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Some saw The Old Gold Comedy Theater as being a lighter version of Lux Radio Theater, and it featured some of the best-known film and radio personalities of the day, including Fred Allen, June Allyson, Lucille Ball, Ralph Bellamy, Linda Darnell, Susan Hayward, Herbert Marshall, Dick Powell, Edward G. Robinson, Jane Wyman, and Alan Young. | ⴽⵔⴰⵏ ⵎⵉⴷⴷⵏ ⵣⵕⴰⵏ ⴰⵎⵣⴳⵓⵏ ⵏ ⴷⴰ ⵓⵍⴷ ⴳⵓⵍⴷ ⴽⵓⵎⵉⴷⵉ ⵎⴰⴼ ⵉⵔⵡⴰⵙ ⵓⵎⵣⴳⵓⵏ ⵏ ⵍⵓⴽⵙ ⵔⴰⴷⵢⵓ, ⴷ ⴳⵉⵙ ⵉⵡⵔⵉⴽⵏ ⵉⵎⴰⴼⴰⵢⵏ ⵏ ⵍⴰⴼⵍⴰⵎ ⴷ ⵜⴰⵏⵣⴰⵡⴰⵢⵜ ⵏ ⵖⴰⴽⵓⴷⴰⵏ, ⵣⵓⴷ ⴼⵔⵉⴷ ⴰⵍⵍⵉⵏ, ⴷ ⵊⵓⵏ ⴰⵍⵉⵙⵓⵏ, ⴷ ⵍⵓⵙⵉⵍ ⴱⴰⵍ, ⴷ ⵔⴰⵍⴼ ⴱⵉⵍⴰⵏⵉ, ⴷ ⵍⵉⵏⴷⴰ ⴷⴰⵔⵏⵉⵍ, ⴷ ⵙⵓⵣⴰⵏ ⵀⴰⵢⵡⴰⵔⴷ, ⴷ ⵀⵔⴱⵔⵜ ⵎⴰⵔⵛⴰⵍ, ⴷ ⴷⵉⴽ ⴱⴰⵡⵉⵍ, ⴷ ⵉⴷⵡⴰⵔⴷ ⴳ. ⵔⵓⴱⵉⵏⵙⵓⵏ, ⴷ ⵊⵉⵏ ⵡⵉⵎⴰⵏ, ⴷ ⴰⵍⴰⵏ ⵢⵓⵏⴳ. |
Many years later, acetate discs of 29 of the shows were discovered in Lloyd's home, and they now circulate among old-time radio collectors. | ⵎⵏⵏⴰⵡ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵉⵡⵔⵉⵏⵏ, ⵜⵜⵢⴰⴼⴰⵏⵜ ⵜⵉⵇⴰⵕⵉⴹⵉⵏ ⵏ 29 ⵉⴼⵔⵔⵊⵏ ⵖ ⵜⵉⴳⵎⵎⵉ ⵏ ⵍⵓⵢⴷ, ⵖⵉⵍⴰⴷ ⵍⵍⴰⵏⵜ ⴷⴰⵔ ⵖⵡⵉⵍⵍⵉ ⵙⵎⵓⵏⴰⵏ ⵉⵙⴽⴽⵉⵏⵏ ⵏ ⵉⵇⴷⵉⵎⵏ ⵏ ⵜⴰⵏⵣⴰⵡⴰⵢⵜ. |
He was a Past Potentate of Al-Malaikah Shrine in Los Angeles, and was eventually selected as Imperial Potentate of the Shriners of North America for the year 1949–50. | ⵉⴽⴽⴰⵜⵉⵏ ⵉⴳⴰ ⴰⵏⴱⴰⴹ ⴰⵇⴷⵉⵎ ⵏ ⵓⵎⴹⵍ ⵏ ⴰⵍ-ⵎⴰⵍⴰⵢⴽⴰ ⵖ ⵍⵓⵙ ⴰⵏⴳⵍⵉⵙ, ⴷ ⵉⵜⵜⵓⴼⵔⴰⵏ ⵖ ⵉⵡⵔⵉⵏⵏ ⴰⵢⴳ ⴰⵍⴱⴰⴹ ⵎⵇⵇⵓⵕⵏ ⵖ ⵉⵎⴹⵍⴰⵏ ⵏ ⴰⵎⵉⵔⵉⴽⴰ ⵜⴰⴳⴰⴼⴰⵢⵜ ⵖ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1949-50. |
Lloyd was invested with the Rank and Decoration of Knight Commander Court of Honour in 1955 and coroneted an Inspector General Honorary, 33°, in 1965. | ⵢⵓⵎⵥ ⵍⵓⵢⴷ ⵜⴰⵙⵖⵣⵏⵜ ⵏ ⴰⴷⴰⵔ ⴷ ⵜⴰⵎⴰⴷⴰⵢⵜ ⵏ ⵏⴰⵢⵜ ⴽⵓⵎⴰⵏⴷⵔ ⴽⵓⵔⵜ ⵓⴼ ⵓⵏⵓⵔ ⵖ 1955 ⴷ ⵜⵉⴷⵔⵉ ⵏ ⵉⵏⵙⴱⵉⵜⵓⵔ ⵊⵉⵏⵉⵔⴰⵍ, 33°, ⵖ 1965. |
It said, as first step, Lloyd will write the story of his life for Simon and Schuster. | ⵏⵏⴰⵏ, ⵖ ⵓⵙⵓⵔⵉⴼ ⴰⵎⵣⵡⴰⵔⵓ, ⵔⴰ ⵢⴰⵔⴰ ⵍⵓⵢⴷ ⵜⵓⴷⵔⵜⵏⵙ ⵉ ⵙⴰⵢⵎⵓⵏ ⴷ ⵛⵓⵙⵜⵔ. |
He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for a number of men's magazines. | ⵉⵜⵜⵓⵙⵙⴰⵏ ⵙ ⵜⵉⵡⵍⴰⴼⵉⵏⵏⵙ ⵄⵔⴰⵏⵉⵏ ⵏ ⵍⵄⴰⵔⵉⴷⴰⵜ, ⵣⵓⴷ ⴱⵉⵜⵜⵉ ⵃⴰⵢⵊ ⴷ ⴷⵉⴽⵙⵉ ⵉⴼⴰⵏⵣ, ⵉ ⵎⵏⵏⴰⵡ ⵏ ⵜⵉⵙⵖⵡⴰⵏ ⵏ ⵉⵔⴳⴰⵣⵏ. |
"We never intended them to be played with pianos.""" | "ⵓⵔ ⵊⵊⵓ ⵏⵎⵎⴻⵍ ⴰⵜⵉⵔⴰⵔ ⵙ ⵓⴱⵢⴰⵏⵓ.""" |
"They've come close to it, but they haven't come all the way up""." | "ⵇⵔⵔⴱⵏⴰⵙ, ⵎⴰⵛ ⵓⵔ ⵍⴽⵎⵏ ⴰⴼⵍⵍⴰ ⴽⵓⵍⵍⵓⵜ""." |
In the early 1960s, Lloyd produced two compilation films, featuring scenes from his old comedies, Harold Lloyd's World of Comedy and The Funny Side of Life. | ⵖ ⵓⵙⴳⴳⵯⴰⵙⵏ ⵣⵡⴰⵔⵏⵉⵏ ⵏ 1960, ⵉⵙⵢⴰⴼⴰ ⵍⵓⵢⴷ ⵙⵉⵏ ⵍⴰⴼⵍⴰⵎ, ⴳⵉⵙⵏ ⵜⴰⵎⵓⵖⵍⵉⵜ ⵜⵉⴽⵓⵎⵉⴷⵉⵢⵉⵏ ⵉⵇⴷⵉⵎⵏ, ⵀⴰⵔⵍⴷ ⵍⵓⵢⴷⵙ ⵡⵓⵔⵍⴷ ⵓⴼ ⴽⵓⵎⵉⴷⵉ ⴷ ⴷⴰ ⴼⴰⵏⵏⵉ ⵙⴰⵢⴷ ⵓⴼ ⵍⴰⵢⴼ. |
Time-Life released several of the feature films more or less intact, also using some of Scharf's scores which had been commissioned by Lloyd. | ⵜⵙⴷⵓⵔⴼⵉ ⵜⴰⵢⵎ ⵍⴰⵢⴼ ⵜⵓⴳⴳⵜ ⵏ ⵍⴰⴼⵍⴰⵎ, ⵜⵙⵎⵎⵔⵙ ⴰⵣⴰⵡⴰⵏ ⵏ ⵛⴰⵔⴼ ⵉⵙⵇⵇⵉⵎⵏ ⴳ ⵍⵓⵢⴷ. |
The Brownlow and Gill documentary was shown as part of the PBS series American Masters, and created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. | ⵉⵜⵜⵉⵎⵍⴰ ⵓⵏⵜⵉⵎ ⵏ ⴱⵔⴰⵡⵏ ⵍⵓ ⴷ ⴳⵉⵍ ⵎⴰⴼ ⵉⴳⴰ ⵓⴳⴹⴰⵎ ⵏ ⵓⵙⴷⴷⵉ ⵏ PBS ⴰⵎⵉⵔⵉⴽⴰⵏ ⵎⴰⵙⵜⵔⵣ, ⴷ ⵉⵙⵙⵏⴽⵔ ⵜⴰⵖⴹⴼⵜ ⵉ ⵜⵡⵡⵓⵔⵉ ⵏ ⵍⵓⵢⴷ ⵖ ⵜⴰⵎⴰⵣⵉⵕⵜ ⵏ ⵎⴰⵔⵉⴽⴰⵏ, ⵎⴰⵛ ⵓⵔ ⵙⵓⵍ ⵍⵍⴰⵏ ⵎⵏⵏⴰⵡ ⵏ ⵍⴰⴼⵍⴰⵎ. |
"They also adopted Gloria Freeman (1924–1986) in September 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as ""Peggy"" for most of her life." | “ⵙⵙⴳⵎⵏ ⴷⴰⵖ ⴳⵍⵓⵔⵢⴰ ⴼⵔⵉⵎⴰⵏ (1924 - 1986) ⵖ ⵛⵓⵜⴰⵏⴱⵉⵔ 1930, ⵙⵎⵎⴰⵏⵜⵉⴷ ⵎⴰⵔⵊⵓⵔⵉ ⵉⵍⵉⵣⴰⴱⵉⵜ ⵍⵓⵢⴷ ⵎⴰⵛ ⵜⵜⵓⵙⵙⴰⵏ ⴷ “”ⴱⵉⴳⴳⵉ”” ⵖ ⵜⵓⴳⵜ ⵏ ⵜⵓⴷⵔⵜⵏⵙ.” |
Davis died from a heart attack in 1969, two years before Lloyd's death. | ⵜⵎⵎⵓⵜ ⴷⴰⴼⵉⵙ ⵙ ⵜⴰⵙⵙⴰⵙⵙⵜ ⵏⵓⵍⵍ ⵖ 1969, ⵙⵉⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⴷⴰⵜ ⴰⵢⵎⵎⵜ ⵍⵓⵢⴷ. |
In 1925, at the height of his movie career, Lloyd entered into Freemasonry at the Alexander Hamilton Lodge No. | ⵖ 1925, ⵖ ⵓⵅⵛⴰⵛ ⵏ ⵜⴰⵔⵉⴷⵉⵜⵏⵙ, ⵉⴽⵛⵎ ⵍⵓⵢⴷ ⵙ ⵜⴰⵎⴰⵙⵓⵏⵉⵜ ⵖ ⴰⵍⵉⴽⵙⴰⵏⴷⵔ ⵀⴰⵎⵉⵍⵜⵓⵏ ⵍⵓⴷⵊ. |
In 1926, he became a 32° Scottish Rite Mason in the Valley of Los Angeles, California. | ⵖ 1926, ⵉⴳⴰ ⴰⵎⴰⵙⵓⵏⵉ ⵏ ⵙⴽⵓⵜⵍⴰⵏⴷⴰ ⵏ 32° ⵖ ⵓⵣⴰⵖⴰⵔ ⵏ ⵍⵓⵙ ⴰⵏⴳⵉⵍⵉⵙ, ⴽⴰⵍⵉⴼⵓⵔⵏⵢⴰ. |
A portion of Lloyd's personal inventory of his silent films (then estimated to be worth $2 million) was destroyed in August 1943 when his film vault caught fire. | ⵔⴷⵔⵏ ⵜⵓⴳⴳⵜ ⵏ ⵓⵙⴰⵜⵉⵎ ⵖ ⵍⴰⴼⵍⴰⵎ ⵉⵃⵉⵙⵙⵉⵢⵏ (ⵉⵇⴷⴷⵔⵏ ⵙ 2 ⵎⵍⵜⵓⵏ ⴷⵓⵍⴰⵕ) ⵖ ⵖⵓⵛⵜ 1943 ⵍⵍⵉⵖ ⵜⵓⵎⵣ ⴰⴼⴰ ⵖ ⵜⴰⵣⵇⵇⴰⵏⵙ. |
The fire spared the main house and outbuildings. | ⵜⵣⵣⵓⵣⵔ ⴰⴼⴰ ⵖ ⵓⴳⵏⵙ ⵏ ⵜⴳⵎⵎⵉ ⴷ ⴰⵡⵍⵊⵏⵙ. |
Lloyd was honored in 1960 for his contribution to motion pictures with a star on the Hollywood Walk of Fame located at 1503 Vine Street. | ⵉⵜⵜⵓⵙⵎⵖⴰⵔ ⵍⵓⵢⴷ ⵖ 1960 ⴼ ⵜⴰⴱⵣⴰⵔⵜⵏⵙ ⵉ ⵙⵙⵉⵏⵉⵎⴰ ⵙ ⵢⴰⵜ ⵜⵉⵜⵔⵉⵜ ⵖ ⵀⵓⵍⵉⵡⵓⴷ ⵡⴰⵍⴽ ⵓⴼ ⴼⵉⵢⵎ ⵖ 1503 ⴼⴰⵢⵏ ⵙⵜⵔⵉⵜ. |
The second citation was a snub to Chaplin, who at that point had fallen foul of McCarthyism and had his entry visa to the United States revoked. | ⴰⴱⴷⴰⵔ ⵡⵉⵙⵙⵉⵏ ⵉⴳⴰ ⴰⴹⵏⴰⵥ ⵉ ⵛⴰⴱⵍⵉⵏ, ⵍⵍⵉ ⵉⵙⴽⵔⵏ ⵜⵉⵙⵙⵍⵜ ⵏ ⵜⴰⵊⵎⴰⵡⵜ ⴷ ⴽⵉⵉⵙⵏⴰⵙ ⵍ ⴼⵉⵙⴰ ⵏ ⵎⴰⵔⵉⴽⴰⵏ. |
Gladys Marie Smith (April 8, 1892 – May 29, 1979), known professionally as Mary Pickford, was a Canadian-American film actress and producer with a career that spanned five decades. | ⴳⵍⴰⴷⵉⵙ ⵎⴰⵙⵉ ⵙⵎⵉⵜ (ⵡⵉⵙⵙ 8 ⵉⴱⵔⵉⵔ, 1892 – ⵡⵉⵙⵙ 29 ⵎⴰⵢⵢⵓ, 1979), ⵜⵓⵙⵙⵏ ⵙ ⵜⵡⵡⵓⵔⵉⵏⵙ ⵙ ⵎⴰⵔⵉ ⴱⵉⴽⴼⵓⵔⴷ, ⵜⴳⴰ ⵜⴰⵙⵎⴷⴰⵢⵜ ⴷ ⵜⴰⵎⵙⴰⴼⴰⵢⵓⵜ ⵜⴰⵎⴰⵔⵉⴽⴰⵏⵉⵜ ⵜⴰⴽⴰⵏⴰⴷⵉⵜ ⴳ ⵢⴰⵜ ⵜⵡⵡⵓⵔⵉ ⵉⴽⴽⴰⵏ ⵙⵉⵏ ⵡⴰⴳⵏⴰⵔⵏ ⴷ ⵎⵔⴰⵡ ⵉⵙⴳⴳⵯⴰⵙⵏ. |
Her father, John Charles Smith was the son of English Methodist immigrants, and worked a variety of odd jobs. | ⵉⵅⴷⵎ ⵉⴱⴱⴰⵙ, ⵊoⵏ ⵛⴰⵔⵍⵣ ⵙⵎⵉⵜ ⵍⵉⵉ ⵉⴳⴰⵏ ⵉⵡⵉⵙ ⵏ ⵉⵎⵣⵡⴰⴳⵏ ⵏ ⵉⵎⵉⵜⵓⴷⵉⵙⵜ ⵏ ⵏⴳⵍⵉⵣ, ⴷ ⵉⵙⵡⵓⵔⵉ ⵖ ⵉⵏⴰⴹⵉⵏ ⵉⵜⵜⵢⴰⵏⴰⵡⵏ. |
To please her husband's relatives, Pickford's mother baptized her children as Methodists, the religion of their father. | ⴱⴰⵛ ⴰⵜⵜⴽⵔ ⵍⵅⴰⵟⵕ ⵏ ⴰⵢⴷⴷⴰⵔⵙ ⵓⵓⵔⴳⴰⵣⵏⵙ, ⵜⵔⴰ ⵉⵏⵏⴰⵙ ⵏ ⴱⵉⴽⴼⵓⵔⴷ ⴰⵜⵜⵙⵏⴽⵔ ⵜⴰⵔⵡⴰⵏⵙ ⴱⴰⵛ ⴰⴷⴳⵉⵏ ⵉⵎⵉⵜoⴷⵉⵏ, ⴰⵇⴳⴷ ⵏ ⵉⴱⴱⴰⵜⵙⵏ. |
Gladys, her mother and two younger siblings toured the United States by rail, performing in third-rate companies and plays. | ⵜⵎⵓⵏⵣⵣ ⴳⴰⵍⴷⵉⵙ, ⴷ ⵉⵏⵏⴰⵙ ⴷ ⵉⵙⵜ ⵎⴰⵙ ⵎⵥⵥⵉⵏⵉⵏⵜ ⵖ ⵎⴰⵔⵉⴽⴰⵏ ⵙ ⵓⵍⴰⵡⴰⵢ, ⵉⵔⴰⵔⵏⵜ ⵖ ⵜⵉⵎⵏⵙⵉⵜⵉⵏ ⵏ ⵓⵎⴰⵍⴰ ⵡⵓⵙⵙ ⴽⵔⴰⴹ ⴷ ⵜⵉⵎⵣⴳⵓⵏⵉⵏ. |
Gladys finally landed a supporting role in a 1907 Broadway play, The Warrens of Virginia. | ⵜⵓⵎⵥ ⴳⵍⴰⴷⵉⵙ ⵜⵉⵍⴰⵍⵜ ⵉⵥⵥⵉⴹⵕⵏ ⵖ ⵢⴰⵜ ⵜⴰⵎⵣⴳⵓⵏⵜ ⵏ 1907 ⵖ ⴱⵔⵓⴷⵡⴰⵢ, ⴷⴰ ⵡⴰⵔⵔⵉⵏⵣ ⵓⴼ ⴼⵉⵔⴳⵉⵏⵉⴰ. |
After completing the Broadway run and touring the play, however, Pickford was again out of work. | ⵎⴰⵛ, ⵓⵔ ⵙⵓⵍ ⵜⵍⵍⴰ ⵍⴽⵀⴷⵎⵜ ⴷ ⴱⵉⴽⴼⵓⵔⴷ, ⵍⵍⵉⵖ ⵜⴽⵎⵎ ⵖ ⴱⵔⵓⴷⵡⴰⵢ ⴷ ⵓⵎⵓⴷⴷⵓ ⵏ ⵜⴰⵏⵣⴳⵓⵏⵜ. |
She quickly grasped that movie acting was simpler than the stylized stage acting of the day. | ⵜⵔⵎⵙ ⴷⴳⵢⴰ ⵉⵙ ⵓⵎⵙⴷⴰⵢ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵢⵓⴼ ⵡⵉⵏ ⵓⵎⵣⴳⵓⵏ. |
As Pickford said of her success at Biograph:I played scrubwomen and secretaries and women of all nationalities ... I decided that if I could get into as many pictures as possible, I'd become known, and there would be a demand for my work. | ⵣⵓⴷ ⵎⴰⵖ ⵜⵏⵏⴰ ⴱⵉⴽⴼⵓⵔⴷ ⵖ ⵓⵙⵎⵓⵔⵙⵏⵙ: ⵉⵔⴰⵔⵖ ⵜⵉⵎⴰⵔⵔⴰⵙⵉⵏ ⴷ ⵜⵉⵎⵉⵔⴰⵜⵉⵏ ⴷ ⵜⵎⵖⴰⵔⵉⵏ ⴳ ⴽⵓⵍⵍⵓ ⵜⵉⵎⵉⵣⴰⵕ... ⵖⵜⵜⵉⵙⵖ ⵉⵖ ⵙⴽⵔⵖ ⵎⵏⵏⴰⵡⵜ ⵏ ⵜⵡⵡⵓⵔⵉⵏ, ⵎⵉⴷⴷⵏ ⵔⴰⴷ ⵉⵢⵉⵙⵙⵏ, ⴷ ⵔⴰⴷ ⵉⵔⵉⵏ ⵜⴰⵡⵡⵓⵔⵉⵏⵓ. |
In January 1910, Pickford traveled with a Biograph crew to Los Angeles. | ⵖ ⵉⵏⵏⴰⵢⵔ ⵏ 1910, ⵜⵎⵎⵓⴷⴷⴰ ⴱⵉⴽⴼⵓⵔⴷ ⴷ ⵜⴰⴳⴳⴰⵢⵜ ⵏ ⴱⵢⵓⴳⵔⴰⴼ ⵙ ⵍⵓⵙ ⴰⵏⵊⵍⵉⵙ. |
Actors were not listed in the credits in Griffith's company. | ⵉⵙⵎⴷⴰⵢⵏ ⵓⵔ ⵜⵜⴱⴷⵉⵔⵏ ⵖ ⵓⵎⵙⵏⴰⴷ ⵏ ⵜⴰⵎⵏⵙⵜⵉⵜ ⵏ ⴳⵔⵉⴼⵉⵜ. |
Pickford left Biograph in December 1910. | ⵉⴼⵍ ⴱⵉⴽⴼⵓⵔⴷ ⴱⵢⵓⴳⵔⴰⴼ ⵖ ⴷⵓⵊⴰⵏⴱⵉⵔ 1910. |
She returned to Broadway in the David Belasco production of A Good Little Devil (1912). | ⵜⵓⵔⵔⵉⴷ ⵙ ⴱⵔⵓⴷⵡⴰⵢ ⵖ ⵜⴰⵙⴰⵢⴰⴼⵓⵜ ⵏ ⴷⴰⴼⵉⴷ ⴱⵉⵍⴰⵙⴽⵓ ⴰ ⴳⵓⴷ ⵍⵉⵜⵍ ⴷⵉⴼⵉⵍ (1912). |
In 1913, she decided to work exclusively in film. | ⵖ 1913, ⵜⵖⵜⵉⵙ ⴰⵜⵙⵡⵓⵔⵉ ⵖ ⵍⴰⴼⵍⴰⵎ ⴽⴰ. |
Pickford left the stage to join Zukor's roster of stars. | ⵉⴼⵍ ⴱⵉⴽⴼⵓⵔⴷ ⴰⵎⵣⴳⵓⵏ ⴱⴰⵛ ⴰⴷⴷⵉⵎⵓⵏ ⴷ ⵉⵜⵔⴰⵏ ⵏ ⵣⵓⴽⵓⵔ. |
Comedy-dramas, such as In the Bishop's Carriage (1913), Caprice (1913), and especially Hearts Adrift (1914), made her irresistible to moviegoers. | ⵉⵔⴰⵜ ⵉⴳⴷⵓⴷⵏ, ⵍⵍⵉⵖ ⴰⵜⵜⵙⴽⴰⵔ ⵍⴰⴼⵍⴰⵎ ⵏ ⵜⴰⴽⵓⵎⵉⴷⵉⵜ ⴷ ⴷⵔⴰⵎⴰ ⵣⵓⴷ, ⴷⴰ ⴱⵉⵛⵓⴱ ⴽⴰⵔⵢⴰⵊ (1913), ⴽⴰⴱⵔⵉⵛ (1913), ⴷ ⵙⵍⴰⵡⴰⵏ ⴰⴽⴽⵯ ⵀⴰⵔⵜⵙ ⴰⴷⵔⵉⴼⵜ (1914). |
Tess of the Storm Country was released five weeks later. | ⵉⴼⴼⵓⵖⴷ ⵜⵉⵙ ⵓⴼ ⴷⴰ ⵙⵜⵓⵔⵎ ⴽⵓⵏⵜⵔⵉ ⴰⵡⵔⵉⵏⵏ ⵙ ⵙⵎⵎⵓⵙ ⵉⵎⴰⵍⴰⵙⵙⵏ. |
Only Charlie Chaplin, who slightly surpassed Pickford's popularity in 1916, had a similarly spellbinding pull with critics and the audience. | ⵛⴰⵔⵍⵉ ⵛⴰⴱⵍⵉⵏ ⵡⴰⵃⴷⵓⵜ, ⵍⵍⵉ ⵢⵓⴳⴳⵯⵔⵏ ⴱⵉⴽⴼⵓⵔⴷ ⵖ ⵓⵏⴳⵏⴰⵏ ⵙ ⵉⵎⵉⴽ ⵖ 1916, ⵉⵜⵜⵓⵃⵎⴰⵍ ⵓⵍⵍⴰ ⵏⵜⴰⵏ ⴷⴰⵔ ⵉⴳⴷⵓⴷⵏ. |
She also became vice-president of Pickford Film Corporation. | ⵜⴳⴰ ⴷⴰⵖ ⵜⴰⵎⴰⵔⵉⵙⵜ ⵏ ⵉⵏⵙⵙⵉⵅⴼ ⵏ ⴱⵉⴽⴼⵓⵔⴷ ⴼⵉⵍⵎ ⴽⵓⵔⴱⵓⵔⵉⵛⵏ. |
Due to her lack of a normal childhood, she enjoyed making these pictures. | ⵍⵍⵉⴳ ⴷⴰⵔⵙ ⵟⵓⴼⵓⵍⴰ ⵉⵍⵍⵓⴳⴰⵏ, ⵜⵃⵎⵉⵍ ⴰⵜⵜⵔⴽⵙ ⵍⴰⴼⵍⴰⵎ ⴰⴷ. |
In August 1918, Pickford's contract expired and, when refusing Zukor's terms for a renewal, she was offered $250,000 to leave the motion picture business. | ⵖ ⵖⵓⵛⵜ 1918, ⵜⵙⵇⴹⵓ ⵜⴰⵎⵖⵓⵏⵜ ⵏ ⴱⵉⴽⴼⵓⵔⴷ, ⵍⵍⵉF ⵓⵔ ⵜⵔⴰ ⵜⵉⴼⴰⴷⴰⵡⵉⵏ ⵏ ⵣⵓⴽⵓⵔ ⴰⵜⵜⵉⵙⵎⴰⵢⵏⵓ, ⴼⴰⵏ ⴰⵙ $250,000 ⴱⴰⵛ ⵉⵜⵜⴼⵍ ⵜⴰⵡⵡⵓⵔⵉ ⵏ ⵍⴰⴼⵍⴰⵎ. |
Through United Artists, Pickford continued to produce and perform in her own movies; she could also distribute them as she chose. | ⵖ ⵢⵓⵏⴰⵢⵜⵉⴷ ⴰⵕⵜⵉⵙⵜⵙ, ⵜⵙⵓⵍⴷ ⴱⵉⴽⴼⵓⵔⴷ ⵖ ⵓⵔⴰⵔ ⴷ ⵜⴰⵙⴰⵢⴰⴼⵓⵜ ⵏ ⵍⴰⴼⵍⴰⵎⵏⵙ; ⵜⵓⴼⴰ ⴷⴰⵖ ⴰⵙⵙⵜⵏ ⵜⴱⵟⵟⵓ ⵙⴳⵉⵍⵍⵉ ⵜⵕⴰ. |
"During this period, she also made Little Annie Rooney (1925), another film in which Pickford played a child, Sparrows (1926), which blended the Dickensian with newly minted German expressionist style, and My Best Girl (1927), a romantic comedy featuring her future husband Charles ""Buddy"" Rogers." | “ⵖ ⵓⴳⵓⵔ ⴰⴷ, ⵜⵙⵓⵎⴼⵓⵖⴷ ⵜⵙⵍⵍⵡⵉⴷ ⵍⵉⵜⵍ ⴰⵏⵉ ⵔⵓⵏⵉ (1925), ⵍⴼⵉⵍⵎ ⵢⴰⴹⵏⵉ ⵍⵍⵉⵖ ⵜⵓⵔⴰⵔ ⴱⵉⴽⴼⵓⵔⴷ ⵜⴰⴱⵔⵙⵉⵔⵜ, ⵙⴱⴰⵔⵔⵓⵣ (1926), ⵍⵍⵉ ⵉⵙⵙⵔⵄⵉⵏ ⵜⴰⵎⴰⵎⴽⵜ ⵏ ⴷⵉⴽⵏ ⴷ ⵡⵉⵏ ⵍⴰⵍⵎⴰⵏ, ⴷ ⵎⴰⵢ ⴱⵉⵙⵜ ⴳⵔⵍ (1927), ⵍⴼⵉⵍⵎ ⵏ ⵜⴰⴽⵓⵎⵉⴷⵉⵜ ⵜⴰⵔⵓⵎⴰⵏⵙⵉⵜ ⴷ ⵓⵔⴳⴰⵣⵏⵙ ⵉⵎⴰⵍⵏ ⵛⴰⵔⵍⵣ “”ⴱⵓⴷⵉ”” ⵔⵄⴳⵔⵣ.” |
She played a reckless socialite in Coquette (1929), her first talkie, a role for which her famous ringlets were cut into a 1920s' bob. | ⵜⵓⵔⴰⵔ ⵢⴰⵜ ⵜⴰⵏⵓⴼⵍⴰⵢⵜ ⵜⴰⵇⵉⵛⵓⵃⵜ ⵖ ⴽⵓⴽⵉⵜ (1929), ⵍⴼⵉⵍⵎⵏⵙ ⵉⵙⴰⵡⴰⵍⵏ ⵉⵣⵡⴰⵔⵏ, ⵜⴱⴱⵉ ⵉⴱⴱⵄⵓⵢⵏⵙ ⵖ ⵜⵉⵜⵍⴰⵍⵜⴰⴷ ⵙ ⵜⵉⵏ 1920. |
The public failed to respond to her in the more sophisticated roles. | ⵓⵔⵜⵜⵉⵔⴰ ⵓⴳⴷⵓⴷ ⵖ ⵜⵉⵍⴰⵍⵉⵏ ⵉⵎⵀⵢⴰⵔⵏ. |
Established Hollywood actors were panicked by the impending arrival of the talkies. | ⵎⵏⵓⵙⵏ ⵉⵙⵎⴷⴰⵢⵏ ⵏ ⵀⵓⵍⵉⵡⵓⴷ ⵙ ⵓⵡⴰⴹ ⵏ ⵍⴰⴼⵍⴰⵎ ⵉⵙⴰⵡⴰⵍⵏⵉⵏ. |
She retired from film acting in 1933 following three costly failures with her last film appearance being Secrets. | ⵜⵜⵡⵡⵃⴷ ⵙ ⵓⵙⵎⴷⵢⴰ ⵖ 1933 ⵉⵡⵔⵉⵏⵏ ⴽⵔⴰⴷ ⵉⴼⴰⵚⴰⵍⵏ ⴷ ⵙⵉⴽⵔⵉⵜⵙ ⵉⴳⴰ ⵍⴼⵉⵍⵎⵏⵙ ⵉⴳⴳⵓⵔⴰⵏ. |
During World War I she promoted the sale of Liberty Bonds, making an intensive series of fund-raising speeches, beginning in Washington, D.C., where she sold bonds alongside Charlie Chaplin, Douglas Fairbanks, Theda Bara, and Marie Dressler. | ⴳ ⴰⵎⴽⴰⵔⵓ ⴰⵎⴰⴹⵍⴰⵏ ⴰⵎⵣⵡⴰⵔⵓ ⵜⵙⴽⵔ ⵓⵙⵉⵍⵍⵉⵢ ⵏ ⵉⵣⵓⵛⵛⵍⵏ, ⵍⵍⵉⵖ ⵜⵙⵎⵓⵏ ⵎⵏⵏⴰⵡ ⵏ ⵉⵇⴰⵕⵉⴹⵏ ⴳ ⵉⵏⴰⵡⵏ, ⵜⵣⵣⵡⴰⵔ ⴳ ⵡⴰⵛⵉⵏⵟⵓⵏ, ⴷ. ⵙ. ⵍⵍⵉⵖ ⵜⵣⵣⵏⵣⴰ ⵉⵣⵓⵛⵛⵍⵏ ⴷ ⵛⴰⵔⵍⵉ ⵛⴰⴱⵍⵉⵏ, ⴷ ⴷⵓⴳⵍⴰⵙ ⴼⵉⵔⴱⴰⵏⴽⵙ, ⴷ ⵜⵉⴷⴰ ⴱⴰⵔⴰ, ⴷ ⵎⴰⵔⵉ ⴷⵔⵉⵙⵍⵔ. |
In a single speech in Chicago, she sold an estimated five million dollars' worth of bonds. | ⵜⵣⵣⵏⵣⴰ ⵙⵎⵎⵓⵙ ⵏ ⵎⵍⵢⵓⵏ ⵏ ⴷⴷⵓⵍⴰⵕ ⵏ ⵉⵣⵓⵛⵛⵍⵏ, ⴳ ⵢⴰⵏ ⵉⵏⴰⵡ. |
At the end of World War I, Pickford conceived of the Motion Picture Relief Fund, an organization to help financially needy actors. | ⵍⵍⵉⵖ ⵉⴽⵎⵎⵍ ⵉⵎⵏⵖⵉ ⴰⵎⴰⴹⵍⴰⵏ ⴰⵎⵣⵡⴰⵔⵓ, ⵉⵙⵙⵓⴼⵖⴷ ⴱⵉⴽⴼⵓⵕ ⴰⴼⵏⵉⵇ ⵏ ⵓⵙⵏⴳⴷⵡⵉ ⵏ ⵜⵡⵍⵍⴰⴼⵉⵏ ⵉ ⵜⵎⵓⵙⵙⵓⵏ, ⵏⵏⴰ ⵉⴳⴰⵏ ⵜⴰⵎⴰⴷⴷⴰⵙⵜ ⵏ ⵢⵉⵡⵙ ⵏ ⵜⵎⵏⴰⴹⵉⵏ ⵉⵜⵜⵓⵅⵙⵙⴰⵏ ⴳ ⵓⵥⵕⴼ. |
As a result, in 1940, the Fund was able to purchase land and build the Motion Picture Country House and Hospital, in Woodland Hills, California. | ⵜⴰⵢⴰⴼⵓⵜ ⵏ ⵓⵢⵏⵏⴰⵖ, ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1940, ⵉⵖⵢ ⵓⴼⵏⵉⵇ ⴰⴷ ⵉⵙⵖ ⴰⴽⴰⵍ ⵉⵚⴽⵓ ⴰⵙⴳⵏⴰⴼ ⴷ ⵜⴰⴷⴷⴰⵔⵜ ⵏ ⵓⴼⵉⵍⵎ, ⴳ ⵡⵓⴷⵍⴰⵏⴷ ⵀⵉⵍⵍ, ⴽⴰⵍⵉⴼⵓⵔⵏⵢⴰ. |
She demanded (and received) these powers in 1916, when she was under contract to Zukor's Famous Players in Famous Plays (later Paramount). | ⵜⴻⵜⵜⵔ (ⵜⴰⵎⵥ) ⵜⵉⵏⴱⴰⴹⵉⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1916, ⵍⵍⵉ ⴳ ⵜⴳⴰ ⵜⴰⵏⵎⵖⵓⵏⵜ ⴷ ⵉⵎⵉⵔⴰⵔⵏ ⵉⵎⵛⵏⴰⵄ ⵏ ⵣⵓⴽⵓⵕ ⴳ ⵜⵎⵣⴳⵓⵏⵉⵏ ⵜⵉⵎⵛⵏⴰⵄ (ⵖⵔ ⴷⴰⵜ ⴱⴰⵔⴰⵎⴰⵡⵏⵜ). |
The Mary Pickford Corporation was briefly Pickford's motion-picture production company. | ⵜⴳⴰ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵎⴰⵕⵉ ⴱⵉⴽⴼⵓⵕⴷ ⴽⵓⵔⴱⵓⵔⴰⵜⵢⵓⵏ ⴳ ⵢⴰⵜ ⵜⵉⵣⵉ ⵉⴷⵔⵓⵙⵏ ⵢⴰⵜ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵓⴼⴰⵔⵙ ⵏ ⵜⵡⵍⵍⴰⴼⵉⵏ ⵉⵜⵎⵓⵙⵙⵓⵏ ⴳ ⴱⵉⴽⴼⵓⵕⴷ. |
Distributors (also part of the studios) arranged for company productions to be shown in the company's movie venues. | ⵙⴽⵔⵏ ⵉⵏⴱⴹⴰ ( ⴰⵡⴷ ⴰⵇⵛⵓⵕ ⴳ ⵉⴷ ⵙⵜⵓⴷⵢⵓ) ⴰⵙⴼⵙⵔ ⵏ ⵜⵢⴰⴼⵓⵜⵉⵏ ⵏ ⵜⵎⵙⵙⵓⵔⵜ ⴳ ⵡⴰⵏⵙⵉⵡⵏ ⵉⴼⵉⵍⵎⵏ ⵏ ⵜⵎⵙⵙⵓⵔⵜ. |
It was solely a distribution company, offering independent film producers access to its own screens as well as the rental of temporarily unbooked cinemas owned by other companies. | ⵜⴽⴽⴰ ⵜⴳⴰ ⵖⴰⵙ ⵢⴰⵜ ⵜⵎⵙⵙⵓⵔⵜ ⵏ ⵓⴱⵟⵟⵓ, ⴷⴰ ⵜⵙⵎⵏⵉⴷ ⵉ ⵉⵎⵙⵢⴰⴼⵓⵜⵏ ⵏ ⵉⴼⵉⵍⵎⵏ ⵉⵙⵉⵎⴰⵏⵏ ⴰⴷ ⵏⵏ ⴰⵡⴹⵏ ⵉⵎⵉⵥⴰⵕⵏ ⵏⵏⵙ ⵉⵥⵍⵉⵏ ⴷ ⴰⵡⴷ ⴰⴽⵔⵔⵓ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵏⵏⴰ ⵓⵔ ⵉⵜⵜⵓⴽⵔⴰⵏ ⵉⴳⴰⵏ ⵜⵉⵏ ⵜⵎⵙⵙⵓⵔⵉⵏ ⵢⴰⴹⵏ. |
As a co-founder, as well as the producer and star of her own films, Pickford became the most powerful woman who has ever worked in Hollywood. | ⵙ ⵓⴼⵔⵉⵙ ⵏⵏⵙ ⵜⴳⴰ ⵜⵉⵎⵔⵙⵍⵜ ⵢⴰⵎⵓⵏ ⴷ ⵜⵎⵙⵢⴰⴼⵓⵜ ⴷ ⵜⵉⵜⵔⵉⵜ ⵏ ⵉⴼⵉⵍⵎⵏ ⵏⵏⵙ ⵉⵥⵍⵉⵏ, ⵜⴰⵖⵓⵍ ⴱⵉⴽⴼⵓⵔⴷ ⵜⴳⴰ ⵜⴰⵎⵟⵟⵓⴹⵜ ⵉⴷⵓⵙⵏ ⵏⵏⴰ ⴰⴽⴽⵯ ⵉⵙⵡⵓⵔⵉⵏ ⴳ ⵀⵓⵍⵉⵡⵓⴷ. |
She and Chaplin remained partners in the company for decades. | ⵜⵇⵇⵉⵎⴰ ⵏⵜⵜⴰⵜ ⴷ ⵛⴰⴱⵍⵉⵏ ⵉⵎⵙⵙⵓⵔⵏ ⴳ ⵜⵎⵙⵙⵓⵔⵜ ⵉⵙⴳⴳⵯⴰⵙⵏ. |
It is rumored she became pregnant by Moore in the early 1910s and had a miscarriage or an abortion. | ⴰⵔ ⵜⵜⵉⵏⵉⵏ ⵎⴰⵙ ⴷⴰ ⵜⵜⴰⵔⵡ ⵙⴳ ⵎⵓⵕ ⵜⵉⵣⵡⵓⵔⵉ ⵏ 1910 ⵜⵙⵙⴽⵔ ⵢⴰⵜ ⵜⴰⵔⵡⴰ ⵓⵔ ⵉⵃⵍⵉⵏ ⵏⵖⴷ ⵜⵖⵔⵉ. |
The couple lived together on-and-off for several years. | ⴷⴷⵔⵏ ⵉⵙⵍⴰⵏ ⵙ ⵙⵉⵏ ⵙ ⵢⴰⵜ ⵜⴰⵍⵖⴰ ⵉⴱⴱⵉⵏ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ. |
Around this time, Pickford also suffered from the flu during the 1918 flu pandemic. | ⴰⵜⵜⴰⵢⵏ ⵏ ⵜⵉⵣⵉ ⴰⴷ, ⵢⵓⴹⵏ ⴱⵉⴽⴼⵓⵔⴷ ⴰⵡⴷ ⵏⵜⵜⴰ ⴳ ⵉⵏⴼⵍⵓⵡⴰⵏⵣⴰ ⴳ ⵜⵉⵣⵉ ⵏ ⵡⴰⵟⵟⴰⵏ ⵏ ⵉⵏⴼⵍⵓⵡⴰⵏⵣⴰ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1918. |
They went to Europe for their honeymoon; fans in London and in Paris caused riots trying to get to the famous couple. | ⴷⴷⴰⵏ ⵙ ⵓⵔⵓⴱⴱⴰ ⴰⴷ ⵣⵣⵔⵉⵏ ⴰⵢⵢⵓⵔ ⵏ ⵜⴰⵎⵉⵎⵜ; ⴰⴳⴷⵓⴷ ⵏ ⵍⵓⵏⴷⵓⵏ ⴷ ⴱⴰⵔⵉⵣ ⴰⵢⴷ ⵉⴳⴰⵏ ⵜⴰⵍⵏⵜⵉⵍⵜ ⵏ ⵡⴰⵇⵇⵓⵔ ⴷⴷⴰ ⴳ ⵔⴰⵏ ⴰⵏⵏ ⴰⵡⴹⵏ ⵉⵙⵍⴰⵏ ⵉⵜⵜⵓⵢⴰⵙⵙⴰⵏⵏ. |
Pickford continued to epitomize the virtuous but fiery girl next door. | ⵜⵙⵙⵓⴷⴰ ⴱⵉⴽⴼⵓⵕⴷ ⴳ ⵓⵣⵔⴽ ⵏⵏⵙ ⵎⴰⵛⴰ ⵜⵍⵍⴰ ⵎ ⵡⴰⴼⴰ ⴹⴰⵔⵜ ⵜⴼⵍⵓⵜ. |
Foreign heads of state and dignitaries who visited the White House often asked if they could also visit Pickfair, the couple's mansion in Beverly Hills. | ⵉⵙⵍⵡⴰⵢⵏ ⵏ ⵜⵎⵓⵔⴰ ⴷ ⵉⵅⴰⵜⴰⵔⵏ ⵏ ⴱⵕⵕⴰ ⵏⵏⴰ ⵉⵔⴰⵏ ⴰⴷ ⵉⴽⴽ ⵜⴰⴷⴷⴰⵔⵜ ⵜⴰⵎⵍⵍⴰⵍⵜ ⴷⴰ ⵜⴻⵜⵜⵔⵏ ⴽⵉⴳⴰⵏ ⴰⴷ ⴽⴽⵏ ⴰⵡⴷ ⴱⵉⴽⴼⴰⵢⵔ, ⵉⵖⵔⵎ ⵏ ⵉⵙⵍⴰⵏ ⴳ ⴱⵉⴼⵉⵔⵍⵢ ⵀⴰⵢⵍⵣ. |
Other guests included George Bernard Shaw, Albert Einstein, Elinor Glyn, Helen Keller, H. G. Wells, Lord Mountbatten, Fritz Kreisler, Amelia Earhart, F. Scott Fitzgerald, Noël Coward, Max Reinhardt, Baron Nishi, Vladimir Nemirovich-Danchenko, Sir Arthur Conan Doyle, Austen Chamberlain, Sir Harry Lauder, and Meher Baba, among others. | ⵙⴳ ⵉⵏⴱⴳⵉⵡⵏ ⵢⴰⴹⵏ ⵊⵓⵕⵊ ⴱⵉⵕⵏⴰⵔ ⵛⵓ, ⴷ ⴰⵍⴱⵉⵔⵜ ⵉⵏⵛⵜⴰⵢⵏ, ⴷ ⵉⵍⵉⵏⵓⵕ ⵊⵍⵉⵏ, ⴷ ⵀⵉⵍⵉⵏ ⴽⵉⵍⵕ, ⴷ ⵉⵜⵛ ⵊⵉ ⵡⵉⵍⵥ, ⴷ ⵍⵓⵕⴷ ⵎⴰⵡⵏⵜⴱⴰⵜⵏ, ⴷ ⴼⵔⵉⵜⵣ ⴽⵔⵉⵙⵍⵉⵔ, ⴷ ⴰⵎⵉⵔⵢⴰ ⵉⵔⵉⵀⴰⵔⵜ, ⴷ ⵉⴼ ⵙⴽⵓⵜ ⴼⵉⵜⵣ ⵊⵉⵕⴰⵍⴷ, ⴷ ⵏⵡⵉⵍ ⴽⵡⴰⵕⴷ, ⴷ ⵎⴰⴽⵙ ⵔⵉⵏⵀⴰⵕⵜⴷ, ⴷ ⴱⴰⵕⵓⵏ ⵏⵉⵛⵉ, ⴷ ⴼⵍⴰⴷⵉⵎⵉⵔ ⵏⵉⵎⵉⵕⵓⴼⵉⵜⵛ ⴷⴰⵏⵜⵛⵉⵏⴽⵓ, ⴷ ⴰⵍⵙⵉⵕ ⴰⵕⵜⵔ ⴽⵓⵏⴰⵏ ⴷⵡⵉⵍ, ⴷ ⵓⵙⵜⵏ ⵜⵛⴰⵎⴱⵕⵍⵉⵏ , ⴷ ⴰⵍⵙⵉⵔ ⵀⴰⵕⵉ ⵍⵓⵕⴷ, ⴷ ⵎⴰⵀⵉⵕ ⴱⴰⴱⴰ, ⵙⴳ ⵡⵉⵢⵢⴰⴹ. |
They were also constantly on display as America's unofficial ambassadors to the world, leading parades, cutting ribbons, and making speeches. | ⴽⴽⴰⵏ ⴰⵡⴷ ⴰⵔ ⵜⵜⵓⵖⵔⴰⵏ ⴷ ⵉⵎⵙⵇⴰⴷⵏ ⴰⵔⵉⵎⴰⴷⴷⴰⴷⵏ ⵏ ⵎⵉⵔⵉⴽⴰⵏ ⴳ ⵓⵎⴰⴹⵍ, ⴰⵔ ⵏⵔⵔⵓⵏ ⵜⵉⵡⴰⴷⵉⵡⵉⵏ, ⴰⵔ ⵜⴱⴱⵉⵏ ⵉⵙⴼⵉⴼⵏ, ⴰⵔ ⵜⵜⵉⵏⵉⵏ ⵜⵉⵏⴰⵡⵉⵏ. |
They divorced January 10, 1936. | ⵎⵢⴰⵕⵥⴰⵎⵏ ⴳ 10 ⵉⵏⵏⴰⵢⵔ 1936. |
She criticized their physical imperfections, including Ronnie's small stature and Roxanne's crooked teeth. | ⵜⵓⵥⵎ ⵉⴼⵔⵔⵓⵖⵏ ⵏ ⵜⴼⴳⴳⵉⵡⵉⵏ ⵏⵏⵙⵏ, ⵣⵓⵏⴷ ⵜⵉⴷⴷⵉ ⵏ ⵕⵓⵏⵉ ⵉⵍⵥⵥⵉⵢⵏ ⴷ ⵜⵓⵖⵎⴰⵙ ⵏ ⵕⵓⴽⵙⴰⵏ ⵉⵎⵎⵓⵏⴹⵏ. |
Her siblings, Lottie and Jack, both died of alcohol-related causes in 1936 and 1933, respectively. | ⵎⵎⵓⵜⵏ ⴰⵢⵜ ⵎⴰⵙ,ⵍⵓⵜⵉ ⴷ ⵊⴰⴽ, ⵙ ⵜⵎⵏⵜⵉⵍⵉⵏ ⵉⵣⴷⵉⵏ ⵙ ⵜⵉⵙⵙⵉ ⴳ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1936 ⴷ 1933 ⵉⵎⵎⴹⴼⴰⵕⵏ. |
Pickford withdrew and gradually became a recluse, remaining almost entirely at Pickfair and allowing visits only from Lillian Gish, her stepson Douglas Fairbanks Jr., and few other people. | ⵜⵙⵔⵙ ⴱⵉⴽⴼⵓⵕⴷ ⵜⵓⵖⵓⵍ ⵜⴷⴷⵉⵔⵣ ⵉⵎⵉⴽ ⵙ ⵉⵎⵉⴽ, ⵜⵃⴹⴰⵔ ⴰⴷ ⴰⴽⴽⵯ ⵜⵇⵇⵉⵎ ⴳ ⴱⵉⴽⴼⴰⵢⵕ, ⵓⵔ ⵜⵓⴷⵊⵉ ⵉⵔⴼⴰⵣⵏ ⵖⴰⵙ ⵉ ⵍⵉⵍⵢⴰⵏ ⴳⵉⵛ ⴷ ⵓⵔⴳⴰⵣ ⵏⵏⵙ ⴷⵓⴳⵍⴰⵙ ⴼⵉⵔⴱⴰⵏⴽⵙ ⵊⵓⵏⵢⵓⵕ., ⴷ ⴽⵔⴰ ⵏ ⵎⴷⴷⵏ ⵉⴷⵔⵓⵙⵏ. |
She appeared in court in 1959, in a matter pertaining to her co-ownership of North Carolina TV station WSJS-TV. | ⵜⵣⵔⵉ ⴷⴰⵜ ⵏ ⵜⵙⵏⴱⴹⴰⵢⵜ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1959, ⴳ ⵢⴰⵜ ⵜⵎⵏⵜⵉⵍⵜ ⵉⵣⴷⵉⵏ ⵙ ⵢⵉⵍⵉ ⵏⵏⵙ ⴰⵎⵙⵙⵓⵔ ⵏ ⵢⴰⵏ ⵓⵙⴰⵔⵙ ⴰⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏⵉⵢ ⵉⵣⵍⵎⴷ ⵏ ⴽⴰⵕⵓⵍⵉⵏⴰ WSJS-TV. |
"Charles ""Buddy"" Rogers often gave guests tours of Pickfair, including views of a genuine western bar Pickford had bought for Douglas Fairbanks, and a portrait of Pickford in the drawing room." | ⵛⴰⵕⵍ ""Buddy"" ⵕⵓⵊⵉⵕ ⴷⴰ ⵉⵙⵎⵔⴰⵙ ⴱⵉⴽⴼⴰⵉⵕ ⵉ ⵉⵏⴱⴳⴰⵡⵏ, ⴳ ⵍⵍⴰⵏ ⵉⵙⴽⵙⵉⵡⵏ ⵏ ⵢⴰⵜ ⵜⵃⴰⵏⵓⵜ ⵏⵏⴰ ⵜⵙⵖⴰ ⴱⵉⴽⴼⵓⵔⴷ ⵉ ⴷⵓⴳⵍⴰⵙ ⴼⴰⵢⵕⴱⴰⵏⴽⵙ, ⴷ ⵢⴰⵜ ⵜⵡⵍⵍⴰⴼⵜ ⵏ ⴱⵉⴽⴼⵓⵕⴷ ⴳ ⵜⴷⴰⵍⴰ ⵏ ⵓⴽⵍⵓ. |
She also owned a house in Toronto, Ontario, Canada. | ⵖⵓⵔⵙ ⴰⵡⴷ ⵢⴰⵜ ⵜⴰⴷⴷⴰⵔⵜ ⴳ ⵜⵓⵕⵓⵏⵜⵓ, ⵓⵏⵜⴰⵔⵢⵓ, ⴽⴰⵏⴰⴷⴰ. |
Her handprints and footprints are displayed at Grauman's Chinese Theatre in Hollywood, California. | ⴷⴰ ⵜⵜⵓⵙⵎⵔⴰⵙⵏⵜ ⵜⵡⴳⴳⴰⴹ ⵏⵏⵙ ⴷ ⵍⴰⵜⵕ ⵏ ⵉⴹⴰⵔⵏ ⵏⵏⵙ ⴳ ⵓⵎⵣⴳⵓⵏ ⵏ ⴳⵕⵓⵎⴰⵏ ⴰⵚⵚⵉⵏ ⴳ ⵀⵓⵍⵉⵡⵓⴷ, ⴽⴰⵍⵉⴼⵓⵔⵏⵢⴰ. |
The Mary Pickford Theater at the James Madison Memorial Building of the Library of Congress is named in her honor. | ⵉⵜⵜⵡⴰⴳ ⴰⵙ ⵉⵙⵎ ⵏ ⴰⵎⵣⴳⵓⵏ ⵏ ⵎⴰⵕⵉ ⴱⵉⴽⴼⵓⵕⴷ ⴳ ⵜⵓⵚⴽⴰ ⵊⵉⵎⵙ ⵎⴰⴷⵉⵙⵓⵏ ⴰⵙⵎⴽⵜⴰⵢ ⴳ ⵜⵙⴷⵍⵉⵙⵜ ⵏ ⵓⴽⵓⵏⴳⵔⵉⵙ ⵅⴼ ⵡⵓⴷⴷⵓⵔ ⵏⵏⵙ. |
A first-run movie theatre in Cathedral City, California is called The Mary Pickford Theatre, which was established on May 25, 2001. | ⴰⵎⵣⴳⵓⵏ ⴰⵎⵣⵡⴰⵔⵓ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⴳ ⴽⴰⵜⵉⴷⵔⴰⵍ ⵙⵉⵜⵉ, ⴽⴰⵍⵉⴼⵓⵔⵏⵢⴰ ⵉⵙⵎ ⵏⵏⵙ ⴰⵎⵣⴳⵓⵏ ⵎⴰⵕⵉ ⴱⵉⴽⴼⵓⵕⴷ, ⵏⵏⴰ ⵎⵉ ⵜⵜⵓⵙⵔⵙ ⵜⵉⵔⵙⵍⵜ ⴳ 25 ⵎⴰⵢⵢⵓ 2001. |
Among them are a rare and spectacular beaded gown she wore in the film Dorothy Vernon of Haddon Hall (1924) designed by Mitchell Leisen, her special Oscar, and a jewelry box. | ⵙⴳ ⴷⵉⴳⵙⵏ ⵢⴰⵜ ⵜⴽⴱⵔⵜ ⵉⴷⵔⵓⵙⵏ ⵉⵥⵉⵍⵏ ⵙ ⵡⴰⵇⵇⴰⵢⵏ ⵏⵏⴰ ⵜⵍⵙⴰ ⴳ ⵓⴼⵉⵍⵎ ⵏ Dorothy Vernon of Haddon Hall (1924) ⵏⵏⴰ ⴰⵙ ⵉⵖⴳⴳⵯⵙ ⵎⵉⵜⵛⵉⵍ ⵍⵉⵙⵉⵏ, ⴷ ⵓⵙⴽⴰⵕ ⵏⵏⵙ ⴰⵎⵥⵍⴰⵢ, ⴷ ⵓⴼⵏⵉⵇ ⵏ ⵜⵣⵓⵣⴰⴼ. |
The family home had been demolished in 1943, and many of the bricks delivered to Pickford in California. | ⵜⵜⵓⵔⴷⴰⵍ ⵜⴰⴷⴷⴰⵔⵜ ⵏ ⵜⴰⵡⵊⴰ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1943, ⴷ ⵜⵜⵡⴰⵙⵉⵏ ⴽⵉⴳⴰⵏ ⵏ ⵡⵓⵟⵟⵓⴱⵏ ⵙ ⴱⵉⴽⴼⵓⵔⴷ ⴳ ⴽⴰⵍⵉⴼⵓⵔⵏⵢⴰ. |
In 1993, a Golden Palm Star on the Palm Springs Walk of Stars was dedicated to her. | ⴳ ⵓⵙⴳⴳⵯⴰⵙ ⵏ 1993, ⵙⵔⵉⵣⵣⴼⵏ ⴰⵙ ⵜⵉⵜⵔⵉⵜ ⵏ ⵜⵣⴷⴰⵢⵜ ⵏ ⵡⵓⵔⵖ ⵅⴼ ⵓⴱⵔⵉⴷ ⵏ ⵉⵜⵔⴰⵏ ⴱⴰⵍⵎ ⵙⴱⵔⵉⵏⴳ. |
From January 2011 until July 2011, the Toronto International Film Festival exhibited a collection of Mary Pickford memorabilia in the Canadian Film Gallery of the TIFF Bell LightBox building. | ⵙⴳ ⵉⵏⵏⴰⵢⵔ 2011 ⴰⵔ ⵢⵓⵍⵢⵓⵣ 2011, ⵉⵙⵎⵔⵙ ⵓⵏⵎⵓⴳⴳⴰⵔ ⴰⵎⴰⴹⵍⴰⵏ ⵏ ⵙⵙⵉⵏⵉⵎⴰ ⵜⵓⵕⵓⵏⵜⵓ ⴽⵉⴳⴰⵏ ⵏ ⵉⵙⵎⴽⵜⴰⵢⵏ ⵏ ⵎⴰⵕⵉ ⴱⵉⴽⴼⵓⵕⴷ ⴳ ⵓⵙⴼⵙⵔ ⴰⴽⴰⵏⴰⴷⵉⵢ ⵏ ⵉⴼⵉⵍⵎⵏ ⴳ ⵜⵓⵚⴽⴰ TIFF Bell LightBox. |
It was donated to Keene State College and is currently undergoing restoration by the Library of Congress for exhibition. | ⵉⵜⵜⵓⴼⴽⴰ ⵉ ⵜⵙⴷⴰⵡⵉⵜ ⵏ ⴽⵉⵏ ⵙⵜⴰⵢⵜ ⴰⵔ ⴰⵙ ⵉⵜⵜⵓⴳⴰ ⴷⵖⵉ ⵓⵙⵎⴰⵢⵏⵓ ⵙⴳ ⵖⵓⵔ ⵜⵙⴷⵍⵉⵙⵜ ⵏ ⵓⴽⵓⵏⴳⵔⵉⵙ ⴰⴼⴰⴷ ⴰⴷ ⵜ ⴼⵙⵔⵏ. |
The Google Doodle of April 8, 2017 commemorated Mary Pickford's 125th birthday. | ⵉⵙⴼⵓⴳⵍⴰ ⵓⴽⵍⵓ ⵏ ⵜⵎⴰⵜⴰⵔⵜ ⵏ ⴳⵓⴳⵍ ⵜⴰⵏⵓⵣⴰⴼⵜ ⴳ 8 ⵉⴱⵔⵉⵔ 2017 ⵙ ⵡⴰⵙⵙ ⵏ ⵜⵍⴰⵍⵉⵜ ⵏ ⵎⴰⵕⵉ ⴱⵉⴽⴼⵓⵕⴷ ⵡⵉⵙⵙ 125. |
Gloria Josephine May Swanson (March 27, 1899 – April 4, 1983) was an American actress, producer, and businesswoman. | ⵜⴳⴰ ⴳⵍⵓⵔⵢⴰ ⵊⵉⵣⵉⴼⵉⵏ ⵎⴰⵢ ⵙⵡⴰⵏⵙⵓⵏ ( 27 ⵎⴰⵕⵚ 1899 - 4 ⵉⴱⵔⵉⵔ 1983) ⵢⴰⵜ ⵜⵙⵎⴷⴰⵢⵜ ⴷ ⵜⵎⵙⵢⴰⴼⵓⵜ ⴷ ⵍⴰⵍ ⵏ ⵜⵡⵓⵔⵉⵡⵉⵏ. |
Her schoolgirl crush on Essanay Studios actor Francis X. Bushman led to her aunt taking her to tour the actor's Chicago studio. | ⵜⵎⵣⵉ ⵜⵏⵍⵎⴰⴷⵜ ⵏⵏⵙ ⴳ ⵓⵙⵜⵓⴷⵢⵓ ⵉⵙⵙⴰⵏⴰⵢ ⵢⴰⵏ ⵓⵙⵎⴷⴰⵢ ⴼⵕⴰⵏⵙⵉⵙ X. ⵢⵓⵡⵉ ⴱⵓⵛⵎⴰⵏ ⵄⵜⵜⵉ ⵏⵏⵙ ⴰⴷ ⵉⴷⵙ ⵜⵎⵓⵏ ⵙ ⵢⴰⵏ ⵡⵓⵜⵓⵢ ⴳ ⵓⵙⵜⵓⴷⵢⵓ ⵏ ⵓⵙⵎⴷⴰⵢ ⴳ ⵛⵉⴽⴰⴳⵓ. |
Her sound film debut performance in the 1929 The Trespasser, earned her a second Academy Award nomination. | ⵢⵓⵡⵉ ⵓⴼⵉⵍⵎ ⵏⵏⵙ ⵉⵍⵉⵎⵙⵍⵉ ⴰⵎⵣⵡⴰⵔⵓ ⴳ The Trespasser ⴳ 1929 ⵏⵏⴰ ⴳ ⵜⵜⵓⵙⵜⴰⵢ ⵙ ⵜⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵕ ⵜⵉⵙ ⵙⵏⴰⵜ. |
Her father was a Swedish American and her mother was of German, French, and Polish ancestry. | ⵉⴳⴰ ⴱⴱⴰ ⵏⵏⵙ ⴰⵎⵉⵔⵉⴽⵉⵢ ⴰⵙⵡⵉⴷⵉⵢ ⵜⴳ ⵎⵎⴰ ⵏⵏⵙ ⵙⴳ ⵓⵥⵓⵕ ⴰⵍⵎⴰⵏⵉⵢ ⴷ ⵓⴼⵔⴰⵏⵙⵉⵙ ⴷ ⵓⴱⵓⵍⴰⵏⴷⵉⵢ. |
In either version, she was soon hired as an extra. | ⴳ ⵜⵉⵥⵕⵉⴳⵉⵏ ⵏⵏⵙ ⵙ ⵙⵏⴰⵜ, ⴼⵉⵙⴰⵖ ⴰⵢⴷ ⵜⵜ ⵉⴳⴰⵏ ⴷ ⵜⵏⵓⴼⵍⴰⵢⵜ. |
Her first role was a brief walk-on with actress Gerda Holmes, that paid an enormous (in those days) $3.25. | ⵜⵉⵍⴰⵍⵜ ⵏⵏⵙ ⵜⴰⵎⵣⵡⴰⵔⵓⵜ ⵜⴳⴰ ⵢⴰⵏ ⵓⵙⵙⴰⵔⴰ ⴰⵎⵣⵣⴰⵏ ⴷ ⵜⵙⵎⴷⴰⵢⵜ ⵊⵉⵔⴷⴰ ⵀⵓⵍⵎⵣ, ⵏⵏⴰ ⵉⴼⵔⴰⵏ ⵢⴰⵏ ⵓⵏⴰⵍⵍⴰⵎ (ⵓⵙⵙⴰⵏ ⵏⵏⴰⵖ) “3.25 ⵏⵉⴷ ⴷⵓⵍⴰⵕ. |
In 1915, she co-starred in Sweedie Goes to College with her future first husband Wallace Beery. | ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1915, ⵜⵙⵙⴰⵔ ⵜⴰⴱⵔⵣⴰ ⴳ ⵓⵙⵡⵉⴷⵉⵢ ⵉⴷⴷⴰⵏ ⵙ ⵜⵙⴷⴰⵡⵉⵜ ⵏⵜⵜⴰⵜ ⴷ ⵡⴰⵏⵏⴰ ⵔⴰⴷ ⵉⴳ ⴰⵔⴳⴰⵣ ⵏⵏⵙ ⵡⴰⵍⴰⵚ ⴱⵉⵔⵉ. |
Vernon and Swanson projected a great screen chemistry that proved popular with audiences. | ⵉⵙⵎⵔⵙ ⴼⵉⵔⵓⵏ ⴷ ⵙⵡⴰⵏⵙⵓⵏ ⵢⴰⵏ ⵓⵎⵉⵥⴰⵕ ⴰⵛⵉⵎⵉⵢ ⵉⵙⵜⴰⵡⵀⵎⵎⴰⵏ ⵏⵏⴰ ⵉⵙⵙⵓⵙⵎⵏ ⴰⴳⴷⵓⴷ. |
Badger was sufficiently impressed by Swanson to recommend her to the director Jack Conway for Her Decision and You Can't Believe Everything in 1918. | ⵙⵡⴰⵏⵙⵓⵏ ⵜⵙⵙⵓⵙⵎ ⴱⴰⴷⵊⵉⵔ ⵉⵙⵖⵍⴼ ⵖⵉⴼⵙ ⴰⵎⵙⵙⵓⴼⵖ ⵊⴰⴽ ⴽⵓⵏⵡⴰⵢ ⵅⴼ ⵜⵖⵜⴰⵙⵜ ⵏⵏⵙ ⴷ ⵓⵔ ⵜⵏⵏⵉⴷ ⴰⴷ ⵜⵙⴳⵍⵓⴷ ⴽⵓⵍⵛⵉ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1918. |
1920), Something to Think About (1920), and The Affairs of Anatol (1921) soon followed. | (1920), ⴽⵔⴰ ⴳ ⵉⵅⵙⵙⴰ ⵓⵙⵡⵉⵏⴳⵎ (1920), ⴼⵉⵙⴰⵄ ⴰⵢⴷ ⵜ ⵉⴷ ⴷⴼⴰⵕⵏ ⵉⵙⴽⴽⵉⵏ ⵏ ⴰⵏⴰⵟⵓⵍ (1921). |
He had become a star in 1921 for his appearance in The Four Horsemen of the Apocalypse, but Swanson had known him since his days as an aspiring actor getting small parts, with no seeming hope for his professional future. | ⵢⴰⵖⵓⵍ ⵉⴳⴰ ⵉⵜⵔⵉ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1921 ⵙ ⵡⵓⴼⵓⵖ ⵏⵏⵙ ⴳ ⴽⴽⵓⵥ ⵏ ⵉⵎⵏⴰⵢⵏ ⴳ ⵓⵎⵓⴷⴷⵓ ⵏ ⵜⵡⴰⵔⴳⵉⵜ, ⵎⴰⵛⴰ ⵙⵡⴰⵏⵙⵓⵏ ⵉⵙⵙⵏ ⵜ ⵙⴳ ⵡⵓⵙⵙⴰⵏ ⴳ ⵉⴳⴰ ⴰⵙⵎⴷⴰⵢ ⵉⵜⵜⴰⵎⵥⵏ ⵉⵇⵛⵔⴰⵏ ⵉⵎⵥⵥⵢⴰⵏⵏ, ⴳ ⵓⵔ ⵉⵍⵍⵉ ⵓⵏⴰⵔⵓⵣ ⴳ ⵉⵎⴰⵍ ⵏⵏⵙ ⴰⵣⵣⵓⵍⴰⵏ. |
Filming was allowed for the first time at many of the historic sites relating to Napoleon. | ⵓⴷⵊⴰⵏ ⴰⵙⵓⵍⴼ ⵜⵉⴽⴽⵍⵜ ⵉⵣⵡⴰⵔⵏ ⴳ ⴽⵉⴳⴰⵏ ⵏ ⵡⴰⵏⵙⵉⵡⵏ ⵉⵎⵣⵔⴰⵢⵏ ⵏⵏⴰ ⵉⵣⴷⵉⵏ ⵙ ⵏⴰⴱⵓⵍⵢⵓⵏ. |
At the time, Swanson was considered the most bankable star of her era. | ⴳ ⵜⵉⵣⵉ ⵏⵏⴰⵖ, ⵜⴳⴰ ⵙⵡⴰⵏⵙⵓⵏ ⵜⵉⵜⵔⵉⵜ ⵏⵏⴰ ⵉⵖⵉⵏ ⴰⴷ ⵉⵜⵜⵓⵙⵥⵕⴼ ⴳ ⵓⵣⵎⵣ ⵏⵏⵙ. |
The production was a disaster, with Parker being indecisive and the actors not experienced enough to deliver the performances she wanted. | ⵉⴳⴰ ⵓⴼⴰⵔⵙ ⵜⴰⵡⴰⵖⵉⵜ, ⵉⴷⵖ ⵜⵔⴽⴻⴽ ⴱⴰⵕⴽⵔ ⴷ ⵉⵙⵎⴷⴰⵢⵏ ⵓⵔ ⵙⵙⵉⵏⵏ ⴽⵉⴳⴰⵏ ⴰⴼⴰⴷ ⵙⵎⵔⵙⵏ ⵉⵙⴼⵙⵔⵏ ⵏⵏⴰ ⵜⵔⴰ. |
The members took further steps by registering their discontent with Will H. Hays, Chairman of the Motion Picture Producers and Distributors of America. | ⵙⵙⴽⵔⵏ ⵉⴳⵎⴰⵎⵏ ⵜⵉⵙⵓⵔⵉⴼⵉⵏ ⵢⴰⴹⵏ ⵉⴷⴷⵖ ⵣⵎⵎⴻⵎⵏ ⵜⴰⵖⵓⴼⴼⵉⵜ ⵏⵏⵙⵏ ⵙⴳ ⵡⵉⵍⵍ H. ⵀⴰⵢⵙ ⴰⵙⵍⵡⴰⵢ ⵏ ⵉⵎⵙⵢⴰⴼⵓⵜⵏ ⴷ ⵉⵏⴱⴹⴰ ⵏ ⵜⵡⵍⵍⴰⴼⵉⵏ ⵉⵜⵜⵎⵓⵙⵙⵓⵏ ⴳ ⵎⵉⵔⵉⴽⴰⵏ. |
Hays was enthusiastic about the basic story, but did have specific issues that were dealt with before the film's release. | ⵉⵚⵚⵓⴱ ⵀⴰⵢⵙ ⵙ ⵜⵓⵍⵍⵉⵙⵜ ⵜⴰⴷⵙⵍⴰⵏⵜ, ⵎⴰⵛⴰ ⵖⵓⵔⵙ ⵉⵎⵓⴽⵔⵉⵙⵏ ⵉⵎⵥⵍⴰⵢ ⵏⵏⴰ ⵉⵜⵜⵓⴼⵙⴰⵢⵏ ⵓⵔⵜⴰ ⴷ ⵉⴼⴼⵉⵖ ⵓⴼⵉⵍⵎ. |
He proposed to personally bankroll her next picture and conducted a thorough examination of her financial records. | ⵉⵙⵙⵓⵎⵔ ⴰⴷ ⵉⵙⵙⵥⵕⴼ ⵜⴰⵡⵍⵍⴰⴼⵜ ⵏⵏⵙ ⵜⵉⵎⴹⴼⵕⵜ ⴷ ⵉⵙⵙⴽⵔ ⵢⴰⵏ ⵓⵣⵣⵔⴰⵢ ⴰⵖⵣⵓⵔⴰⵏ ⵉⵡⴰⵔⵔⴰⵜⵏ ⵏⵏⵙ ⵉⵥⵕⴼⴰⵏⵏ. |
Kennedy, however, advised her to hire Erich von Stroheim to direct another silent film, The Swamp, subsequently retitled Queen Kelly. | ⵉⵎⵉⵍ, ⵉⵙⵙⴼⴰⵡ ⵜⵜ ⴽⵉⵏⵉⴷⵉ ⵙ ⵓⵙⵎⵔⵙ ⵏ ⵉⵔⵉⴽ ⴼⵓⵏ ⵙⵜⵕⵓⵀⴰⵢⵎ ⴰⴷ ⵜⵙⵡⴰⵍⴰ ⵢⴰⵏ ⵓⴼⵉⵍⵎ ⵢⴰⴹⵏ ⵉⴼⵙⵜⴰⵏ, ⴰⵍⵎⴰ, ⵏⵏⴰ ⵎⵉ ⵉⵜⵜⵓⴳ ⴹⴰⵕⵜ ⵓⵢⵏⵏⴰⵖ ⵉⵙⵎ ⵏ ⵜⴰⴳⵍⵍⵉⴷⵜ ⴽⵉⵍⵉ. |
Stroheim worked for several months on writing the basic script. | ⵉⵙⵡⵓⵔⵉ ⵙⵜⵕⵓⵀⴰⵢⵎ ⴽⵉⴳⴰⵏ ⵏ ⵡⴰⵢⵢⵓⵔⵏ ⵅⴼ ⵜⵉⵔⵔⴰ ⵏ ⵓⵙⵉⵏⴰⵕⵢⵓ ⴰⴷⵙⵍⴰⵏ. |
Shooting was shut down in January, and Stroheim fired, after complaints by Swanson about him and about the general direction the film was taking. | ⵉⵜⵜⵓⵙⴱⴷⴷ ⵓⵙⵓⵍⴼ ⴳ ⵉⵏⵏⴰⵢⵔ, ⵉⵕⵥⵎ ⵙⵜⵕⵓⵀⴰⵢⵎ ⵉ ⵡⴰⴼⴰ, ⴹⴰⵕⵜ ⵜⵏⵓⵔⵣⵉⵏ ⵏ ⵙⵡⴰⵏⵙⵓⵏ ⵖⵉⴼⵙ ⴷ ⵓⵎⵏⵉⴷ ⴰⵎⴰⵜⴰⵢ ⵏⵏⴰ ⵢⵓⵎⵥ ⵓⴼⵉⵍⵎ. |
The Trespasser in 1929 was a sound production, and garnered Swanson her second Oscar nomination. | ⵉⴳⴰ ⵓⴼⵉⵍⵎ The Trespasser ⵢⴰⵏ ⵓⴼⴰⵔⵙ ⵉⵖⵓⴷⴰⵏ ⴰⵙⴳⴳⵯⴰⵙ ⵏ 1929, ⵉⵜⵜⵓⵙⵜⴰⵢ ⴷⴰⵔ ⵙⵡⴰⵏⵙⵓⵏ ⴰⴷ ⵢⴰⵎⵥ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⵓⵙⴽⴰⵕ ⵜⵉⵙ ⵙⵏⴰⵜ ⵜⵉⴽⴽⴰⵍ. |