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He notes Astaire's dance style was consistent in subsequent films made with or without the assistance of Pan. | ⵉⵙⵙⴽⵏ ⵎⴰⵙ ⴷ ⵜⴰⵎⴰⵎⴽⵜ ⵏ ⵓⵕⴽⴰⴹ ⵏ ⴰⵙⵜⵉⵔ ⵜⵇⵇⵉⵎⴰ ⴳ ⵉⴼⵉⵍⵎⵏ ⵉⵜⵜⵓⴼⴰⵔⵙⵏ ⵏⵏⴰ ⴷ ⵉⴹⴼⴰⵕⵏ ⵙ ⵓⵎⵢⴰⵡⴰⵙ ⵏ ⴱⴰⵏⵏⵖ ⴱⵍⴰ ⵏⵏⵙ. |
"However, this was almost always confined to the area of extended fantasy sequences, or ""dream ballets""." | "ⵉⵎⵉⵍ, ⵉⵇⵇⵉⵎⴰ ⵓⵢⵏⵏⴰⵖ ⴰⴱⴷⴰ ⵉⵏⴳⵔ ⵉⵙⵏⵙⵍⵏ ⵉⵎⴰⵔⵓⵔⵏ, ⵏⵖ ⴷ ""ⴱⴰⵍⵉ ⴷⵔⵉⵎ""." |
"Later in life, he admitted, ""I had to do most of it myself.""" | "ⴳ ⵢⴰⵏ ⵓⵣⵎⵣ ⴰⵎⴹⴼⵕ ⴳ ⵜⵓⴷⵔⵜ ⵏⵏⵙ, ⵉⵇⵔⵔⴰ, ⴰⵎⴰⵜⴰ ⴷⵉⴽⵙⵏⵜ """ⵉⵅⵙⵙ ⴰⴷ ⵜⵏⵜ ⵙⵙⴽⵔⵖ ⵉ ⵉⵖⴼ ⵉⵏⵓ.""" |
"Many dance routines were built around a ""gimmick,"" like dancing on the walls in Royal Wedding or dancing with his shadows in Swing Time." | "ⵜⵜⵓⵚⴽⴰⵏ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵉⵥⴰⵕ ⵏ ⵓⵕⴽⴽⴹ ⵅⴼ ""ⴳⵉⵎⵎⵉⴽ,"" ⵣⵓⵏⴷ ⴰⵕⴽⴽⴹ ⵅⴼ ⵉⴳⵓⴷⴰⵔ ⴳ ⵜⵎⵖⵔⴰ ⵏ ⵓⴳⵍⵍⵉⴷ ⵏⵖⴷ ⴰⵕⴽⴰⴹ ⴳ ⵙ ⵉⵎⵓⵍⴰ ⵏⵏⵙ ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵊⵄⵍⵓⵍⵍ." |
They would work with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators. | ⴰⵔ ⵙⵡⵓⵔⵉⵏ ⴷ ⴰⵎⵖⵏⵏⵊ ⵏ ⵓⴱⵢⴰⵏⵓ ⴰⵏⴰⵔⴰⵎ (ⵙ ⵓⵎⴰⵜⴰ ⴰⵎⵙⵏⴰⵢ ⵀⴰⵍ ⴱⵓⵕⵏ) ⵏⵏⴰ ⵉⵜⵜⴰⵡⵉⵏ ⵉⵙⵏⴼⵍⵏ ⵉ ⵉⵎⵣⴷⴰⵢⵏ ⵏ ⵓⵥⴰⵡⴰⵏ. |
With all the preparation completed, the actual shooting would go quickly, conserving costs. | ⵉⴳ ⵙⵎⴷⵏ ⵉⵙⵎⵓⵜⵜⵓⴳⵏ, ⴷⴰ ⵙⵙⵏⵜⴰⵢⵏ ⴰⵙⵓⵍⴼ ⵏ ⵜⵉⴷⵜⵜ ⴼⵉⵙⴰⵄ, ⴰⵢⴰⵏⵏ ⴰⴷ ⵉⵙⵙⴷⵔⵓⵙⵏ ⴰⵜⵉⴳⵏ. |
"He will not even go to see his rushes... He always thinks he is no good.""" | "ⵓⵔ ⵉⵏⵏⵉ ⴰⴷ ⵉⴷⴷⵓ ⴰⵔ ⴷ ⵉⵥⵕ ⴰⴼⴼⴰⴼⵏ ⵏⵏⵙ... ⴷⴰ ⵉⵜⵜⵉⵖⵉⵍ ⴰⴱⴷⴰ ⵉⵙ ⵓⵔ ⵉⵃⵍⵉ.""" |
Michael Kidd, Astaire's co-choreographer on the 1953 film The Band Wagon, found that his own concern about the emotional motivation behind the dance was not shared by Astaire. | ⵢⵓⴼⴰ ⵎⴰⵢⴽⵍ ⴽⵉⴷ, ⴰⵎⵙⵖⵉⵡⵙ ⵏ ⵉⵕⴽⴰⴹⵏ ⵢⴰⵎⵓⵏ ⴳ ⴰⵙⵜⵉⵔ ⴳ ⵓⴼⵉⵍⵎ ⵏ ⵜⵓⵍⴷⵉⵜ ⵏ ⵜⵔⴰⴱⴱⵓⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1953, ⵎⴰⵙ ⴷ ⴰⵎⵏⵓⵙ ⵏⵏⵙ ⵜⴼⵔⴰⵙ ⴹⴰⵕⵜ ⵓⵕⴽⴰⴹ ⵓⵔ ⵜ ⴷⵉⴷⵙ ⵉⴷⵔⵉ ⴰⵙⵜⵉⵔ. |
"Let's add the looks later.' """ | "ⴰⴷⵊⴰⵜ ⴰⵖ ⵜⵉⴼⵔⵉⵙⵉⵏ ⴰⵔⴷ ⵓⴽⴰⵏ.' """ |
"Irving Berlin considered Astaire the equal of any male interpreter of his songs—""as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song." | "ⵉⵙⴰⴽⵙⵓⵍ ⵉⵔⴼⵉⵏⴳ ⴱⵉⵔⵍⵉⵏ ⴰⵙⵜⵉⵔ ⴷ ⴽⵔⴰⵏ ⵓⵎⵙⵓⵖⵍ ⴰⵡⵜⵎⴰⵏ ⵏ ⵉⵖⵏⵏⵉⵊⵏ ⵏⵏⵙ—""ⵙ ⵜⵕⵡⵉ ⵏ ⵊⵓⵍⵙⵓⵏ, ⴽⵕⵓⵙⴱⵉ ⵏⵖⴷ ⵙⵉⵏⴰⵜⵔⴰ, ⵓⵔ ⵉⴷ ⵙ ⵜⵎⵏⵜⵉⵍⵜ ⵏ ⵓⴳⵕⴹ ⵏⵏⵙ, ⵎⴰⵛⴰ ⵙ ⵜⴰⵏⵏⴰⵢⵜ ⵏⵏⵙ ⵉ ⵓⴼⵙⴰⵔ ⵏ ⵓⵖⵏⵏⵉⵊ." |
In his heyday, Astaire was referenced in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters. | ⴳ ⵓⵙⵡⵉⵔ ⵏⵏⵙ ⴰⵏⴰⴼⵍⵍⴰ, ⵙⴰⵡⵍⵏ ⵅⴼ ⴰⵙⵜⵉⵔ ⴳ ⵉⵡⴰⵍⵉⵙⵏ ⵏ ⵉⵎⵢⵓⵔⴰ ⴷ ⵉⵎⵙⵏⴰⵢⵏ ⴽⵓⵍ ⴱⵓⵔⵜⵔ, ⵍⵓⵕⵏⵣ ⵀⴰⵕⵜ ⴷ ⵉⵔⵉⴽ ⵎⴰⵛⵡⵉⵜⵣ ⵉⵙⵓⵍ ⴷⴰ ⵢⴰⴽⴽⴰ ⵓⵍⵎⴰⵏ ⵉ ⵉⵎⵢⵓⵔⴰ ⵏ ⵉⵖⵏⵏⵉⵊⵏ ⵉⵜⵔⴰⵔⵏ. |
During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. | ⴳ 1952, ⵉⵣⵎⵎⴻⵎ ⴰⵙⵜⵉⵔ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⴰⵙⵜⵉⵔ,ⵢⴰⵏ ⵡⴰⵍⴱⵓⵎ ⵏ ⴽⴽⵓⵥ ⵏ ⵜⴼⵓⵍⵉⵏ ⴷ ⵢⴰⵜ ⵜⵙⵎⵎⵓⵙⵜ ⵉⵙⵡⴰⴷⵙ ⵓⵙⴽⴰⵕ ⵃⵉⵜⵉⵔⵙⵓⵏ. |
Bogart began acting in Broadway shows, beginning his career in motion pictures with Up the River (1930) for Fox and appeared in supporting roles for the next decade, sometimes portraying gangsters. | ⵉⵙⵙⵏⵜⵉ ⴱⵓⴳⴰⵔⵜ ⴳ ⵓⵙⵎⴷⵢⴰ ⴳ ⵉⵎⵉⵥⴰⵕ ⵏ ⴱⵕⵓⴷⵡⴰⵢ, ⵉⵙⵙⵏⵜⵉ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⴳ ⵉⵡⵍⴰⴼⵏ ⵉⵜⵜⵎⵓⵙⵙⵓⵏ ⴷ ⴰⵙⵉⴼ ⴰⵎⴰⵜⵓⵢ (1930) ⵉ ⴼⵓⴽⵙ ⴷ ⵉⵙⵙⵏⵜⵉ ⵜⵉⵍⴰⵍ ⵏ ⵜⵏⴰⵍⵉⵜ ⴳ ⵎⵔⴰⵡ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⴷ ⵉⴷⴷⴰⵏ, ⴰⵔ ⵉⵙⵡⵍⴰⴼ ⴽⵔⴰ ⵏ ⵜⵉⴽⴽⴰⵍ ⵉⵎⵔⵜⵜⴰⵍⵏ. |
Bogart's private detectives, Sam Spade (in The Maltese Falcon) and Phillip Marlowe (in 1946's The Big Sleep), became the models for detectives in other noir films. | ⴳⴰⵏ ⵉⵎⵔⵣⴰ ⵉⵎⵍⴰⵢ ⵏ ⴱⵓⴳⴰⵔⵜⵙ, ⵙⴰⵎ ⵙⴱⴱⵉⴷ (ⴳ ⵓⴼⵉⵍⵎ ⵍⴱⴰⵣ ⴰⵎⴰⵍⵜⵉⵢ) ⴷ ⴼⵉⵍⵉⴱ ⵎⴰⵍⵓⵡ (ⵉⴹⵙ ⴰⵅⴰⵜⴰⵔ ⴳ 1946), ⴷ ⵉⵎⴷⵢⴰⵜⵏ ⵏ ⵉⵎⵔⵣⴰ ⴳ ⵉⴼⵉⵍⵎⵏ ⵏ ⵏⵓⵢⵕ ⵢⴰⴹⵏ. |
Soon after the principal photography for The Big Sleep (1946, their second film together), he filed for divorce from his third wife and married Bacall. | ⵢⴰⵏ ⵓⵣⵎⵣ ⵉⴷⵔⵓⵙⵏ ⴹⴰⵕⵜ ⵓⵙⵡⵍⴼ ⴰⴷⵙⵍⴰⵏ ⵏ ⵉⴹⵙ ⴰⵅⴰⵜⴰⵔ (ⴰⴼⵉⵍⵎ ⵏⵏⵙⵏ ⵙ ⵙⵉⵏ, 1946), ⵉⵙⵙⵓⵜⵔ ⵙⴳ ⵜⵎⵟⵟⵓⴹⵜ ⵏⵏⵙ ⵜⵉⵙ ⴽⵕⴰⴹⵜ ⵢⴰⵡⵍ ⴱⴰⴽⴰⵍ. |
He reprised those unsettled, unstable characters as a World War II naval-vessel commander in The Caine Mutiny (1954), which was a critical and commercial hit and earned him another Best Actor nomination. | ⵢⵓⵍⵙ ⴰⵙⵎⴷⵢⴰ ⵉ ⵉⵡⵔⵉⴽⵏ ⵓⵔ ⵉⵏⵥⵉⵥⵏ ⴷ ⴰⵎⵓⵣⵔ ⵏ ⵓⵖⵔⵔⴰⴱⵓ ⴳ ⵉⵎⵏⵖⵉ ⴰⵎⴰⴹⵍⴰⵏ II ⴳ ⴰⵖⵡⵡⵖ ⵏ ⴽⵉⵢⵏ (1954), ⵏⵏⴰ ⵉⵍⴰⵏ ⴰⵎⵓⵔⵙ ⴰⵏⵙⴱⴰⴱ ⴷ ⵓⵥⵕⴼⴰⵏ ⵏⵏⴰ ⵎⵉ ⵉⵜⵜⵉⴼⴽⴰ ⵓⵙⵜⴰⵢ ⵢⴰⴹⵏ ⵏ ⵓⵙⵎⴷⵢⴰ ⴰⵎⵓⴼⴰⵢ. |
"The name ""Bogart"" derives from the Dutch surname, ""Bogaert""." | "ⵉⵙⵎ ""ⴱⵓⴳⴰⵔⵜ"" ⴷ ⴰⵏⴰⴼⵓⵖ ⵏ ⵜⵏⵇⵇⵓⴱⵜ ⵜⴰⵀⵓⵍⴰⵏⴷⵉⵢⵜ ""ⴱⵓⴳⴰⵔⵜ""." |
Maud was an Episcopalian of English heritage, and a descendant of Mayflower passenger John Howland. | ⵉⴳⴰ ⵡⴰⵣ ⵢⴰⵏ ⵓⴽⵀⵀⴰⵏ ⵙⴳ ⵡⴰⵢⴷⴰ ⴰⵏⴳⵍⵉⵣⵉⵢ ⵙⴳ ⵎⴰⵢⴼⵍⵄⵡⵉⵔ ⴱⴰⵙⴰⵏⵊⵉⵔ ⵊⵓⵏ ⵀⵓⵡⵍⴰⵏⴷ. |
"Clifford McCarty wrote that Warner Bros. publicity department had altered it to January 23, 1900 ""to foster the view that a man born on Christmas Day couldn't really be as villainous as he appeared to be on screen""." | ⵢⴰⵔⵓ ⴽⵍⵉⴼⵓⵕⴷ ⵎⴰⴽⴰⵔⵜⵉ ⵎⴰⵙ ⴷ ⵜⴰⵣⵓⵏⵉ ⵏ ⵓⵙⵓⵙⵙⵏ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵡⴰⵕⵏⵔ ⴱⵕⵓⵙ. ⵉⵜⵜⵓⵙⵏⴼⵍ ⵖⵔ 23 ⵉⵏⵏⴰⵢⵔ, 1900 ""ⴰⴷ ⵢⴰⵡⵙ ⴰⵎⵏⴰⴷ ⵏⵏⴰ ⵉⵜⵜⵉⵏⵉⵏ ⵉⵙ ⴷ ⴰⵔⴳⴰⵣ ⵉⵍⵓⵍⵏ ⴳ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⵄⵉⵙⴰ ⵓⵔ ⵉⵏⵏⵉ ⴰⴷ ⵉⴳ ⵢⴰⵏ ⵓⵔ ⵉⵃⵍⵉⵏ ⵎⴽⵉ ⵏⵏⴰ ⵉⵙⵎⵏⵉⴷ ⵓⵎⵉⵥⴰⵕ""." |
Lauren Bacall wrote in her autobiography that Bogart's birthday was always celebrated on Christmas Day, saying that he joked about being cheated out of a present every year. | ⵜⴰⵔⵓ ⵍⵓⵔⵉⵏ ⴱⴰⴽⴰⵍ ⴳ ⵜⵔⵉⴷⵉⵔⵜ ⵏⵏⵙ ⵜⴰⵏⵉⵎⴰⵏⵜ ⵎⴰⵙ ⴷⴰ ⵉⵜⵜⵓⵙⴼⵓⴳⵍⵓ ⵙ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⴱⵓⴳⴰⵔⵜ ⴳ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⵄⵉⵙⴰ, ⵜⵏⵏⴰ ⵎⴰⵙ ⴷⴰ ⵉⵜⵜⴹⵚⴰ ⵅⴼ ⵜⵓⴽⴽⵏⴷⴰ ⵏⵏⵙ ⴳ ⵜⵔⵣⵣⵉⴼⵜ ⵏ ⴽⵓ ⴰⵙⴳⴳⵯⴰⵙ. |
Maud was a commercial illustrator who received her art training in New York and France, including study with James Abbott McNeill Whistler. | ⵜⴳⴰ ⵎⵓⴷ ⵜⴰⵏⴼⵔⵉⵙⵜ ⵜⴰⵏⵙⴱⴰⴱⵜ ⵉⵜⵜⵓⵙⵎⵓⵜⵜⴳⵏ ⴳ ⵏⵢⵓⵢⵓⵕⴽ ⴷ ⴼⵕⴰⵏⵙⴰ, ⴰⵡⴷ ⵜⵉⵖⵔⵉ ⴷ ⵊⵉⵎⵙ ⴰⴱⴱⵓⵜ ⵎⴽⵏⵉⵍ ⵡⵉⵙⵜⵍⵕ. |
She earned over $50,000 a year at the peak of her career – a very large sum of money at the time, and considerably more than her husband's $20,000. | ⵜⵓⵡⵉ ⵓⴳⴳⴰⵔ ⵏ $50,000 ⵉ ⵓⵙⴳⴳⵯⴰⵙ ⴳ ⵉⵅⴼ ⵏ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ – ⴷ ⴰⵎⴹⴰⵏ ⴰⵅⴰⵜⴰⵔ ⵏ ⵉⴷⵔⵉⵎⵏ ⴳ ⵓⵣⵎⵣ ⵏⵏⴰⵖ, ⵓⴳⴳⴰⵔ ⵏ $20,000 ⵏ ⵉⵔⴳⴰⵣ ⵏⵏⵙ. |
"He had two younger sisters: Frances (""Pat"") and Catherine Elizabeth (""Kay"")." | "ⵍⵍⴰⵏⵜ ⵖⵓⵔⵙ ⵙⵏⴰⵜ ⵜⴰⵡⵎⴰⵜⵉⵏ ⵜⵉⵎⵥⵥⵢⴰⵏⵉⵏ: ⴼⵕⴰⵏⵙⵉⵙ (""ⴱⴰⵜ"") ⴷ ⴽⴰⵜⵔⵉⵏ ⵉⵍⵉⵣⴰⴱⵉⵜ (""ⴽⴰⵢ"")." |
A kiss, in our family, was an event. | ⵜⵉⵎⵉⵜⵜ, ⴳ ⵜⴰⵡⵊⴰ ⵏⵏⵖ, ⵜⵙⵜⴰⵡⵀⵎⵎⴰ. |
He inherited a tendency to needle, a fondness for fishing, a lifelong love of boating, and an attraction to strong-willed women from his father. | ⵉⴽⴽⵓⵙ ⵙⴳ ⴱⴰⴱⴰⵙ ⴰⵃⴰⵕⵙ ⵙ ⵜⵉⵙⵙⵎⵉ, ⵉⵎⵎⵓⵜ ⵅⴼ ⵓⴳⵎⴰⵔ ⵏ ⵉⵙⵍⵎⴰⵏ, ⵜⴰⵢⵔⵉ ⵏ ⵜⵏⴰⴽⴰ ⵏ ⵉⵖⵔⵔⵓⴱⴰ ⴰⴱⴷⴰ, ⴷ ⵓⵍⴷⴰⵢ ⵏ ⵜⵡⵜⵎⵉⵏ ⵉⴷ ⵎ ⵜⵉⵔⴰⵜ ⵉⴷⵓⵙⵏ. |
Bogart later attended Phillips Academy, a boarding school to which he was admitted based on family connections. | ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ ⵢⵓⴷⴼ ⴱⵓⴳⴰⵔⵜ ⵙ ⵜⴽⴰⴷⵉⵎⵉⵢⵜ ⵏ ⴼⵉⵍⵉⴱⵙ, ⵉⴳⴰⵏ ⵜⵉⵏⵎⵍ ⵜⴰⴳⵯⵏⵙⴰⵏⵜ ⴳ ⵜ ⵓⵙⵉⵏ ⵙ ⵉⵎⵢⴰⵙⵙⴰⵜⵏ ⵏ ⵜⴰⵡⵊⵉⵡⵉⵏ. |
Several reasons have been given; according to one, he was expelled for throwing the headmaster (or a groundskeeper) into Rabbit Pond on campus. | ⵜⵜⵓⴼⴽⴰⵏⵜ ⴽⵉⴳⴰⵏ ⵏ ⵜⵎⵏⵜⵉⵍⵉⵏ; ⵏⵉⵍ ⵢⴰⵜ ⴷⵉⴳⵙⵏⵜ, ⵥⵥⵄⵏ ⵜ ⵉⴷⴷⵖ ⵉⴳⵔ ⴰⵏⵎⵀⴰⵍ ⵏ ⵜⵉⵏⵎⵍ (ⵏⵖⴷ ⴰⵏⴹⴰⴼ) ⵙ ⴰⴳⵍⵎⴰⵎ ⵏ ⵉⵇⵏⵉⵏⵏ ⴳ ⵜⵙⴷⴰⵡⵉⵜ. |
He then volunteered for the Coast Guard Temporary Reserve in 1944, patrolling the California coastline in his yacht, the Santana. | ⵉⵎⵉⴽ ⵉⵎⵅⵙ ⵉ ⵉⵏⴹⴰⴼⵏ ⵏ ⵢⵉⵍⵍ ⵉⴽⵓⴷⴰⵏⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1944, ⵉⵙⵙⴽⵔ ⴽⵔⴰ ⵏ ⵜⵎⵜⴻⵜⵜⴰⵢⵉⵏ ⴳ ⵢⵉⵍⵍ ⵏ ⴽⴰⵍⵉⴼⵓⵕⵏⵢⴰ ⵙ ⵓⵖⵔⵔⴰⴱⵓ ⵏⵏⵙ, ⵙⴰⵎⴰⵏⵟⴰ. |
In one, his lip was cut by shrapnel when his ship (the ) was shelled. | ⴳ ⵢⴰⵜ ⴷⵉⴳⵙⵏⵜ, ⵉⵜⵜⵓⴹⴰⵚ ⵡⴰⵏⵛⵓⵛ ⵏⵏⵙ ⵙ ⵉⴼⵟⵟⵉⵡⵊ ⵍⵍⵉ ⴳ ⵉⵜⵜⵡⴰⵜ ⵓⵖⵕⵕⴰⴱⵓ ⵏⵏⵙ. |
While changing trains in Boston, the handcuffed prisoner reportedly asked Bogart for a cigarette. | ⴳ ⵜⵉⵣⵉ ⵏ ⵓⵙⵏⴼⵍ ⵏ ⵉⵍⴰⵡⴰⵢⵏ ⴳ ⴱⵓⵙⵟⵓⵏ, ⵉⵜⵜⵔ ⴰⵙ ⵓⵏⵃⴱⴰⵙ ⵎⵉ ⵜⵜⵓⴽⵔⴰⴼⵏ ⵉⴼⴰⵙⵙⵏ ⴰⴳⵉⵕⵕⵓ ⵉ ⴱⵓⴳⴰⵔⵜ. |
By the time Bogart was treated by a doctor, a scar had formed. | ⴳ ⵜⵉⵣⵉ ⵏⵏⴰ ⴳ ⵉⵙⵙⵓⵊⵉ ⵓⵎⵙⴳⵏⴰⴼ ⴱⵓⴳⴰⵔⵜ, ⵉⵜⵜⵓⵙⴽⴰⵔ ⴷⵉⴳⵙ ⵓⵣⵎⵓⵍ. |
"Instead of stitching it up, he screwed it up.""" | "ⴳ ⵓⴷⵖⴰⵔ ⵏ ⵡⴰⴷ ⵜ ⵉⴳⵏⵓ, ⵉⵙⵅⵙⵔ ⵜ.""" |
His character and values developed separately from his family during his navy days, and he began to rebel. | ⵉⴱⵓⵖⵍⴰ ⵓⵡⵔⵉⴽ ⵏⵏⵙ ⴷ ⵡⴰⵣⴰⵍⵏ ⵏⵏⵙ ⴳ ⵉⵜⵜⵓⵥⵍⴰⵢ ⵅⴼ ⵜⴰⵡⵊⴰ ⵏⵏⵙ ⴳ ⵡⵓⵙⵙⴰⵏ ⵏⵏⴰ ⵉⵣⵣⵔⵉ ⴳ ⵜⵢⵍⴰⵏⵜ, ⴷ ⵉⵙⵙⵏⵜⵉ ⴰⵖⵡⵡⵖ. |
Bogart resumed his friendship with Bill Brady Jr. (whose father had show-business connections), and obtained an office job with William A. Brady's new World Films company. | ⵉⵙⵙⵓⴷⴰ ⴱⵓⴳⴰⵔⵜ ⴳ ⵜⵉⴷⴷⵓⴽⵍⴰ ⵏⵏⵙ ⴳ ⴱⵉⵍ ⴱⵕⴰⴷⵉ ⵊⵓⵏⵢⵓⵕ (ⵏⵏⴰ ⵎⵉ ⵉⵍⴰ ⴱⴰⴱⴰⵙ ⵉⵣⴷⴰⵢⵏ ⵉⵏⵙⴱⴰⴱⵏ ⵉⵎⵉⵥⴰⵕⵏ), ⵢⴰⵎⵥ ⵢⴰⵜ ⵜⵡⵓⵔⵉ ⵜⴰⵙⵉⵔⴰⵏⵜ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⵎⴰⴹⵍⴰⵏⵏ ⵉⵎⴰⵢⵏⵓⵜⵏ ⵖⵔ ⵡⵉⵍⵢⴰⵎ A. ⴱⵕⴰⴷⵉⵙ. |
He made his stage debut a few months later as a Japanese butler in Alice's 1921 play Drifting (nervously delivering one line of dialogue), and appeared in several of her subsequent plays. | ⴹⴰⵕⵜ ⵉⴷⵙⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵉⴼⴼⵖ ⴷ ⵜⵉⴽⴽⵍⵜ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⴳ ⵓⵎⵣⴳⵓⵏ ⴷ ⴰⵅⴷⴷⴰⵎ ⴰⵢⴰⴱⴰⵏⵉⵢ ⴳ ⵜⵎⵣⴳⵓⵏⵜ ⴰⵍⵉⵙ ⴷⵔⵉⴼⵜⵉⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1921 (ⵉⵜⵜⵡⴰⵏⵏⴰ ⵢⴰⵏ ⵓⵣⵔⵉⵔⴳ ⴳ ⵓⵎⴰⵡⴰⵍ ⵙ ⵣⵣⵄⴰⴼ), ⵜⴼⴼⵖⴷ ⴳ ⴽⵉⴳⴰⵏ ⵏ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵏⵏⵙ ⴷ ⵉⴷⴷⴰⵏ. |
A barroom brawl at this time was also a purported cause of Bogart's lip damage, dovetailing with Louise Brooks' account. | ⵉⴳⴰ ⴰⵡⴷ ⵉⵎⵏⵖⵉ ⴳ ⵍⴱⴰⵔ ⴳ ⵜⵉⵣⵉ ⵏⵏⴰⵖ ⵜⴰⵎⵏⵜⵉⵍⵜ ⵉⵙⵅⵙⵔⵏ ⴰⵏⵛⵓⵛ ⵏ ⴱⵓⴳⴰⵔⵜ, ⵉⵎⴽⵉ ⵏⵏⴰ ⵉⵏⵏⴰ ⵍⵡⵉⵙ ⴱⵔⵓⴽⵙ. |
"Bogart disliked his trivial, effeminate early-career parts, calling them ""White Pants Willie"" roles." | "ⵓⵔ ⵉⵃⵎⵉⵍ ⴱⵓⴳⴰⵔⵜ ⵜⵉⵍⴰⵍ ⵏⵏⵙ ⵏ ⵉⵖⵉⵊⴱⴰⵏ, ⵉⴳⴰⵏ ⵃⵜⵜⴰ ⴳ ⵜⵉⵣⵡⵓⵔⵉ ⵏ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ, ⴳⴰⵏⵜ ⵖⵓⵔⵙ ⴰⵎ ⵜⵉⵍⴰⵍ ⵏ ""ⵡⴰⵢⵜ ⴱⴰⵏⵜ ⵡⵉⵍⵉ.""" |
Menken said in her divorce filing that Bogart valued his career more than marriage, citing neglect and abuse. | ⵍⵍⵉ ⴳ ⵜⵔⴰ ⵎⵉⵏⴽⵉⵏ ⴰⴷ ⵜⵏⵏⴰⵕⵥⵎ ⵜⵏⵏⴰ ⵎⴰⵙ ⴷ ⴱⵓⴳⴰⵔⵜ ⵉⴼⴽⴰ ⵓⴷⴷⵓⵔ ⵉ ⵜⵡⵓⵔⵉ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ ⵓⴳⴳⴰⵔ ⵏ ⵢⵉⵡⵍ, ⵜⵙⵙⴽⵏ ⵙ ⵓⵡⵏⵓⵍ ⴷ ⵓⵙⵙⵍⴽⵓ. |
There he met Spencer Tracy, a Broadway actor whom Bogart liked and admired, and they became close friends and drinking companions. | ⴷⵉⵏⵏⴰⵖ ⴰⴳ ⵉⵎⵍⴰⵍⴰ ⴷ ⵙⴱⴰⵏⵙⵔ ⵜⵔⴰⵢⵙⵉ, ⴰⵙⵎⴷⵢⴰ ⴳ ⴱⵔⵓⴷⵡⴰⵢ ⵏⵏⴰ ⵉⵔⴰ ⴱⵓⴳⴰⵔⵜ ⵉⵃⵍⵓ ⵖⵓⵔⵙ, ⴳⵏ ⵉⵎⴷⴷⵓⵓⴽⴽⴰⵍ ⴷ ⵉⵙⵎⵓⵏⵏ ⵏ ⵜⵙⵙⵉ. |
Tracy received top billing, but Bogart appeared on the film's posters. | ⵜⵓⵎⵥ ⵜⵔⴰⵢⵙⵉ ⴽⵉⴳⴰⵏ ⵏ ⵜⴼⴰⵜⵓⵔⵉⵏ, ⵎⴰⵛⴰ ⴱⵓⴳⴰⵔⵜ ⵉⴼⴼⵖ ⴷ ⴳ ⵜⵙⵎⵎⴰⵍⵉⵏ ⵏ ⵓⴼⵉⵍⵎ. |
A quarter of a century later, the two men planned to make The Desperate Hours together. | ⴹⴰⵕⵜ ⵔⵔⴱⵄ ⵏ ⵜⵓⵙⵓⵜ, ⵙⵖⴰⵡⵙⵏ ⵉⵔⴳⴰⵣⵏ ⵙ ⵙⵉⵏ ⴰⴷ ⵙⵎⵓⵏⵏ ⵜⵉⵣⵉ ⵏ ⵓⵅⵓⴱ. |
Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, out of work for long periods. | ⴰⵔ ⵉⵜⵜⴷⴷⵓ ⴱⵓⴳⴰⵔⵜ ⴰⵔ ⴷ ⵉⵜⵜⵓⵖⵓⵍ ⵉⵏⴳⵔ ⵀⵓⵍⵉⵡⵓⴷ ⴷ ⵏⵢⵓⵢⵓⵕⴽ ⵙⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1930 ⴰⵔ 1935, ⴱⵍⴰ ⵜⴰⵡⵓⵔⵉ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⵣⵉ. |
"Although Leslie Howard was the star, The New York Times critic Brooks Atkinson said that the play was ""a peach ... a roaring Western melodrama ... Humphrey Bogart does the best work of his career as an actor.""" | ⵎⵇⵇⴰⵔ ⵜⴳⴰ ⵍⵉⵣⵍⵉ ⵀⵄⵡⴰⵔⴷ ⵜⵉⵜⵔⵉⵜ, ⵉⵏⵏⴰ ⵓⵎⴰⵥⴰⵎ ⴳ ⵓⵖⵎⵉⵙ ⵏ ⵏⵢⵓⵢⵓⵕⴽ ⵙⵉⵜⵉ ⵎⴰⵙ ⴷ ⵜⴰⵎⵣⴳⵓⵏⵜ ⵜⴳⴰ ""ⴰⵅⵓⵅ ... ⴰⵎⵉⵍⵓⴷⵔⴰⵎⴰ ⵏ ⵓⵖⵍⴰⵢ ⵉⵙⵖⵓⵢⵢⵓⵏ ... ⴳ ⵉⴳⴰ ⵀⵓⵎⴼⵔⵉ ⴱⵓⴳⴰⵔⵜ ⴰⵎⵙⴷⵢⴰ ⴰⵢⴷ ⵉⵙⵙⴽⵔ ⵜⴰⵡⵓⵔⵉ ⵜⴰⵎⵓⴼⴰⵢⵜ ⴳ ⵜⵓⴷⵔⵜ ⵏⵏⵙ ⵜⴰⵣⵣⵓⵍⴰⵏⵜ. |
Warner Bros. bought the screen rights to The Petrified Forest in 1935. | ⵜⵙⵖⴰ ⵡⴰⵕⵏⵔ ⴱⵕⵓⵙ ⵉⵣⵔⴼⴰⵏ ⵏ ⵓⵎⵉⵥⴰⵕ ⵏ ⵜⴰⴳⴰⵏⵜ ⵉⵇⵇⵓⵔⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1935. |
Howard, who held the production rights, made it clear that he wanted Bogart to star with him. | ⵉⵙⵙⴼⵔⴰ ⵀⴰⵡⴰⵔⴷ, ⵏⵏⴰ ⵎⵉ ⴳⴰⵏ ⵉⵣⵔⴼⴰⵏ ⵏ ⵓⴼⴰⵔⵙ ⵡⵉⵏⵏⵙ, ⵎⴰⵙ ⵉⵔⴰ ⴰⴷ ⵢⵓⵔⴰⵔ ⴷ ⴱⵓⴳⴰⵔⵜ. |
When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart. | ⵍⵍⵉⴳ ⵉⵥⵕⴰ ⵡⴰⵕⵏⵔ ⴱⵕⵓⴷⵔⵣ ⵉⵙ ⵉⵙⵍⵖ ⵀⴰⵡⴰⵔⴷ, ⵔⵔⵉⵣⵏ ⴳⵔⵏ ⴱⵓⴳⴰⵔⵜ. |
"According to Variety, ""Bogart's menace leaves nothing wanting""." | "ⵏⵉⵍ ⴼⴰⵔⵢⵉⵜⵉ, ""ⴰⵙⴷⵉⴷⴷⵉ ⵏ ⴱⵓⴳⴰⵔⵜ ⵓⵔ ⴷⴰ ⵉⵜⵜⴰⴷⵊⴰ ⴰⵡⴷ ⵉⵔⵉ""." |
There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. | ⵉⵅⵙⵙ ⴰⴷ ⵢⵉⵍⵉ ⴽⵔⴰ ⴳ ⵓⴳⵕⴹ ⵉⵏⵓ, ⵏⵖⴷ ⵓⴷⵎ ⴰⴷ ⴰⵎⵥⵥⵏⴳⵕ—ⴽⵔⴰ ⵉⴳⴰⵏ ⵎⴳⴰⵍ ⴽⵓⵍⵍⵓ. |
In spite of his success, Warner Bros. had no interest in raising Bogart's profile. | ⵎⵇⵇⴰⵔ ⵉⵎⵓⵔⵙ, ⵡⴰⵔⵏⵔ ⴱⵕⵓⴷⵔⵣ ⵓⵔ ⵖⵓⵔⵙ ⴰⵙⵎⴽⵍ ⴳ ⵡⴰⵙⴰⵢ ⵏ ⵜⵡⵍⴰⴼⵜ ⵏ ⴱⵓⴳⴰⵔⵜ. |
Bogart used these years to begin developing his film persona: a wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a code of honor. | ⵓⵙⵙⵎⵔⴷ ⴱⵓⴳⴰⵔⵜ ⵉⵙⴳⴳⴰⵙⵏ ⴰⴷ ⵉⵙⴱⵓⵖⵍⵓ ⴰⵡⵔⵉⴽ ⵏⵏⵙ ⴳ ⵓⴼⵉⵍⵎ: ⴰⵎⴰⴳⵓⵙ, ⴰⵔⵉⵡⴰⵇⵉⵢ, ⴰⵎⵟⵏⴰⵥ, ⴰⴳⵣⵣⴰⵏ, ⴰⵎⵓⴷⵔⵓⵙ, ⵉⵟⵟⵏⴰⵥ ⴳ ⵉⵖⴼ ⵏⵏⵙ, ⴷ ⵉⵏⵉⴳⵏ ⵏ ⵡⵓⴷⴷⵓⵔ. |
His disputes with Warner Bros. over roles and money were similar to those waged by the studio with more established and less malleable stars such as Bette Davis and James Cagney. | ⴳⴰⵏ ⵉⵎⵣⴰⵔⴰⵢⵏ ⵏⵏⵙ ⴷ ⵡⴰⵕⵏⵔ ⴱⵔⵓⴷⵔⵣ ⵅⴼ ⵜⵉⵍⴰⵍ ⴷ ⵉⴷⵔⵉⵎⵏ ⴰⵎ ⵡⵉⵏⵏⴰ ⵉⵣⵣⵔⵉ ⵓⵙⵜⵓⴷⵢⵓ ⴷ ⴽⵉⴳⴰⵏ ⵏ ⵉⵜⵔⴰⵏ ⵉⵜⵜⵡⴰⵙⵙⵏ ⴷ ⵉⵛⵇⵇⴰⵏ ⴰⵎ ⴱⵉⵜⵜ ⴷⴰⴼⵉⴷ ⴷ ⵊⵉⵎⵙ ⴽⴰⴳⵏⵉ. |
His only leading role during this period was in Dead End (1937, on loan to Samuel Goldwyn), as a gangster modeled after Baby Face Nelson. | ⴳ ⵜⵉⵣⵉ ⴰⴷ ⵜⵉⵍⴰⵍⵜ ⵏⵏⵙ ⵜⴰⵙⴷⵍⴰⵏⵜ ⴳ ⴷⵉⵢⴷ ⵉⵏⴷ (1937, ⵜⵜⵓⴹⴼⵕ ⵉ ⵙⴰⵎⵡⵉⵍ ⴳⵓⵍⴷⵡⵉⵏ), ⴰⵎ ⵓⵔⴳⴰⵣ ⵏ ⵜⵔⴱⵉⵄⵜ ⵣⵓⵏⴷ ⴱⴰⵢⴱⵉ ⴼⴰⵢⵙ ⵏⵉⵍⵙⵓⵏ. |
"In Black Legion (1937), a movie Graham Greene described as ""intelligent and exciting, if rather earnest"", he played a good man who was caught up with (and destroyed by) a racist organization." | ⴰⴼⵉⵍⵎ ⴱⵍⴰⴽ ⵍⵉⴳⵢⵓⵏ (1937), ⵏⵏⴰ ⵉⵙⵏⵓⵎⵎⵍ ⴳⵔⴰⵀⴰⵎ ⴳⵔⵉⵏ ⵙ ""ⴰⵎⵉⵖⵉⵙ ⴷ ⵓⵏⴱⴷⴰⵔ, ⵉⴳ ⵛⵡⵉⵢ ⴰⵎⴰⴳⵍⴰⵢ"", ⵢⴰⵔⵉⵔ ⵜⵉⵍⴰⵍⵜ ⵏ ⵢⴰⵏ ⵓⵔⴳⴰⵣ ⵉⵖⵓⴷⴰⵏ ⵉⵜⵜⵢⴰⵎⵥⵏ (ⵉⵜⵜⵓⵔⵎⴷ ⵙ) ⵢⴰⵜ ⵜⵔⴰⴱⴱⵓⵜ ⵜⴰⵎⵙⵙⴰⵥⵓⵕⵜ. |
"The trouble was they were drinking mine and I was making this stinking movie.""" | ⴰⵎⵓⴽⵔⵉⵙ ⴷ ⵏⵉⵜⵏⵉ ⴰⵔ ⵙⵙⴰⵏ ⵙⴳ ⴷⵉⴳⵉ ⴰⵔ ⵙⵡⵍⴰⴼⵖ ⴰⴼⵉⵍⵎ ⴰⴷ ⴰⵎⵉⵊⵊⵓ.""" |
On August 21, 1938, Bogart entered a turbulent third marriage to actress Mayo Methot, a lively, friendly woman when sober but paranoid and aggressive when drunk. | ⴳ 21 ⵖⵓⵛⵜ 1938, ⵉⴽⵛⵎ ⴱⵓⴳⴰⵔⵜ ⵉⵡⵍ ⵡⵉⵙ ⴽⵕⴰⴹ ⵉⵎⵎⵔⴳⴰⴳⵉⵏ ⵙⴳ ⵜⵙⵎⴷⵢⴰⵜ ⵎⴰⵢⵓ ⵎⵉⵜⵓⵜ, ⵢⴰⵜ ⵜⵎⵟⵟⵓⴹⵜ ⵉⵎⴰⵔⵖⵏ ⵜⵃⵏⵓⵏⴰ ⴰⴷⴷⴰⵢ ⵜⵕⵣⵏ, ⵎⴰⵛⴰ ⴷ ⵜⴰⵎⴰⴷⵓⵜⵜ ⴷ ⵜⴰⵣⵣⵔⵜ ⴰⴷⴷⴰⵢ ⵜⵙⵡⴰ. |
She set their house afire, stabbed him with a knife, and slashed her wrists several times. | ⵜⵙⵙⴰⵖ ⴰⴼⴰ ⴳ ⵜⴰⴷⴷⴰⵔⵜ ⵏⵏⵙⵏ, ⵜⵓⵜⵜ ⵙ ⵍⵎⵓⵙⵙ, ⵜⴱⴱⵉ ⴰⴼⵓⵙ ⵏⵏⵙ ⴽⵉⴳⴰⵏ ⵏ ⵜⵉⴽⴽⵍⵜ. |
"According to their friend, Julius Epstein, ""The Bogart-Methot marriage was the sequel to the Civil War""." | ⵏⵉⵍ ⵓⵢⵏⵏⴰ ⵉⵏⵏⴰ ⵓⵎⴷⴷⴰⴽⴽⵍ ⵏⵏⵙⵏ, ⵊⵓⵍⵢⵓⵙ ⵉⴱⵙⵜⵉⵏ, "ⵉⴳⴰ ⵢⵉⵡⵍ ⵏ ⴱⵓⴳⴰⵔⵜ ⴷ ⵎⵉⵜⵓⵜ ⴰⵙⵎⴰⴷ ⵏ ⵉⵎⵏⵖⵉ ⵓⵖⵔⵉⵎ""." |
Methot's influence was increasingly destructive, however, and Bogart also continued to drink. | ⴽⵓⴷ ⵉⵜⴷⴷⵓ ⵢⵉⴹⵉⵚ ⵏ ⵎⵉⵜⵓⵜ ⵉⵜⵜⵄⴰⵡⴰⴷ ⵉⵅⵍⵍⵓ, ⵎⴰⵛⴰ ⴱⵓⴳⴰⵔⵜ ⵉⵙⵙⵓⴷⴰ ⴳ ⵜⵉⵙⵙⵉ. |
When he thought an actor, director or studio had done something shoddy, he spoke up publicly about it. | ⵍⵍⵉⴳ ⵉⵖⴰⵍ ⴽⵔⴰ ⵏ ⵓⵙⵎⴷⵢⴰ, ⴰⵎⵙⵙⵓⴼⵖ ⵏⵖⴷ ⴰⵙⵜⵓⴷⵢⵓ ⵉⵙ ⵙⵙⴽⵔⵏ ⴽⵔⴰ ⵓⵔ ⵉⵃⵍⵉⵏ, ⵉⵙⴰⵡⵍ ⵖⵉⴼⵙ ⵉ ⵓⵎⴰⵜⴰ. |
Paul Muni, George Raft, Cagney and Robinson turned down the lead role, giving Bogart the opportunity to play a character with some depth. | ⵓⵔ ⵉⵔⵉ ⴱⵓⵍ ⵎⵓⵏⵉ, ⵊⵓⵔⵊ ⵕⴰⴼⵜ, ⴽⴰⴳⵏⵉ ⴷ ⵕⵓⴱⵉⵏⵙⵓⵏ ⵜⵉⵍⴰⵍⵜ ⵜⴰⴷⵙⵍⴰⵏⵜ, ⵉⵜⵜⵓⴼⴽⴰ ⵓⵣⵎⵣ ⵉ ⴱⵓⴳⴰⵔⵜ ⴰⴷ ⵢⵓⵔⴰⵔ ⵜⵉⵍⴰⵍⵜ ⵙ ⵓⵙⴳⵓⵏⴼⵓ. |
He worked well with Ida Lupino, sparking jealousy from Mayo Methot. | ⵉⵙⵖⵓⴷⴰ ⵜⴰⵡⵓⵔⵉ ⵏⵏⵙ ⴷ ⵉⴷⴰ ⵍⵓⴱⵉⵏⵓ, ⵉⵙⵙⵓⴽⵉ ⴰⴽⴰⵢⴰⴹ ⵏ ⵎⴰⵢⵓ ⵎⵉⵜⵓⵜ. |
He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare, and subscribed to the Harvard Law Review. | ⵉⵖⵢ ⴰⴷ ⵉⵙⵙⵎⵔⵙ ⵉⵡⴰⵍⵉⵡⵏ ⵏ ⴰⴼⵍⴰⵟⵓⵏ, ⴱⵓⴱ, ⵕⴰⵍⴼ ⵡⴰⵍⴷⵓ ⵉⵎⵉⵔⵙⵓⵏ ⴷ ⵓⴳⴳⴰⵔ ⵏ ⵜⵎⵉⴹⵉ ⵏ ⵓⵣⵔⵉⵔⵉⴳ ⵏ ⵛⵉⴽⵙⴱⵉⵔ, ⴷ ⵢⴰⵎⵓ ⴳ ⵜⵙⵖⵓⵏⵜ ⵏ ⵓⵣⵔⴼ ⵀⴰⵔⴼⴰⵔⴷ. |
Based on the Dashiell Hammett novel, it was first serialized in the pulp magazine Black Mask in 1929 and was the basis of two earlier film versions; the second was Satan Met a Lady (1936), starring Bette Davis. | ⴰⵙⵙⵏⴷ ⵙ ⵓⵏⴳⴰⵍ ⴷⴰⵛⵢⵉⵍ ⵀⴰⵎⵎⵜ, ⵏⵏⴰ ⵉⴼⴼⵖⵏ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⴳ ⵜⵙⵖⵓⵏⵜ ⴱⵍⴰⴽ ⵎⴰⵙⴽ ⴳ 1929 ⴷ ⵜⴳⴰ ⵜⵉⵔⵙⵍⵜ ⵏ ⵙⵏⴰⵜ ⵜⵓⵏⵖⵉⵍⵉⵏ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⵣⵔⵉⵏ; ⵡⵉⵙ ⵙⵉⵏ ⵉⴳⴰ ⵛⵛⵉⵜⴰⵏ ⵉⵎⵍⴰⵍⴰ ⵎⴰⵙⵙⴰ (1936), ⴷ ⵓⵏⴱⵔⴰⵣ ⴱⵉⵜⵜ ⴷⴰⴼⵉⴷ. |
Huston then eagerly accepted Bogart as his Sam Spade. | ⵢⵓⵖⵓⵍ ⵀⴰⵙⵜⵓⵏ ⵉⵔⴰ ⴱⵓⴳⴰⵔⵜ ⵙ ⵓⴷⴷⵔⴰⴼ ⵉⴳ ⵙⴰⵎ ⵙⵎⵉⴷ. |
The film, directed by Michael Curtiz and produced by Hal Wallis, featured Ingrid Bergman, Claude Rains, Sydney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson. | ⴰⴼⵉⵍⵎ ⵙⴳ ⵓⵙⵙⵓⴼⵖ ⵏ ⵎⴰⵢⴽⵍ ⴽⵉⵔⵜⵙ ⴷ ⵓⴼⴰⵔⵙ ⵏ ⵀⴰⵍ ⵡⴰⵍⵉⵙ, ⵉⴼⴼⵖ ⴷ ⴷⵉⴳⵙ ⵉⵏⴳⵔⵉⴷ ⴱⵉⵔⴳⵎⴰⵏ, ⴷ ⴽⵍⵓⴷ ⵔⵉⵢⵏⵙ, ⵙⵉⴷⵏⵉ ⴳⵔⵉⵏⵙⵜⵔⵉⵜ, ⴱⵓⵍ ⵀⵉⵏⵔⵉⴷ, ⴽⵓⵏⵔⴰⴷ ⴼⵉⴷⵜ, ⴱⵉⵜⵔ ⵍⵓⵕⵉ ⴷ ⴷⵓⵍⵉ ⵡⵉⵍⵙⵓⵏ. |
Bogart is reported to have been responsible for the notion that Rick Blaine should be portrayed as a chess player, a metaphor for the relationships he maintained with friends, enemies, and allies. | ⵉⴳⴰ ⴱⵓⴳⴰⵔⵜ ⴰⵎⴰⵙⵙⴰⵢ ⵏ ⵜⴰⵏⵏⴰⵢⵜ ⵏ ⵓⵙⵡⵍⴼ ⵏ ⵔⵉⴽ ⴱⵍⵉⵏ ⴰⵎⵉⵔⴰⵔ ⵏ ⵛⵛⵟⵕⴰⵏⵊ, ⵢⴰⵏ ⵓⵍⵡⴰ ⵉ ⵉⵣⴷⴰⵢⵏ ⵏⵏⴰ ⵉⵇⵇⵉⵍ ⴷ ⵉⵎⴷⴷⵓⴽⴽⴰⵍ ⴷ ⵉⵛⵏⴳⴰ ⴷ ⵉⵎⵙⵙⵓⵔⵏ. |
Bogart was nominated for Best Actor in a Leading Role, but lost to Paul Lukas for his performance in Watch on the Rhine. | ⵉⵜⵜⵓⵙⵜⴰⵢ ⴱⵓⴳⴰⵔⵜ ⴷ ⴰⵎⵙⴷⵢⴰ ⴰⵎⵓⴼⴰⵢ ⴳ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵏⴰⵔⴰⵢⵜ, ⵎⴰⵛⴰ ⵉⵔⵏⴰⵜ ⴱⵓⵍ ⵍⵓⴽⴰⵙ ⵙ ⵓⵙⵡⵓⴷⴷⵓ ⵏⵏⵙ ⴳ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ ⵅⴼ ⵡⴰⵙⵉⴼ ⵏ ⵕⴰⵢⵏ. |
Bogart went on United Service Organizations and War Bond tours with Methot in 1943 and 1944, making arduous trips to Italy and North Africa (including Casablanca). | ⵉⴷⴷⴰ ⴱⵓⴳⴰⵔⵜ ⴳ ⵡⵓⵜⵓⵢⵏ ⵏ ⵜⵎⴰⴷⴷⴰⵙⵜ ⵏ ⵜⵡⵓⵔⵉ ⵉⵎⵓⵏ ⴷ ⵡⵓⵜⵓⵢⵏ ⵡⴰⵕ ⴱⵓⵏⴷ ⵏⵜⵜⴰ ⴷ ⵎⵉⵜⵓⵜ ⴳ 1943 ⴷ 1944, ⵙⴽⵔⵏ ⵜⵉⵏⵢⵓⴷⴷⵓⵜⵉⵏ ⵉⵛⵇⵇⴰⵏ ⵙ ⵉⵜⴰⵍⵢⴰ ⵏ ⵉⵥⵍⵎⴹ ⵏ ⵉⴼⵕⵉⵇⵢⴰ (ⴳ ⵜⴰⵎⵓ ⴽⴰⵣⴰⴱⵍⴰⵏⴽⴰ). |
"When they met, Bacall was 19 and Bogart 44; he nicknamed her ""Baby.""" | ⵍⵍⵉⴳ ⵎⵍⴰⵍⴰⵏ, ⴱⴰⴽⴰⵍ ⵖⵓⵔⵙ 19 ⵏ ⵓⵙⴳⴳⵯⴰⵙ ⴷ ⴱⵓⴳⴰⵔⵜ 44; ⵉⵙⵙⵍⵖ ⴰⵙ ""ⴱⴰⵢⴱⵉ.""" |
"We'll have a lot of fun together""." | "ⵇⵏⵏⴰ ⴰⴷ ⵏⵕⵛⵇ ⴽⵓⵍⵍⵓ ⴰⵖ""." |
By Myself and Then Some, HarperCollins, New York, 2005. | ⵙ ⵉⵅⴼ ⵉⵏⵓ ⵄⴰⴷ ⵙⵓⵎ, ⵀⴰⵕⴱⵕⴽⵓⵍⵉⵏⵙ, ⵏⵢⵓⵢⵓⵕⴽ, 2005. |
He considered himself Bacall's protector and mentor, and Bogart was usurping that role. | ⵉⴳⴰ ⵉⵅⴼ ⵏⵏⵙ ⴷ ⵓⵏⴹⴰⴼ ⴷ ⵓⵙⵍⵎⴰⴷ ⵏ ⴱⴰⴽⴰⵍ, ⴱⵓⴳⴰⵔⵜ ⵉⵙⵅⵙⵔ ⵜⵉⵍⴰⵍⵜ ⴰⴷ. |
"Also, he has a sense of humor that contains that grating undertone of contempt.""" | ⴷ ⴰⵡⴷ, ⵜⵍⵍⴰ ⴷⵉⴳⵙ ⵜⵇⴱⴱⴰⴹⵜ ⵏⵏⴰ ⴳ ⵉⵍⵍⴰ ⵓⵃⵇⵇⵔ ⵉⵙⴳⵔⵓⵔⵓⵙⵏ. |
The dialogue, especially in the added scenes supplied by Hawks, was full of sexual innuendo, and Bogart is convincing as private detective Philip Marlowe. | ⵉⵍⵍⴰ ⴳ ⵓⵎⵙⴰⵡⴰⵍ, ⵙ ⵓⵥⵍⴰⵢ ⴳ ⵉⵎⵉⵥⴰⵕⵏ ⵏⵏⴰ ⵉⵙⵙⴽⵔ ⵀⵓⴽⵙ, ⵉⵙⴽⴰⵏⵏ ⵏ ⵜⵓⵇⵇⵓⵜ, ⴷ ⴱⵓⴳⴰⵔⵜ ⵉⵙⵙⵏⵥⴰ ⴷ ⴰⵎⵙⵙⵉⴷⴻⴷ ⴰⵎⵥⵍⴰⵢ ⴼⵉⵍⵉⴱ ⵎⴰⵔⵍⵓⵡ. |
The marriage was a happy one, with tensions due to their differences. | ⵉⵎⴷⵣ ⵢⵉⵡⵍ, ⴷ ⴽⵔⴰ ⵏ ⵜⴰⵥⵉⵜⵜ ⴰⵛⴽⵓ ⵎⵣⴰⵔⴰⵢⵏ ⵉⵏⴳⵔ ⴰⵙⵏ. |
"According to Bogart's biographer, Stefan Kanfer, it was ""a production line film noir with no particular distinction""." | ⵏⵉⵍ ⵓⵎⵉⵔⴰ ⵏ ⵜⵔⵉⴷⵉⵔⵜ ⵏ ⴱⵓⴳⴰⵔⵜ, ⵙⵜⵉⴼⴰⵏ ⴽⴰⵏⴼⵔ, ""ⴰⴱⵔⵉⴷ ⵏ ⵓⴼⴰⵔⵙ ⵏ ⵓⴼⵉⵍⵎ ⵏⵓⵢⵕ ⵓⵔ ⴷⵉⴳⵙ ⵉⵎⵅⴰⵍⴰⴼⵏ ⵉⵎⵥⵍⴰⵢ""." |
Lacking a love interest or a happy ending, it was considered a risky project. | ⴰⵛⴽⵓ ⵓⵔ ⵖⵓⵔⵙ ⴰⵙⵎⴽⵍ ⵙ ⵜⴰⵢⵔⵉ ⵏⵖⴷ ⵜⵉⴳⵉⵔⴰ ⵉⵎⴷⵣⵏ, ⴰⵙ ⵉⴳⴰ ⴰⵙⵖⵏⵓ ⵉⵎⵉⵣⵉ. |
"James Agee wrote, ""Bogart does a wonderful job with this character ... miles ahead of the very good work he has done before.""" | ⵢⵓⵔⴰ ⵊⵉⵎⵙ ⴰⵊⵉ, ""ⵉⵙⵙⴽⵔ ⴱⵓⴳⴰⵔⵜ ⵜⴰⵡⵓⵔⵉ ⵉⵖⵓⴷⴰⵏ ⵙ ⵓⵡⵔⵉⴽ ⴰⴷ ... ⵙ ⴷⴰⵜ ⴽⵉⴳⴰⵏ ⵏ ⵜⵡⵓⵔⵉ ⵉⵖⵓⴷⴰⵏ ⵏⵏⴰ ⵉⵙⵙⴽⵔ ⵙⴳ ⵍⵍⵉ.""" |
Bogart appeared in his final films for Warners, Chain Lightning (1950) and The Enforcer (1951). | ⵉⴼⴼⵖ ⴷ ⴱⵓⴳⴰⵔⵜ ⴳ ⵉⴼⵉⵍⵎⵏ ⵏⵏⵙ ⵉⵎⴳⴳⵓⵔⴰ ⵅⴼ ⵡⴰⵕⵏⵔⵣ, ⵛⴰⵢⵏ ⵍⴰⵢⵜⵏⵉⵏⴳ (1950) ⴷ ⵉⵏⴼⵓⵕⵙⵔ (1951). |
Santana also made two films without him: And Baby Makes Three (1949) and The Family Secret (1951). | ⵉⴼⴰⵔⵙ ⵙⴰⵏⵜⴰⵏⴰ ⵙⵉⵏ ⵉⴼⵉⵍⵎⵏ ⴱⵍⴰ ⵜ: ⴱⴰⵢⴱⵉ ⵎⴰⵢⴽⵙ ⵜⵔⵉ (1949) ⴷ ⴷⵓ ⴼⴰⵎⵉⵍⵢ ⵙⵓⴽⵔⵉⵜ (1951). |
Several Bogart biographers, and actress-writer Louise Brooks, have felt that this role is closest to the real Bogart. | ⵓⴼⵔⴰⵢⵏ ⴽⵉⴳⴰⵏ ⵏ ⵉⵎⵉⵔⴰⵜⵏ ⵏ ⵜⵔⵉⴷⵉⵔⵜ ⵏ ⴱⵓⴳⴰⵔⵜ, ⴷ ⵜⵙⵎⴷⵢⴰⵜ ⴷ ⵜⵎⵉⵔⴰⵢⵜ ⵍⵡⵉⵣ ⴱⵔⵓⴽⵙ, ⵎⴰⵙ ⴷ ⵜⵉⵍⴰⵍⵜ ⴷⵖ ⴰⴷ ⵉⵏⵎⴰⵍⴰⵏ ⴱⵓⴳⴰⵔⵜ. |
A parody of sorts of The Maltese Falcon, Beat the Devil was the final film for Bogart and John Huston. | ⴰⴼⵉⵍⵎ ⵏ ⴱⵉⵢⵜ ⴷⵓ ⴷⵓⴼⵉⵍ ⴰⵢⴷ ⵉⴳⴰⵏ ⴰⵎⴳⴳⴰⵔⵓ ⵏ ⴱⵓⴳⴰⵔⵜ ⴷ ⵊⵓⵏ ⵀⵓⵙⵜⵓⵏ, ⵉⴳⴰ ⴰⵎⵟⵏⴰⵥ ⵣⵓⵏⴷ ⴰⵏⴰⵡ ⵏ ⵍⴱⴰⵣ ⴰⵎⴰⵍⵟⵉⵢ. |
Huston's love of adventure, his deep, longstanding friendship (and success) with Bogart, and the chance to work with Hepburn convinced the actor to leave Hollywood for a difficult shoot on location in the Belgian Congo. | ⵜⴰⵢⵔⵉ ⵏ ⵀⵉⵙⵜⵓⵏ ⵉ ⵜⵎⵙⴽⵙⴰⵍⵜ, ⴷ ⵜⵉⴷⴷⵓⴽⴽⵍⴰ ⵏⵏⵙ ⵉⵄⵓⴱⵏ ⵉⵖⵣⵣⵉⴼⵏ (ⴷ ⵓⵎⵓⵔⵙ ⵏⵏⵙ) ⴷ ⴱⵓⴳⴰⵔⵜ, ⴷ ⵡⴰⵏⵏⴰⵣ ⵏ ⵜⵡⵓⵔⵉ ⴷ ⵀⵉⴱⴱⵓⵔⵏ ⴰⵢⴷ ⵉⵏⵥⴰⵏ ⴰⵙⵎⴷⵢⴰ ⴰⴷ ⵉⴼⵍ ⵀⵓⵍⵉⵡⵓⴷ ⵅⴼ ⵢⴰⵏ ⵓⵙⵡⵍⴼ ⵉⵛⵇⵇⴰⵏ ⴳ ⵍⴽⵓⵏⴳⵓ ⵜⴰⴱⵍⵊⵉⴽⵉⵢⵜ. |
Bacall came for the over-four-month duration, leaving their young son in Los Angeles. | ⵉⴷⴷⴰⴷ ⴱⴰⴽⴰⵍ ⵢⴰⵜ ⵜⵉⵣⵉ ⵓⴳⴳⴰⵔ ⵏ ⴽⴽⵓⵥ ⵏ ⵡⴰⵢⵢⵓⵔⵏ, ⵉⴼⵍ ⵏⵏ ⵎⴻⵎⵎⵉⵙ ⴳ ⵍⵓⵙ ⴰⵏⵊⵍⵓⵙ. |
"She Luxed my undies in darkest Africa.""" | "ⵜⴽⴽⵙ ⵉⵙⴳⴱⴰⵙ ⵏⵏⵙ ⴳ ⵜⴰⵍⵍⵙⵜ ⵏ ⵉⴼⵕⵉⵇⵢⴰ.""" |
Hepburn (a teetotaler) fared worse in the difficult conditions, losing weight and at one point becoming very ill. | ⵀⵉⴱⴱⵓⵕⵏ (ⵜⴰⵏⴰⵥⵓⵎⵜ) ⵜⴽⵔⴼⵙ ⵜⵉⵍⵉ ⴳ ⵡⴰⴷⴷⴰⴷⵏ ⵓⵔ ⵉⵃⵍⵉⵏ, ⴰⵛⴽⵓ ⵜⴷⴷⴰ ⴰⵙ ⵜⴰⵥⵉⵢⵜ ⵏⵏⵙ ⵜⴰⴹⵏ ⴽⵉⴳⴰⵏ ⴳ ⵢⴰⵜ ⵜⴼⵔⴽⵜ. |
Despite the discomfort of jumping from the boat into swamps, rivers and marshes, The African Queen apparently rekindled Bogart's early love of boats; when he returned to California, he bought a classic mahogany Hacker-Craft runabout which he kept until his death. | ⵎⵇⵇⴰⵔ ⵉⵍⵍⴰ ⵓⴳⵔⵓⵔⵙ ⴳ ⵓⵏⴹⴰⵡ ⵙⴳ ⵓⵖⵕⵕⴰⴱⵓ ⵙ ⵉⵙⴰⴼⴼⵏ ⴷ ⵉⵍⵎⴰⵜⵏ, ⵜⵙⵙⵓⴽⵉⴷ ⵜⴳⵍⵍⵉⴷⵜ ⵏ ⵉⴼⵔⵉⵇⵢⴰ ⵜⴰⵢⵔⵉ ⵏ ⴱⵓⴳⴰⵔⵜ ⵉ ⵉⵖⵕⵕⴰⴱⵓⵜⵏ; ⵍⵍⵉ ⴳ ⵢⴰⵖⵓⵍ ⵙ ⴽⴰⵍⵉⴼⵓⵕⵏⵢⴰ, ⵉⵙⵖⴰ ⵢⴰⵜ ⵜⵙⵓⵔⴰⵔⵜ ⵜⴰⴽⵍⴰⵙⵉⴽⵉⵢⵜ ⵏ ⵓⴽⵛⵛⵓⴹ ⴰⵎⴰⵀⵓⵊⵉⵏⵉⵢ ⵀⴰⴽⵕ-ⴽⵔⴰⴼⵜ ⵉⵃⴹⵓ ⵜⵜ ⴰⵍⵍⵉⴳ ⵉⵎⵎⵓⵜ. |
"When Bogart won, however, he said: ""It's a long way from the Belgian Congo to the stage of this theatre." | "ⵎⴰⵛⴰ, ⵍⵍⵉ ⴳ ⵉⵎⵓⵔⵙ ⴱⵓⴳⴰⵔⵜ ⵉⵏⵏⴰ: ""ⵉⵄⵔⵇⵇ ⵓⴱⵔⵉⴷ ⵙⴳ ⵍⴽⵓⵏⴳⵓ ⵜⴰⴱⵍⵊⵉⴽⵉⵢⵜ ⵙ ⵜⵎⵥⵕⵉⵜ ⵏ ⵓⵎⵣⴳⵓⵏ." |
As in tennis, you need a good opponent or partner to bring out the best in you. | ⵣⵓⵏⴷ ⵜⵜⵉⵏⵉⵙ, ⵉⵅⵙⵙⴰⴽ ⵓⵏⴹⵍⵉⴱ ⵏⵖⴷ ⴰⵎⵙⵙⵓⵔ ⵉⵖⵓⴷⴰⵏ ⴰⴼⴰⴷ ⴷ ⵜⵙⵙⵓⴼⵖⴷ ⴰⵢⵏⵏⴰ ⴷⵉⴳⴽ ⵉⵍⵍⴰⵏ. |
Though he retained some of his old bitterness about having to do so, he delivered a strong performance in the lead; he received his final Oscar nomination and was the subject of a June 7, 1954 Time magazine cover story. | ⵎⵇⵇⴰⵔ ⵉⵃⴹⴰ ⴽⵔⴰ ⴳ ⵜⴰⵕⵥⴳⵜ ⵏⵏⵙ ⵜⴰⵣⴰⵢⴽⵓⵜ ⵏ ⵡⴰⴷ ⵉⵙⵙⴽⴰⵔ ⴰⵢⴰ, ⵎⴰⵛⴰ ⵉⵙⵏⴽⴷ ⵢⴰⵏ ⵡⴰⴳⴳⴰⵢ ⴰⵏⴰⴼⵍⵍⴰ; ⵢⴰⵎⵥ ⴰⵥⵍⴰⵢ ⵏⵏⵙ ⴰⵎⴳⴳⴰⵔⵓ ⵉ ⵜⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵕ ⵉⴳ ⵉⵎⵔⵙⵉ ⴳ ⵜⵓⵍⵍⵉⵙⵜ ⵏ ⵜⵙⵖⵓⵏⵜ ⵜⴰⵢⵎ ⴳ 7 ⵎⴰⵢⵢⵓ 1954. |
He is the type of director I don't like to work with ... the picture is a crock of crap. | ⵉⴳⴰ ⴰⵏⴰⵡ ⵏ ⵓⵎⵙⵙⵓⴼⵖ ⵏⵏⴰ ⵙ ⵓⵔ ⵔⵉⵖ ⴰⴷ ⵉⴷⵙ ⵙⵡⵓⵔⵉⵖ ... ⵜⴰⵡⵍⴰⴼⵜ ⵜⴳⴰ ⴰⵇⵛⵓⵕ ⵙⴳ ⵓⵙⴽⵙⵜⴼ. |
"Despite the acrimony, the film was successful; according to a review in The New York Times, Bogart was ""incredibly adroit ... the skill with which this old rock-ribbed actor blends the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show""." | "ⵎⵇⵇⴰⵔ ⵜⵍⵍⴰ ⵜⵓⵥⵥⵉⵔⵜ, ⵉⵎⵓⵔⵙ ⵓⴼⵉⵍⵎ; ⵏⵉⵍ ⵓⵣⵣⵔⴰⵢ ⵏ ⵓⵖⵎⵉⵙ ⵏⵢⵓⵢⵓⵕⴽ ⵜⴰⵢⵎⵣ, ⵉⴳⴰ ⴱⵓⴳⴰⵔⵜ ""ⴰⵎⴷⴷⵏⴽⵉ ⵓⵔ ⵉⵜⵜⵓⴷⵎⵉ ... ⴰⴼⵓⴽⵙ ⵏⵏⴰ ⴳ ⵉⵜⵙⵙⵓⵔ ⵓⵙⵎⴷⵢⴰ ⵉⵏⴳⵔ ⵓⵎⵙⴰⵎⵎⴰ ⴰⵔ ⵜⵏ ⵉⵙⵎⵓⵏ ⵙ ⵜⵎⴰⵎⴽⵜ ⵉⵣⵄⵎⵏ ⴰⴼⵙⵙⴰⵢ ⵉⴳⴰ ⵙⴳ ⵉⵎⴷⴰⵣⵏ ⵏ ⵓⵎⵉⵥⴰⵕ ⵉⴳⴳⵓⵜⵏ""." |
He was uneasy with Ava Gardner in the female lead; she had just broken up with his Rat Pack buddy Frank Sinatra, and Bogart was annoyed by her inexperienced performance. | ⵓⵔ ⵉⵙⵡⴰⵏⴼⴰ ⵏⵜⵜⴰ ⴷ ⴰⴼⴰ ⵀⴰⵕⴷⵏⵔ ⴳ ⵜⵉⵍⴰⵍⵜ ⵜⴰⵙⴷⵍⴰⵏⵜ ⵏⵜⵎⵟⵟⵓⴹⵜ; ⴱⵃⵕⴰ ⵜⵏⵏⵓⵕⵥⵎ ⵙⴳ ⵓⵎⴷⴷⴰⴽⴽⵍ ⵏⵏⵙ ⴼⵕⴰⵏⴽ ⵙⵉⵏⴰⵜⵔⴰ, ⵉⴳⵔⵓⵔⵙ ⴱⵓⴳⴰⵔⵜ ⵙⴳ ⵜⴰⴳⴳⴰⵢⵜ ⵏⵏⵙ ⴳ ⵓⵔ ⵜⵍⵍⵉ ⵜⵎⵓⵥⴰⵢⵜ. |
When Bacall found them together, she extracted an expensive shopping spree from her husband; the three traveled together after the shooting. | ⵍⵍⵉ ⴳ ⵜⵏ ⵉⵏⵏ ⵜⵓⴼⴰ ⴱⴰⴽⴰⵍ ⵙ ⵙⵉⵏ, ⵜⴽⴽⵙ ⴷ ⴳ ⵓⵔⴳⴰⵣ ⵏⵏⵙ ⵢⴰⵜ ⵜⵙⵓⵜⵍⵜ ⵏ ⵎⵙⵉⵖⵜ ⵉⵖⵍⴰⵏ; ⵎⵎⵓⴷⴷⵓⵏ ⵙ ⴽⵕⴰⴹ ⴹⴰⵕⵜ ⵡⴰⴼⴰ. |
He also appeared on The Jack Benny Show, where a surviving kinescope of the live telecast captures him in his only TV sketch-comedy performance (October 25, 1953). | ⵉⴼⴼⵖⴷ ⴰⵡⴷ ⴳ ⵓⵖⴰⵡⴰⵙ ⵏ ⴷⵓ ⵊⴰⴽ ⴱⵉⵏⵉ ⵛⵓⵡ, ⵏⵏⴰ ⴳ ⵜⵉⴷ ⵢⵓⵎⵥ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵙⴳ ⵓⴼⵙⴰⵔ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵓⵙⵔⵉⴷ ⴳ ⵡⴰⴳⴳⴰⵢ ⵏⵏⵙ ⴰⵎⵙⴹⵚⵉ ⴰⵎⵢⵉⵡⵏ (25 ⴽⵜⵓⴱⵔ 1953). |
Stephen became an author and biographer and hosted a television special about his father on Turner Classic Movies. | ⵢⴰⵖⵓⵍ ⵙⵜⵉⴼⵏ ⴷ ⴰⵎⴳⴰⵢ ⴷ ⵓⵎⵉⵔⴰ ⵏ ⵜⵔⵉⴷⵔⵜ ⵉⵙⵏⴱⴳⵉ ⵢⴰⵏ ⵓⵖⴰⵡⴰⵙ ⴰⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏⵉⵢ ⵉⵥⵍⵉⵏ ⵙ ⴱⴰⴱⴰⵙ ⴳ ⵜⵓⵔⵏⵔ ⴽⵍⴰⵙⵉⴽ ⵎⵓⴼⵉ. |
In the wake of Santana, Bogart had formed a new company and had plans for a film (Melville Goodwin, U.S.A.) in which he would play a general and Bacall a press magnate. | ⴳ ⵡⴰⵜⵜⴰⵢⵏ ⵏ ⵙⴰⵏⵜⴰⵏⴰ, ⵉⵙⴽⵔ ⴱⵓⴳⴰⵔⵜ ⵢⴰⵜ ⵜⵎⵙⵙⵓⵔⵜ ⵜⴰⵎⴰⵢⵏⵓⵜ ⴰⵔ ⵉⵙⵖⴰⵡⴰⵙ ⵉ ⵓⴼⵉⵍⵎ (ⵎⵉⵍⴼⵉⵍ ⴳⵓⴷⵡⵉⵏ, U.S.A.) ⵢⵓⵔⴰⵔ ⴷⵉⴳⵙ ⵜⵉⵍⴰⵍⵜ ⵏ ⵓⵊⵉⵏⵉⵔⴰⵍ ⴷ ⴱⴰⴽⴰⵍ ⵜⴳⴰ ⵜⴰⵖⵎⵉⵙⵜ. |
He did not talk about his health and visited a doctor in January 1956 after considerable persuasion from Bacall. | ⵓⵔ ⵉⵙⴰⵡⵍ ⵅⴼ ⵓⴷⵡⴰⵙ ⵏⵏⵙ ⵉⴽⴽ ⴷ ⵖⵓⵔ ⵓⵎⵙⵙⴰⵙⴼⵔ ⴳ ⵉⵏⵏⴰⵢⵔ 1956 ⴳ ⵜ ⵜⵙⵙⵏⵥⵉ ⴱⴰⴽⴰⵍ. |
He had additional surgery in November 1956, when the cancer had metastasized. | ⵉⵜⵜⵙⴽⴰⵔ ⴰⵙ ⵡⴰⵢⴹ ⵓⴼⵍⴰⵢ ⴳ ⵏⵓⵡⴰⵏⴱⵉⵔ 1956, ⵍⵍⵉ ⴳ ⴷⵉⴳⵙ ⵢⴰⵖ ⵓⴽⵓⵏⵙⵉⵕ. |
"On it was inscribed, ""If you want anything, just whistle.""" | "ⴳ ⴰⵙ ⵉⵜⵜⵓⴳⵣⴰⵢ, ""ⵉⴳ ⵜⵔⵉⴷ ⴽⵔⴰ ⵏ ⵜⵖⴰⵡⵙⴰ, ⵖⴰⵙ ⵚⵉⵏⵚⴳ.""" |