣⵣⵍ ⵏ ⵓⵙⵍⵡⴰⵢ ⴱⴰⵔⵔⵉ ⴳⵓⵍⴷⵡⴰⵜⵔ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1964. |
Taking medication given to her by Beery, purported to be for morning sickness, she aborted the fetus and was taken unconscious to the hospital. | ⵉⵙⵢ ⵏ ⵓⵙⴰⴼⴰⵔ ⵏⵏⴰ ⴰⵙ ⵜⴼⴽⴰ ⴱⵉⵔⵉ, ⵏⵏⴰ ⵙ ⵜⵜⵉⵏⵉⵏ ⵉⴳⴰ ⵡⵉⵏ ⵜⵔⴰⵔⵉⵜ ⵏ ⵜⵉⴼⴰⵡⵜ, ⵉⵖⵔⵉ ⴰⵙ ⵓⵔⴱⴰ ⵜⵙⵅⴼ ⵜⵜⵢⴰⵙⵉ ⵖⵔ ⵓⵙⴳⵏⴰⴼ. |
In 1923, she adopted 1-year-old Sonny Smith, whom she renamed Joseph Patrick Swanson after her father. | ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1923, ⵜⵓⵙⵉ ⵚⵓⵏⵉ ⵙⵎⵉⵜ ⵖⵔ ⵉⵍⵍⴰ 1 ⵓⵙⴳⴳⵯⴰⵙ, ⵜⵙⵏⴼⵍ ⴰⵙ ⵉⵙⵎ ⵙ ⵊⵓⵣⵉⴼ ⴱⴰⵜⵔⵉⴽ ⵙⵡⴰⵏⵙⵓⵏ ⵅⴼ ⵉⵙⵎ ⵏ ⴱⴰⴱⴰⵙ. |
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. | ⵜⵓⵙⵉ ⵙⴳ ⴷⵉⴳⵙ ⵢⴰⵏ ⵓⵔⴱⴰ ⵓⵔⵜⴰ ⵉⵙⵎⵉⴷ ⵓⵕⵥⵥⵓⵎ ⵏⵏⵙ ⴷ ⵙⵓⵎⴱⵓⵔⵏ, ⴰⵙⵓⵔⵙ ⴰⴷ ⵉⴽⴽⴰ ⵉⵔⴰ ⴰⴷ ⵢⴰⵡⵉ ⵙ ⵢⴰⵏ ⵓⵣⵡⴰⵔ ⴰⵎⴰⵜⴰⵢ ⵏⵖⴷ ⴰⴽⴽⵯ ⵜⵉⴳⵉⵔⴰ ⵏ ⵜⵖⴰⵔⴰⵙⵜ ⵏⵏⵙ ⴳ ⵙⵙⵉⵏⵉⵎⴰ. |
Following a four-month recuperation from her abortion, they returned to the United States as European nobility. | ⴹⴰⵕⵜ ⴽⴽⵓⵥ ⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵏ ⵜⵓⵊⵉⵜ ⵏⵏⵙ ⵙⴳ ⵓⵖⵔⵉ ⵏⵏⵙ, ⴰⵖⵓⵍⵏ ⵙ ⵉⵡⵓⵏⴰⴽ ⵉⵎⵓⵏⵏ ⴷ ⵉⵎⵟⵕⵕⵃⵏ ⵏ ⵓⵕⵓⴱⴱⴰ. |
He became a film executive representing Pathé (USA) in France. | ⵢⴰⵖⵓⵍ ⵉⴳⴰ ⴰⵏⵎⵀⴰⵍ ⴰⵎⵣⵣⴳⴰⵔ ⵏ ⵓⴼⵉⵍⵎ ⵏ ⴱⴰⵜⵉ (USA) ⴳ ⴼⵔⴰⵏⵚⴰ. |
"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." | "ⵜⴳⵍⵎ ⵙⵡⴰⵏⵙⵓⵏ ⵉⵖⴼ ⵏⵏⵙ ⵉⵙ ⵜⴳⴰ ""ⵜⴰⵎⵙⵙⵓⵎⵎⵜ ⵏ ⵉⴷⴰⵎⵎⵏ ⵜⵓⵏⴳⵉⵎⵜ"", ⴰⴼⴳⴰⵏ ⵖⵔ ⵜⵍⵍⴰ ⵜⴷⵡⵡⴰⵢⵜ ⴳ ⵓⵔⵣⵣⵓ ⵅⴼ ⵜⵎⴰⵎⴽⵜ ⵙ ⵙⵡⵓⵔⵉⵏ ⵉⵙⴽⴽⵉⵏⵏ, ⴰⵔ ⵉⵔⵣⵣⵓ ⵉⵙ ⵉⵥⴹⴰⵕⴰ ⵏ ⴰⴷ ⵉⵔⴰⵔ ⵜⴰⵏⴰⵢⵉⵏ ⴷⵖ ⴰⴷ ⴳⵏⵜ ⵜⵉⴷⵜⵜ. |
They met by chance in Paris when Swanson was being fitted by Coco Chanel for her 1931 film Tonight or Never. | ⵎⵍⴰⵍⴰⵏ ⵙ ⵓⵙⴰⵎⴰ ⴳ ⴱⴰⵔⵉⵣ ⴳ ⵜⵍⵙⴰ ⵙⵡⴰⵏⵙⵓⵏ ⴽⵓⴽⵓ ⵛⴰⵏⵉⵍ ⴳ ⵓⵙⵓⵊⴷ ⵏ ⵓⴼⵉⵍⵎ ⵏⵏⵙ ⵉⴹ ⴰ ⵏⵖ ⴷⵊⵓⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1931. |
Her friends, some of whom openly disliked him, thought she was making a mistake. | ⵖⴰⵍⵏ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⵏⵏⵙ, ⵏⵏⴰ ⴷ ⵉⴼⴼⵖⵏ ⵉⵙ ⵜ ⵓⵔ ⵃⵎⵉⵍⵏ, ⵉⵙ ⵜⴳⴰ ⴰⵣⴳⴳⴰⵍ. |
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. | ⵜⵖⴰⵍ ⵙⵡⴰⵏⵙⵓⵏ ⵜⵉⵣⵡⵓⵔⵉ ⵉⵙ ⵇⴰⴷ ⵜⵉⵖⵉⵢ ⵉ ⵜⴰⵏⴰⴼⵜ ⵙⴳ ⵓⵙⵎⴷⵉ, ⵎⴰⵛⴰ ⵉⵡⵍ ⵉⵔⵡⵉ ⵙ ⵜⵉⵙⵙⵉ ⵏ ⴷⴰⴼⵉ ⵙⴳ ⵜⵉⵣⵡⵓⵔⵉ. |
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. | ⵉⴳⴰ ⵢⴰⵏ ⵓⵎⵙⵙⵓⴼⵖ ⴰⵎⵙⵙⵓⵔ (ⴰⵎⵙⵙⵓⴼⵖⵎⴰⵔⵓⵔ) ⵏ ⵜⵔⵉⴷⵔⵜ ⵏ ⴱⵉⵍⵉ ⵀⵓⵍⵉⴷⴰⵢⵙ ⵍⴰⵢⴷⵉ ⵙⵉⵏⴳⵣ ⴷⵓ ⴱⵍⵓⵣ, ⴰⵎⵙⵙⵓⴼⵖ ⵏ ⵓⴷⵍⵉⵙ ⵛⵓⴳⴰⵔ ⴱⵍⵓⵣ, ⴰⴷⵍⵉⵙ ⵏ ⵓⴷⵡⴰⵙ ⵉⵏⵣⴰⵏ ⴽⵉⴳⴰⵏ ⴳ 1975 ⵉⵙⵓⵍ ⴰⵔ ⵉⵜⴼⴼⵖ, ⴷ ⵓⵎⵙⵙⵓⴼⵖ ⵏ ⵜⵓⵏⵖⵉⵍⵜ ⵜⴰⵏⴳⵍⵉⵣⵉⵢⵜ ⵙⴳ ⵓⴷⵍⵉⵙ ⵢⵓ ⴰⵔ ⴰⵍ ⵙⴰⵏⴱⴰⴽⵓ ⵏ ⵊⵓⵕⵊ ⵓⵙⴰⵡⴰ. |
Swanson and her husband first got to know John Lennon and Yoko Ono because they were fans of Dufty's work. | ⵜⵎⵢⴰⵙⵙⴰⵏ ⵙⵡⴰⵏⵙⵓⵏ ⴷ ⵓⵔⴳⴰⵣ ⵏⵏⵙ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⵅⴼ ⵊⵓⵏ ⵍⵉⵏⵓⵏ ⴷ ⵢⵓⴽⵓ ⵓⵏⵓ ⴰⵛⴽⵓ ⴳⴰⵏ ⵙⴳ ⵉⵎⴰⵔⴰⵢⵏ ⵏ ⵜⵡⵓⵔⵉ ⵏ ⴷⵓⴼⵜⵉ. |
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. | ⵙⵖⵓⵙⵏ ⴰⵎⵜⵜⵉⵏ ⵏⵏⵙ ⴰⴷⵔⵏ ⴰⵙ ⵉ ⵢⵉⵖⴷ ⵏⵏⵙ ⴳ ⵍⴽⴰⵏⵉⵙⴰ ⵜⴰⴽⵀⵀⴰⵏⵜ ⵉ ⵓⵙⴳⵓⵏⴼⵓ ⵏ ⵉⴳⵏⵏⴰ ⴳ ⵓⵙⵓⴽ ⵡⵉⵙ ⵙⵎⵎⵓⵙ ⴳ ⵏⵢⵓⵢⵓⵕⴽ ⵙⵉⵜⵉ, ⵙ ⵢⵉⵍⵉ ⵏ ⵢⴰⵜ ⵜⵎⵜⴻⵜⵜⴰⵢⵜ ⵜⴰⵎⵥⵥⵢⴰⵏⵜ ⴳ ⵜⴰⵡⵊⴰ ⵏⵏⵙ. |
In 1974, Swanson was one of the honorees of the first Telluride Film Festival. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1974, ⵉⴳⴰ ⵙⵡⴰⵏⵙⵓⵏ ⵢⴰⵏ ⵙⴳ ⵡⵉⵏⵏⴰ ⵉⵜⵜⵓⵙⵎⵖⵔⵏ ⴳ ⵓⵏⵎⵓⴳⴳⴰⵔ ⴰⵎⵣⵡⴰⵔⵓ ⵜⵉⵍⵓⵕⴰⵢⴷ ⵏ ⵙⵙⵉⵏⵉⵎⴰ. |
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. | ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⴳⴰⵎⴰ ⵉⵙⵙⵔⵄⴰⴱⵏ ⴳ ⵜⴰⴳⴳⴰⵢⵜ ⵏⵏⵙ, ⵜⵜⵓⵙⴱⴷⴷⴰⵏ ⵉⴼⵉⵍⵎⵏ ⵏ ⵏⵉⵙⵍⵏⵏ ⴳ ⵉⵡⴰⵏⴽⵏ ⵉⵎⵓⵏⵏ, ⵜⵇⵇⵉⵎ ⵜⵡⵓⵔⵉ ⵏⵏⵙ ⵜⴳ ⵜⵓⴼⴼⵉⵔⵜ ⵏ ⵓⴳⴷⵓⴷ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ. |
Nielsen's family moved several times during her childhood while her father sought employment. | ⵜⵎⵎⵓⵜⵜⵉ ⵜⴰⵡⵊⴰ ⵏ ⵏⵉⵍⵙⵏⵏ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⴰⵍ ⴳ ⵜⵎⵥⵉ ⵏⵏⵙ ⴳ ⵜⵉⵣⵉ ⵏⵏⴰ ⴳ ⵉⵔⵣⵣⵓ ⴱⴰⴱⴰⵙ ⵜⴰⵡⵓⵔⵉ. |
Nielsen's father died when she was fourteen years old. | ⵉⵎⵎⵓⵜ ⴱⴰⴱⴰⵙ ⵏ ⵏⵉⵍⵙⵏⵏ ⴷⴷⴰⴳ ⵖⵓⵔⵙ ⴽⴽⵓⵥ ⴷ ⵎⵔⴰⵡ ⵏ ⵓⵙⴳⴳⵯⴰⵙ. |
In 1901, 21-year-old Nielsen became pregnant and gave birth to a daughter, Jesta. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1901, ⵜⵓⵙⵉ ⵏⵉⵍⵙⵏⵏ ⵖⵔ ⵜⵍⵍⴰ 21 ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⴰⴷⵉⵙ ⵜⴰⵔⵓ ⵜⴰⵔⴱⴰⵜ, ⵊⵉⵙⵜⴰ. |
Nielsen graduated from the Theater school in 1902. | ⵜⵓⵎⵥ ⵏⵉⵍⵙⵏⵏ ⴰⵙⵍⴽⵉⵏ ⴳ ⵜⵉⵏⵎⵍ ⵏ ⵓⵎⵣⴳⵓⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1902. |
Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life. | ⵜⴱⴰⵢⵏ ⵜⵎⴰⵎⴽⵜ ⵜⴰⴼⵔⴰⵔⵜ ⵏ ⵓⵙⵎⴷⵉ ⵏ ⵏⵉⵍⵙⵏⵏ ⴳ ⵓⵙⵡⵍⴼ ⵏⵏⵙ ⵉⵎⵓⵔⵙⵏ ⵉ ⵢⴰⵜ ⵜⵎⵟⵟⵓⴹⵜ ⵜⴰⵄⵔⵔⵉⵎⵜ ⵜⴰⴱⵓⵊⴰⴷⵉⵢⵜ ⵉⵜⵜⵓⵙⴹⵎⵄⵏ ⴳ ⵢⴰⵜ ⵜⵓⴷⵔⵜ ⵏ ⵓⵅⵓⴱ. |
Nielsen and Gad married, then made four more films together. | ⵜⵎⵢⴰⵡⴰⵍ ⵏⵉⵍⵙⵏⵏ ⴷ ⴳⴰⴷ, ⵙⵙⵓⴼⵖⵏ ⴷ ⴰⴽⴽⵯ ⴽⴽⵓⵥ ⵏ ⵉⴼⵉⵍⵎⵏ ⵢⴰⴹⵏ. |
I realised that the age of short film was past. | ⵙⵙⵏⵖ ⵎⴰⵙ ⴷ ⵉⵣⵔⵉ ⵓⵣⵎⵣ ⵏ ⵓⴼⵉⵍⵎ ⴰⴳⵣⵣⴰⵍ. |
It was international film sales that provided Union with eight Nielsen films per year. | ⵎⵏⵣⵉⵡⵜ ⵏ ⵓⴼⵉⵍⵎ ⴰⴳⵔⴰⵖⵍⴰⵏ ⴰⵢⴷ ⵉⵙⵎⵔⵙⵏ ⵜⴰⵔⴰⴱⴱⵓⵜ ⵏ ⵜⴰⵎ ⵏ ⵓⴼⵉⵍⵎ ⵏ ⵏⵉⵍⵙⵏⵏ ⵉ ⵓⵙⴳⴳⵯⴰⵙ. |
"I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world.""" | "ⵙⵙⵎⵔⵙⵖ ⵉⵙⴳⴳⵓⵔⵏ ⵏⵏⴰ ⵉⵍⵍⴰⵏ – ⴷ ⵙⵏⴼⵍⵖ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⴳⴳⵓⵔⵏ ⵉⵎⴰⵢⵏⵓⵜⵏ – ⴰⴼⴰⴷ ⴰⴷ ⴰⵡⵉⵖ ⵉⴼⵉⵍⵎⵏ ⵏ ⵏⵉⵍⵙⵏⵏ ⵉ ⵓⵎⴰⴹⴰⵍ.""" |
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. | ⴳ ⵢⴰⵏ ⵓⵙⵖⵍ ⵏ ⵜⴰⵏⵏⴰⵢⵜ ⵜⴰⵎⴰⵜⴰⵢⵜ ⴳ ⵔⵓⵙⵢⴰ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1911, ⵜⵜⵓⵙⵜⴰⵢ ⵏⵉⵍⵙⵏⵏ ⴷ ⵜⵉⵜⵔⵉⵜ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵜⴰⵎⵓⴼⴰⵢⵜ ⴳ ⵓⵎⴰⴹⴰⵍ, ⴹⴰⵕⵜ ⵍⵉⵏⴷⵔ ⴷ ⴷⴰⵜ ⵏ ⵜⵏⴰⵎⵓⵔⵜ ⵏⵏⵙ ⵜⴰⴷⴰⵏⵉⵎⴰⵔⴽⵉⵢⵜ ⴼⴰⵍⴷⵉⵎⴰⵔ ⴱⵙⵉⵍⴰⵏⴷⵔ. |
In 1921, Nielsen, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1921, ⵏⵉⵍⵙⵏⵏ, ⵙ ⵜⵏⴳⵔⴰⵏⵜ ⵏ ⵜⵎⵙⵙⵓⵔⵜ ⵏⵏⵙ ⵏ ⵓⴱⵟⵟⵓ ⵏ ⵉⴼⵉⵍⵎⵏ ⴰⵙⵟⴰ ⴼⵉⵍⵎⵣ, ⵜⴼⴼⵖⴷ ⴳ ⵙⵉⴼⵏ ⴳⵔⴰⴷ ⴷ ⵀⴰⵢⵏⵣ ⵛⴰⵍ ⵜⵙⵙⴷⵔⵓ ⵀⴰⵎⵍⵜ. |
However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film. | ⵉⵎⵉⵍ, ⵜⵉⵡⵓⵔⵉⵡⵉⵏ ⵜⵉⵎⴰⵙⵙⴰⵏⵉⵏ ⵣⵓⵏⴷ ⴰⴼⵉⵍⵎ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵏⵏⴰ ⵜⴼⵙⵔ ⵜⵎⵙⵙⵓⵔⵜ ⴼⵉⵍⵎⴰⵔⵛⵉⴼ ⵓⵙⵜⵔⵉⵢⴰ ⴳ 2010 ⵓⵔ ⴷⴰ ⵜⴱⴷⴷⵔ ⵣⵓⵏⴷ ⴰⴼⵉⵍⵎ ⴰⴷ. |
She worked in German films until the start of sound movies. | ⵜⵙⵡⵓⵔⴰ ⴳ ⵉⴼⵉⵍⵎⵏ ⵉⵍⵎⴰⵏⵉⵢⵏ ⴰⵔ ⵜⵉⵣⵡⵓⵔⵉ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⴳⵕⴹⴰⵏⵏ. |
Thereafter, Nielsen acted only on stage. | ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ, ⵏⵉⵍⵙⵏⵏ ⵜⵙⵎⴷⵉ ⵖⴰⵙ ⴳ ⵓⵎⵣⴳⵓⵏ. |
Understanding the implications, Nielsen declined and left Germany in 1936. | ⴳ ⵜⵔⵎⵙ ⵜⵓⵙⵓⵔⵜ ⵏ ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ, ⵜⵓⴳⵉ ⵏⵉⵍⵙⵏⵏ ⵢⴼⴼⵖ ⴰⵍⵎⴰⵏⵢⴰ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1936. |
They were divorced by 1919 when Nielsen married the Swedish shipbuilder Freddy Windgårdh. | ⵎⵢⴰⵕⵥⴰⵎⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1919 ⵍⵍⵉ ⴳ ⵜⵜⴰⵀⵍ ⵏⵉⵍⵙⵏⵏ ⴰⵙⵡⵉⴷⵉⵢ ⵉⵜⵜⵚⴽⵓⵏ ⵉⵖⵕⵕⴰⴱⵓⵜⵏ ⴼⵔⵉⴷⵉ ⵡⵉⵏⴷⴳⴰⵕⴷ. |
They began a long-term common-law marriage that lasted from 1923 until the late 1930s. | ⵙⵙⵏⵜⴰⵏ ⵉⵡⵍ ⵉⵖⵣⵣⵉⴼⵏ ⵙⴳ 1923 ⴰⵔ ⵜⵉⴳⵉⵔⴰ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ 1930. |
Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American dancer, actor, singer, choreographer, and television presenter. | ⴼⵔⵉⴷ ⴰⵙⵜⵉⵔ (ⵉⵍⵓⵍ ⴼⵔⵉⴷⵉⵔⵉⴽ ⵓⵙⵜⵉⵔⵍⵉⵜⵣ; 10 ⵎⴰⵢⵢⵓ 1899 – 22 ⵢⵓⵏⵢⵓ 1987) ⵉⴳⴰ ⴰⵎⵕⴽⴰⴹ ⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢ, ⴰⵙⴽⴱⴰⵕ, ⴰⵎⵖⵏⴰⵊ, ⴰⴽⵓⵕⵉⴳⵔⴰⴼ, ⴷ ⴰⵎⵙⵎⵏⵉⴷ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ. |
He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and numerous recordings. | ⵢⵓⵔⴰⵔ ⴳ ⵡⵓⴳⴳⴰⵔ ⵏ 10 ⵏ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵏ ⵓⵥⴰⵡⴰⵏ ⴳ ⴱⵕⵓⴷⵡⴰⵢ ⴷ ⵡⵉⵙⵜ ⵉⵏⴷ, ⵉⵙⵙⴽⵔ 31 ⵏ ⵓⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ, ⴽⴽⵓⵥ ⵏ ⵉⵙⴰⵢⵙⵏ ⵉⵎⵥⵍⴰⵢ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ, ⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵣⵎⵎⵉⵎⵏ. |
Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace. | ⵜⵍⵓⵍⴰ ⵉⵎⵎⴰⵙ ⵏ ⴰⵙⵜⵉⵔ ⴳ US ⵙⴳ ⵍⵓⵜⵔⴰⵏ ⵊⵉⵔⵎⴰⵏ ⵉⵎⵣⵣⴰ ⵙⴳ ⵓⵏⵇⴰⵔ ⵏ ⴱⵔⵓⵙⵢⴰ ⴷ ⴰⵍⵣⴰⵚ. |
Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company. | ⵉⵔⵣⴰ ⴼⵔⵉⵜⵣ ⵜⴰⵡⵓⵔⵉ ⴳ ⵜⵙⴱⴱⴰⴱⵜ ⵏ ⵓⵙⵎⵜⵏ ⴷ ⵉⵎⵎⴰⵜⵜⵉ ⵙ ⵓⵎⴰⵀⴰ, ⵏⵉⴱⵔⴰⵙⴽⴰ, ⴳ ⵉⵙⵡⵓⵔⵉ ⴷ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵙⵜⵓⵕⵣ ⴱⵔⵉⵡⵉⵏ. |
"Johanna planned a ""brother and sister act"", common in vaudeville at the time, for her two children." | "ⵜⵙⵖⵉⵡⵙ ⵊⵡⴰⵏⴰ ⵉ ""ⵓⴳⵎⴰ ⴷ ⵓⵍⵜⵎⴰ"", ⵉⵜⵜⵡⴰⵙⵙⵏ ⴳ ⴼⵓⴷⴼⵉⵍ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ, ⵅⴼ ⵙⵉⵏ ⵡⴰⵔⵔⴰⵡ ⵏⵏⵙ. |
They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts. | ⵙⵙⵏⵜⵉⵏ ⴰⵙⵎⵓⵜⵜⴳ ⴳ ⵜⵉⵏⵎⵍ ⴰⵍⴼⵉⵏ ⵎⴰⵙⵜⵕ ⵏ ⵓⵎⵣⴳⵓⵏ ⴷ ⵜⴽⴰⴷⵉⵎⵉⵢⵜ ⵏ ⵜⵥⵓⵔⵉⵡⵉⵏ ⵜⵉⴷⵍⵙⴰⵏⵉⵏ. |
They were taught dance, speaking, and singing in preparation for developing an act. | ⵙⵙⵍⵎⴷⵏ ⴰⵙⵏ ⴰⵔⴽⴽⵙ ⴷ ⵡⴰⵡⴰⵍ ⴷ ⵓⵖⵏⵏⵊ ⴰⴼⴰⴷ ⵙⴱⵓⵖⵍⵓⵏ ⴰⵙⴽⴱⵕ. |
In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller. | ⴳ ⵢⴰⵏ ⵓⵙⵇⵙⴰⵢ, ⵜⴰⵔⴱⴰⵜ ⵏ ⴰⵙⵜⵉⵔⵣ, ⴰⴼⴰ ⴰⵙⵜⵉⵔ ⵎⴽⵉⵏⵣⵉ, ⵜⵖⴹⴼ ⵉⵙ ⴷⴰ ⵜⴳⴳⴰⵏ ⵉ ⴼⵔⵉⴷ ⵢⴰⵜ ⵜⵛⴰⵛⵜ ⴰⴼⴰⴷ ⵉⵖⵣⵉⴼ. |
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. | ⴰⵛⴽⵓ ⵉⵙⵙⵏ ⴱⴰⴱⴰⵙⵏ ⴰⴷ ⵉⵣⵣⵏⵣ, ⵢⵓⵎⵥ ⴼⵔⵉⴷ ⴷ ⴰⴷⵉⵍ ⵢⴰⵜ ⵜⵎⵖⵓⵏⵜ ⵜⴰⵎⵇⵇⵔⴰⵏⵜ ⵓⴽⴰⵏ ⵓⵔⴰⵔⵏ ⴳ ⵓⵙⴰⵔⴰ ⵏ ⵓⵕⴼⵓⵎ ⴳ ⵎⵉⴷⵡⵉⵙⵜ, ⵡⵉⵙⵜⵉⵔⵏ ⴷ ⴽⵔⴰ ⵏ ⵜⵎⴷⵉⵏⵉⵏ ⴳ US. |
In 1912, Fred became an Episcopalian. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1912, ⵉⴳⴰ ⴼⵔⵉⴷ ⴰⴱⵉⵙⴽⵓⴱⴰⵍⴰⵏ. |
From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle. | ⵙⴳ ⵓⵕⴽⴽⴰⴹ ⵏ ⴼⵓⴷⴼⵉⵍ ⵓⵕⵉⵍⵢⵓ ⴽⵓⴽⵉⵢⴰ, ⵍⵎⴷⵏ ⵉⵕⴽⴰⴹⵏ ⵏ ⵜⵜⴰⵏⴳⵓ, ⴷ ⵉⵕⴽⴰⴹⵏ ⵢⴰⴹⵏ ⵏⵏⴰ ⵙ ⵜⵜⵡⴰⵙⵙⵏ ⴼⵉⵔⵏⵓⵏ ⴷ ⵉⵔⵉⵏ ⴽⴰⵙⵜⵍ. |
He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916. | ⵉⵎⵍⴰⵍⴰ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⴷ ⵊⵓⵕⵊ ⴳⵉⵔⵛⵡⵉⵏ, ⵏⵏⴰ ⵉⵜⵜⴰⵡⵙⵏ ⴳ ⵓⵖⵏⵏⵊ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵓⴼⵙⴰⵔ ⵏ ⵓⵥⴰⵡⴰⵏ ⵉⴳⴰⵏ ⵜⵉⵏ ⵊⵉⵕⵓⵎ H. ⵔⵉⵎⵉⴽⵙ, ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1916. |
"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.""" | ⵙⴳ ⵜⵡⵓⵔⵉ ⵏⵏⵙⵏ ⴳ ⴷⵓ ⴱⴰⵙⵙⵉⵏ ⵛⵓⵡ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1918, ⵢⵓⵔⴰ ⵀⵉⵢⵡⵓⴷ ⴱⵕⵓⵏ: ""ⵢⴰⵏ ⵢⵉⴹ ⴳ ⵉⴳⴳⵓⵜ ⵓⵕⴽⴽⴹ ⵉⵖⵓⴷⴰⵏ, ⵉⴱⴰⵢⵏⴷ ⴼⵔⵉⴷ ⴰⵙⵜⵉⵔ ... ⵏⵜⵜⴰ ⴷ ⵜⵎⵙⵙⵓⵔⵜ ⵏⵏⵙ, ⴰⴷⵉⵍ ⴰⵙⵜⵉⵔ, ⵙⴱⴷⴷⴰⵏ ⴰⴼⵙⴰⵔ ⵣⵉⴽⴽ ⵜⴰⵍⴳⴳⵯⴰⵜ ⵙ ⵢⴰⵏ ⵓⵕⴽⴽⴹ ⵉⵍⴻⵍⵍⵉ ⵉⵖⵓⴷⴰⵏ. |
But by this time, Astaire's dancing skill was beginning to outshine his sister's. | ⵎⴰⵛⴰ ⴳ ⵜⵉⵣⵉ ⴰⴷ, ⴰⵙⵜⵉⵔⵙ ⵢⴰⵖⵓⵍ ⴰⵔ ⵉⵜⵜⴰⴼ ⵓⵍⵜⵎⴰⵙ ⴳ ⵓⵕⴽⴽⴹ. |
Astaire's tap dancing was recognized by then as among the best. | ⵇⵔⵔⴰⵏ ⵉⵙ ⵉⴳⴰ ⵓⵕⴽⴽⴹ ⵏ ⴰⵙⵜⵉⵔⵙ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ ⵢⴰⵏ ⵙⴳ ⵉⵎⴰⴼⴰⵢⵏ. |
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. | ⵍⵍⵉ ⴳ ⵉⵇⵇⵏ ⴼⴰⵏⵉ ⴼⴰⵢⵙ, ⴰⵢⵜ ⴰⵙⵜⵉⵔ ⴷⴷⴰⵏ ⵙ ⵀⵓⵍⵉⵡⵓⴷ ⴰⴷ ⵙⵙⴽⵔⵏ ⵉⵔⵉⵎ ⴰⵎⵉⵥⴰⵕ (ⵉⵊⵍⴰ ⴷⵖⵉ) ⴳ ⴱⴰⵔⴰⵎⵓⵏⵜ ⴱⵉⴽⵜⵛⵓⵔ, ⵎⴰⵛⴰ ⵉⴳⴰⵜⵏ ⴱⴰⵔⴰⵎⵓⵏⵜ ⵉⵙ ⵓⵔ ⴷ ⵓⵙⵉⵏ ⵉ ⵉⴼⵉⵍⵎⵏ. |
The end of the partnership was traumatic for Astaire but stimulated him to expand his range. | ⵓⵔ ⵜⵃⵍⵉ ⵜⴳⵉⵔⴰ ⵏ ⵜⵓⵙⵙⵓⵔⵜ ⵉ ⴰⵙⵜⵉⵔ ⵎⴰⵛⴰ ⵜⵙⵙⵉⴽⵎⵜ ⴰⴷ ⵉⵜⵜⵡⴰⵙⵙⵏ ⴽⵉⴳⴰⵏ. |
They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady. | ⴽⵔⴰⵏ ⵜ ⵉⴷⵙⵏ ⵡⵓⵙⵙⴰⵏ ⵉ MGM ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1933 ⵅⴼ ⵡⵓⴼⵓⵖ ⵏⵏⵙ ⴳ ⵀⵓⵍⵉⵡⵓⴷ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ ⵉⵎⵓⵔⵙⵏ ⴷⴰⵏⵙⵉⵏ ⵍⴰⵢⴷⵉ. |
"He wrote his agent, ""I don't mind making another picture with her, but as for this 'team' idea, it's 'out!'" | ⵢⵓⵔⴰ ⵓⵎⵙⴽⴰⵔ ⵏⵜⵡⵓⵔⵉⵡⵉⵏ ⵏⵏⵙ, ""ⵓⵔ ⵉⴳⵉⵢⵖ ⴰⴷ ⴰⵙⵉⵖ ⵜⴰⵡⵍⴰⴼⵜ ⵢⴰⴹⵏ ⴷⵉⴷⵙ, ⵉⵎⵎⴰ ⴳ ⵜⵡⵏⴳⵉⵎⵜ ⵏ 'ⵜⴰⵔⴰⴱⴱⵓⵜ', ⵜⴳⴰ 'ⵓⴼⵓⵖ!'" |
The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. | ⵜⵓⵡⵙ ⵜⵎⵙⵙⵓⵔⵜ ⴷ ⵓⵙⵖⵉⵡⵙ ⵏ ⵉⵕⴽⴰⴹⵏ ⴰⵙⵜⵉⵔ ⴷ ⵀⵉⵔⵎⵙ ⴱⴰⵏ, ⴳ ⵓⵙⵡⵔⵔⵉ ⵏ ⵓⵕⴽⴰⴹ ⴷ ⴰⴼⵔⴷⵉⵙ ⵉⵙⵜⴰⵡⵀⵎⵎⴰⵏ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵀⵓⵍⵉⵡⵓⴷ ⵏ ⵓⵥⴰⵡⴰⵏ. |
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. | ⴳⴰⵏⵜ ⵚⴹⵉⵚ ⵙⴳ ⵜⵥⴰ ⵏ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵏ ⵓⵥⴰⵡⴰⵏ ⵏ ⴰⵙⵜⵉⵔ–ⵕⵓⵊⵉⵔ ⴰⵙⴰⴳⵎ ⴰⵎⵇⵇⵔⴰⵏ ⵏ ⵉⴷⵔⵉⵎⵏ ⵉ RKO; ⵓⵡⵉⵏⴷ ⵉⴼⵉⵍⵎⵏ ⴽⵓⵍⵍⵓⵜⵏ ⵢⴰⵏ ⵡⵓⴷⴷⵓⵔ ⴳ ⵜⵥⵓⵕⵉ ⵏⵏⴰ ⵖⵎⵙⵏ ⵉⵙⵜⵓⴷⵢⵓⵏⵜ ⴽⵓⵍⵍⵓ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ. |
This gave the illusion of an almost stationary camera filming an entire dance in a single shot. | ⵉⴼⴽⴰ ⵎⴰⵢⴰⴷ ⵢⴰⵏ ⵓⴷⵎⵓ ⵉⵙ ⵜⵍⵍⴰ ⵍⴽⴰⵎⵉⵕⴰ ⵜⵉⵎⵏⵜⵉⵜ ⴰⵔ ⵜⵙⵡⵍⴰⴼ ⴰⵕⴽⴰⴹ ⵉⵙⵎⴷⵏ ⴳ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ. |
Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety. | ⵜⴰⵎⴰⵎⴽⵜ ⵏ ⵓⵙⵏⵙⵍ ⵏ ⵓⵕⴽⴰⴹ ⵏ ⴰⵙⵜⵉⵍ ⵢⵓⴷⵊⴰ ⵉⵎⵥⵔⵉ ⴰⴷ ⵉⴹⴼⵓⵕ ⵉⵎⵕⴽⴰⴹⵏ ⴷ ⵓⵙⵖⵉⵡⵙ ⵏ ⵜⵎⵕⴽⴰⴹⵉⵏ ⴽⵓⵍⵍⵓ. |
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. | ⵉⵙⵍⵍⵡⵓ ⵡⵉⵙ ⵙⵉⵏ ⵏ ⴰⵙⵜⵉⵔ ⴷⵉⴳⵙ ⴰⵎⵏⴰⴹ ⵏ ⵓⵔⴽⴰⴹ; ⵉⵙⴷⴷⵉⴷ ⴰⴷ ⴳⵏ ⵉⵖⵏⵏⵉⵊⵏ ⵉⵕⵓⵜⵉⵏⵉⵢⵏ ⴷ ⵡⵉⵏ ⵓⵕⴽⴰⴹ ⵜⵓⵟⵟⵓⵜ ⵢⴰⵎⵓⵏ ⴳ ⵉⴼⵉⵍⴰⵏ ⵏ ⵓⴼⵉⵍⵎ. |
"One would be a solo performance by Astaire, which he termed his ""sock solo.""" | "ⵢⴰⵏ ⴷⵉⴳⵙⵏ ⵇⴰⴷ ⵉⴳ ⴰⵙⴽⴰⵔ ⴰⵎⵥⵍⴰⵢ ⵏ ⴰⵙⵜⵉⵔ, ⵎⵉ ⵉⴳⴰ ⵙ ⵡⴰⵙⵙⴰⵖ ""ⵙⵓⴽ ⵙⵓⵍⵓ.""" |
I think Ginger Rogers was. | ⵄⵏⵉⵖ ⵊⵉⵏⵊⵔ ⵕⵓⵊⵉⵔ ⵉⴳⴰ ⵖⵉⴽⴰⵏⵏ. |
She faked it an awful lot. | ⵜⵔⵡⵉ ⵜⵜ ⵜⵀⵢⵢⴰ ⴰⵕⴽⴰⴹ. |
In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1976, ⴰⵎⵙⵎⵏⵉⴷ ⵏ ⵉⵖⴰⵡⴰⵙⵏ ⵉⵎⵙⴰⵡⴰⵍⵏ ⵉⴱⵕⵉⵜⴰⵏⵉⵢⵏ ⵎⴰⵙⵙ ⵎⴰⵢⴽⵍ ⴱⴰⵕⴽⵏⵙⵓⵏ ⵉⵙⵇⵇⵙⴰ ⴰⵙⵜⵉⵔ ⵅⴼ ⵓⵎⵙⵙⵓⵔ ⵖⵓⵔⵙ ⵢⵓⴼⵏ ⴳ ⵓⵕⴽⴽⴹ ⴳ ⴱⴰⵕⴽⵏⵙⵓⵏ. |
Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership. | ⵎⵇⵇⴰⵔ ⵎⵓⵔⵙⵏ, ⵓⵔ ⵉⵔⵉ ⴰⵙⵜⵉⵔ ⴰⴷ ⵉⵣⴷⵉ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⵙ ⵓⵥⵍⴰⵢ ⴷ ⴰⵡⵜ ⵢⴰⵜ ⵜⴰⵙⵙⵓⵔⵜ. |
Throughout this period, Astaire continued to value the input of choreographic collaborators. | ⴳ ⵜⵉⵣⵉ ⴰⴷ, ⵉⵙⵙⵓⴷⴰ ⴰⵙⵜⵉⵍ ⴳ ⵓⵙⵓⵜⴳ ⵏ ⵉⴹⵉⵚ ⵏ ⵉⵎⵢⴰⵡⴰⵙⵏ ⵉⴽⵓⵔⵉⴳⵔⴰⴼⵉⵢⵏ. |
"They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's ""Begin the Beguine.""" | "ⵓⵔⴰⵔⵏ ⴳ ⴱⵕⵓⴷⵡⴰⵢ ⵎⵉⵍⵓⴷⵉ ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1940, ⴳ ⵙⵎⴷⵢⴰⵏ ⴰⵕⵓⵜⵉⵏ ⵏ ⵓⵕⴽⴰⴹ ⵉⵜⵜⵡⴰⵙⵙⵏⵏ ⵏ ⴽⵓⵍ ⴱⵓⵔⵜⵔⵣ ⴳ ""ⴱⵉⴳⴰⵏ ⴷⵓ ⴱⵉⴳⵉⵏ.""" |
He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946). | ⵢⵓⵔⴰⵔ ⵜⴰⵙⴳⴰ ⵏ ⴱⵉⵏⴳ ⴽⵔⵓⵙⴱⵉ ⴳ ⵀⵓⵍⵉⴷⴰⵢ ⴳ (1942) ⴷ ⴹⴰⵕ ⴰⵙ ⴱⵍⵓ ⵙⴽⵉⵙ (1946). |
"The latter film featured ""Puttin' On the Ritz"", an innovative song-and-dance routine indelibly associated with him." | ⴰⴼⵙⴰⵔ ⵏ ⵓⴼⵉⵍⵎ ⴰⵎⴳⴳⴰⵔⵓ ""ⴱⵓⵜⵉⵏ ⵓⵏ ⴷⵓ ⵔⴰⵢⵜⵣ"", ⵉⴳⴰ ⴰⵕⵓⵜⵉⵏ ⵉⵜⵜⵓⵙⵍⵍⵡⴰⵏ ⵉ ⵉⵖⵏⵏⵉⵊⵏ ⴷ ⵓⵕⴽⴰⴹ ⵏⵏⴰ ⴷⵉⴳⵙ ⵉⵙⵍⵖⵏ ⴰⴱⴷⴰ. |
The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom. | ⴰⴼⵉⵍⵎ ⴰⵎⵣⵡⴰⵔⵓ, ⵓⵔ ⵙⴰⵔ ⵜⴳⵉⴷ ⴰⵎⴳⵍⵓ ⴰⴱⴷⴰ (1941), ⵢⵓⵖⵓⵍ ⵀⴰⵢⵓⵔⵜ ⴷ ⵉⵜⵔⵉ. |
"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." | ⵢⵓⵍⵙ ⵉ ⵜⵣⵍⵉⵜ ⵏ ⴽⵉⵔⵏ ""ⴰⵎ ⵓⵍⴷⴼⴰⵛⵢⵓⵏⵉⴷ,"" ⵏⵏⴰ ⵉⴳⴰⵏ ⴰⵙⴳⵓⵎ ⵏ ⵓⵙⵎⵖⵔ ⵏ ⵊⵉⵕⵓⵎ ⵕⵓⴱⵉⵏⵣ ⴳ ⵏⵢⵓ ⵢⵓⵕⴽ ⵙⵉⵜⵢ ⴱⴰⵍⵉ ⵉ ⴰⵙⵜⵉⵔ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1983. |
Astaire choreographed this film alone and achieved modest box office success. | ⵉⵙⵖⵉⵡⵙ ⴰⵙⵜⵉⵔ ⵖⴰⵙ ⵏⵜⵜⴰ ⴰⴼⵉⵍⵎ ⴰⴷ ⵏⵏⴰ ⵉⵎⵓⵔⵙⵏ ⴽⵉⴳⴰⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ. |
The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet. | ⵉⵜⵜⵡⴰⵙⵙⵏ ⵓⴼⵉⵍⵎ ⴰⵎⴰⵔⵓⵔ ⵢⵓⵍⴰⵏⴷⴰ ⴷ ⵓⵎⵅⵅⴰⵔ (1945) ⵉⵙⵎⵏⴰⴷⵏ ⵢⴰⵏ ⵓⴱⴰⵍⵉ ⴰⵙⵓⵔⵢⴰⵍⵉⵢ ⵏ ⵜⵣⵣⵓⴳⵔⴰ. |
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). | ⴰⴱⴷⴰ ⵓⵔ ⵢⵓⵎⵉⵏ ⴳ ⵉⵖⴼ ⵏⵏⵙ ⵢⵉⵖⵉⵍ ⵉⵙ ⴷⴰ ⵜⵜⵎⴷⵓ ⵜⴰⵣⵣⵓⵍⵜ ⵏⵏⵙ, ⴰⵙⵜⵉⵔ ⵉⵙⵙⵔⵄⴱ ⴰⵢⴷⵓⴷ ⵏⵏⵙ ⴳ ⵉⴱⵔⵔⵃ ⵙ ⵜⴰⵏⴰⴼⵜ ⵏⵏⵙ ⴳ ⵓⴼⴰⵔⵙ ⵏ ⵓⴼⵉⵍⵎ ⵏⵏⵙ ⴱⵍⵓ ⵙⴽⵉⵙ (1946). |
Both of these films revived Astaire's popularity and in 1950 he starred in two musicals. | ⵔⵓⵔⴰⵏ ⴷ ⵉⴼⵉⵍⵎⵏ ⵙ ⵙⵉⵏ ⵜⴰⵎⴷⵏⴰⵏⵜ ⵏ ⴰⵙⵜⵉⵔ ⴷ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1950 ⵢⴰⵔⵉⵔ ⴳ ⵙⵏⴰⵜ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵜⵉⵥⴰⵡⴰⵏⵉⵏ. |
While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment. | ⵣⵣⵉⵖ ⴳ ⴷ ⵜⵔⵓⵔⴰ ⴽⵕⴰⴹⵜ ⵜⴳⵓⵔⵉⵡⵉⵏ ⵉⴳⵣⵣⵓⵍⵏ ⴽⵉⴳⴰⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ, ⵎⴰⵛⴰ ⵍⵉⵜⵙ ⴷⴰⵏⵙ ⵜⴳⴰ ⵜⴰⴳⴰⵡⵉⵜ ⵜⴰⵥⵕⴼⴰⵏⵜ. |
But because of its high cost, it failed to make a profit on its first release. | ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵜⵖⵍⵉ ⵏⵏⵙ, ⵓⵔ ⵜⵥⴹⴰⵕ ⴰⴷ ⴷ ⵜⵔⴰⵔ ⵡⴰⵍⵓ ⴳ ⵡⵓⴼⵓⵖ ⵏⵏⵙ ⴰⵎⵣⵡⴰⵔⵓ. |
Then, his wife Phyllis became ill and suddenly died of lung cancer. | ⵉⵎⵉⴽⴽ ⵜⴰⴹⵏ ⵜⵎⵟⵟⵓⴹⵜ ⵏⵏⵙ ⴼⵉⵍⵉⵙ ⵙ ⵏⵉⵜ ⵜⵎⵎⵓⵜ ⵙ ⵍⴽⵓⵏⵙⵉⵔ ⵏ ⵜⵓⵔⵉⵏ. |
Daddy Long Legs only did moderately well at the box office. | ⵜⵖⵓⴷⴰ ⵛⵡⵉⵢ ⵜⴼⵔⵉ ⵏ ⵉⴹⴰⵕⵏ ⵏ ⴱⴰⴱⴰ ⵉⵖⵣⵣⴰⴼⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ. |
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. | ⵓⵍⴰ, ⴰⵙⵏⵜⵉ ⵢⴰⴹⵏ ⵏ ⴰⵙⵜⵉⵔ – ⵉⴳⴰⵏ ⴰⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ ⵏⵏⵙ ⴰⵎⴳⴳⴰⵔⵓⴳ MGM, ⵙⵉⵍⴽ ⵙⵜⵓⴽⵉⵏⴳ (1957), ⵏⵏⴰ ⴳ ⵢⴰⵎⵓ ⵏⵜⵜⴰ ⴷ ⴽⵢⴷ ⵛⴰⵔⵉⵙ, ⵉⵕⵥⴰ ⴰⵡⴷ ⴳ ⴽⵉⴳⴰⵏ ⵏ ⵉⴷⵔⵉⵎⵏ ⴳ ⵓⵙⵉⵔⴰ ⵏ ⵜⵏⴼⵓⵍⵉⵏ. |
"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.""" | ⴰⵎⵣⵡⴰⵔⵓ ⴳ ⵉⵖⴰⵡⴰⵙⵏ ⴰⴷ, ⵢⴰⵏ ⵢⵉⴹ ⴷ ⴼⵔⵉⴷ ⴰⵙⵜⵉⵔ ⴳ 1958, ⵢⵓⵡⵉ ⵜⵥⴰ ⵏ ⵜⵙⵎⵖⵓⵔⵉⵏ ⵏ ⵉⵎⵎⵉ, ⴳ ⵉⵍⵍⴰ ""ⵓⵙⵡⵓⵔⵉ ⴰⵎⵓⴼⴰⵢ ⵏ ⵓⵙⵎⴷⴰⵢ ⴰⵎⵥⵍⴰⵢ"" ⴷ ""ⵓⵖⴰⵡⴰⵙ ⴰⵎⵓⴼⴰⵢ ⴰⵎⵥⵍⴰⵢ ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⴰⴷ."" |
"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." | "ⴰⵙⵜⴰⵢ ⴰⴷ ⵖⵓⵔⵙ ⵜⵎⵔⴰⵔⵓⵜ ⵜⵓⴽⵕⵉⴹⵜ ⵉⵙⵙⵔⵄⴰⴱⵏ ⴰⵛⴽⵓ ⴽⵉⴳⴰⵏ ⵉⵖⴰⵍ ⵎⴰⵙ ⴷ ⴰⵕⴽⴽⴹ ⵏⵏⵙ ⴳ ⵓⵎⵉⵥⴰⵕ ⴰⵎⵥⵍⴰⵢ ⵓⵔ ⵉⴳⵉ ⵙⴳ ⵡⴰⵏⴰⵡ ⵏ ⵓⵙⵎⴷⵢⴰ ⵏⵏⴰ ⵅⴼ ⵜⵜⵓⵙⵖⴰⵡⵙ ⵜⵙⵎⵖⵓⵔⵜ." |
They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage. | ⵔⵓⵔⴰⵏⴷ ⴰⵖⵔⴰⵡ ⵏ ⵓⴼⵉⴷⵢⵓ ⴰⵥⵖⵓⵔⴰⵏ, ⵉⵙⵎⵓⵜⵜⵉ ⵜⵓⵎⴰⵢⵉⵏ ⵏⵏⵙ ⵙ ⵢⴰⵜ ⵜⴰⵍⵖⴰ ⵜⴰⵜⵔⴰⵔⵜ ⵉⵇⵇⵏ ⴰⵙ ⵜⵉⵕⵥⵉⵡⵉⵏ ⵏⵏⴰ ⴳ ⵓⵔ ⵉⵃⵍⵉ ⵓⵖⵔⴰⵡ ⵙ ⵜⵡⵍⴰⴼⵉⵏ ⴳ ⵓⵖⵔⴰⵡ ⵏ ⵙⵙⵉⵏⵉⵎⴰ. |
Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969. | ⵉⴼⴼⵖⴷ ⴰⵙⵜⵉⵔ ⴳ ⵜⵎⵍⴰⵍⵉⵏ ⵓⵔ ⵉⴳⵉⵏ ⵜⵉⵕⴽⴽⴰⴹⵉⵏ ⴳ ⴽⵕⴰⴹ ⵉⴼⵉⵍⵎⵏ ⵢⴰⴹⵏ ⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵙⴷⴷⵉⵜⵏ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵙⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1957 ⴰⵔ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1969. |
Astaire's dance partner was Petula Clark, who played his character's skeptical daughter. | ⴰⵎⵙⵙⵓⵔ ⵏ ⴰⵙⵜⵉⵔ ⴳ ⵓⵕⴽⴰⴹ ⵜⴳⴰ ⵜⵜ ⴱⵉⵜⵓⵍⴰ ⴽⵍⴰⵔⴽ, ⵏⵏⴰ ⵢⵓⵔⴰⵔⵏ ⴰⵡⵔⵉⴽ ⵏⵏⵙ ⵜⴰⵔⴱⴰⵜ ⵜⴰⵎⵛⴽⴰⴽⵜ. |
Astaire continued to act in the 1970s. | ⵉⵙⵙⵓⴷⴰ ⴰⵙⵜⵉⵔ ⴳ ⵜⵡⵓⵔⵉ ⴳ 1970s. |
In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film. | ⴳ ⵜⵔⴰⴱⴱⵓⵜ ⵜⵉⵙ ⵙⵏⴰⵜ, ⵖⵓⵔⵙ ⵙⴰⵎⵔⴰⵡ ⴷ ⵚⴹⵉⵚ ⵏ ⵓⵙⴳⴳⵯⴰⵙ, ⵉⵙⵎⵔⵙ ⴰⵕⴽⴰⴹ ⵉⴳⵣⵣⵓⵍⵏ ⵏⵜⵜⴰ ⴷ ⴽⵉⵍⵉ, ⴰⴼⵙⴰⵔ ⵏⵏⵙ ⵏ ⵓⵕⴽⴰⴹ ⴰⵎⴳⴳⴰⵔⵓ ⴳ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⵏ ⵓⵥⴰⵡⴰⵏ. |
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. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1978, ⵉⴷⵔⴰ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵎⵇⵇⵔⴰⵏⵜ ⴷ ⵀⵉⵍⵉⵏ ⵀⴰⵢⵙ ⴳ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⴰⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏⵉⵢ ⵏⵏⴰ ⵉⵙⵙⵓⵙⵎⵏ ⴽⵉⴳⴰⵏ ⴰ ⴼⴰⵎⵉⵍⵉ ⵓⴱⵙⴰⵢⴷ ⴷⴰⵡⵏ ⵏⵏⴰ ⴳ ⴰⵓⵔⴰⵔⵏ ⵙⵉⵏ ⵉⵡⵙⵙⴰⵔⵏ ⵢⵓⵡⵍⵏ ⴰⵔ ⵜⵜⵏⴰⵖⵏ ⴷ ⵢⴰⵏ ⵡⴰⴷⴷⴰⴷ ⴰⴷⵓⵙⴰⵏ ⵓⵔ ⵉⵃⵍⵉⵏ. |
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. | ⵉⵜⵜⵔ ⴰⵙⵜⵉⵔ ⵙⴳ ⵓⵎⵙⴽⴰⵔ ⵏⵏⵙ ⴰⴷ ⵢⴰⵎⵥ ⵢⴰⵜ ⵜⵉⵍⴰⵍⵜ ⴳ ⴳⴰⵍⴰⴽⵜⵉⴽⴰ ⴰⵛⴽⵓ ⵔⴰⵏ ⵡⴰⵢⵢⴰⵡⵏ ⵏⵏⵙ ⴰⵙⴷⴷⵉ ⴷ ⵉⵎⵙⵢⴰⴼⵓⵜⵏ ⵎⴷⵣⵏ ⵙ ⵓⵣⵎⵣ ⵏ ⵓⵙⵏⵓⵍⴼⵓ ⵏ ⵢⴰⵜ ⵜⵏⴷⵔⵜ ⵉⵙⵎⴷⵏ ⴰⴷ ⵜ ⵙⵢⵓⵙⵙⵏⵏ. |
"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." | "ⴹⴰⵕⵜ ⵢⴰⵏ ⵓⵣⵎⵣ ⵉⵖⵣⵣⵉⴼⵏ ⵏ ⵓⵙⵎⴰⴷ ⵏ ⵓⵙⵡⵍⴼ ⵏ ⵓⵎⴹⴰⵏ ⵏ ⵓⵕⴽⴽⴹ ⴰⵎⵢⵉⵡⵏ ""ⵔⵉⵖ ⴰⴷ ⴳⵖ ⴰⵔⴳⴰⵣ ⴰⵎⵕⴽⴰⴹ"" ⵉⵜⵜⵓⵙⵎⴰⴷⵏ ⵉ ⵓⴼⵉⵍⵎ ⴰⵖⵣⵣⴰⴼ ⴳ 1952 ⵜⵉⵎⵃⵍⵉⵜ ⵏ ⵏⵢⵓⵢⵓⵕⴽ, ⵉⵜⵜⵓⵖⵜⵙ ⵎⴰⵙ ⴷ ⵜⵉⵎⵍⵙⴰ ⵏ ⴰⵙⵜⵉⵔ ⵜⵉⵎⴰⵏⵓⵣⵉⵏ ⴷ ⵜⵔⴰⴱⴱⵓⵜ ⵏ ⵓⵎⵣⴳⵓⵏ ⵜⴰⵎⵓⵃⵓⵍⵜ ⴷ ⴰⴷ ⴰⵍⵙⵏ ⵉ ⵓⵙⵡⵍⴼ ⵏ ⵓⵙⵏⵙⵍ ⴽⵓⵍⵍⵓ." |
Frame for frame, the two performances are identical, down to the subtlest gesture. | ⴰⵙⴰⵜⵉ ⵉ ⵓⵙⴰⵜⵉ, ⵉⴼⵙⴰⵔⵏ ⵙ ⵙⵉⵏ ⴰⴽⵙⵓⵍⵏ, ⴰⵔ ⵜⵉⴼⵔⴰⵙ ⵜⵉⵎⵥⵥⵢⴰⵏⵉⵏ. |
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. | ⵜⴰⵎⴰⵎⴽⵜ ⵏⵏⵙ ⴳ ⵓⵕⴽⴰⴹ ⵜⵜⵅⵣⵙⵙⵣⵏ ⵙ ⵓⵥⵍⴰⵢ ⴷ ⵜⵟⵟⴰⵚ ⵜⴰⵎⴰⵎⴽⵜ ⵜⴰⵎⵉⵔⵉⴽⴰⵏⵉⵢⵜ ⵙⵎⵓⵜ ⵉ ⵓⵕⴽⴰⴹ ⵏ ⵜⴷⴰⵍⴰ ⵉⵙⵔⵙ ⵉⵙⴱⴷⴰⴷⵏ ⵏⵏⴰ ⵅⴼ ⵔⴰⴷ ⵜⵜⵓⵏⴱⴰⴹⵏⵜ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵜⵉⵥⴰⵡⴰⵏⵉⵏ ⵏ ⵓⵕⴽⴰⴹ ⵏ ⵉⴼⵉⵍⵎⵏ ⴷ ⵉⴷⴷⴰⵏ. |