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He notes Astaire's dance style was consistent in subsequent films made with or without the assistance of Pan. | ⴰⵏⵜⴰ ⵉⴾⵜⴰⴱ ⴰⵙ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵈⵉⵎⴰ ⴰⵙ ⴰⵏⵜⴰ ⵜⴰⵏⵉⵂⴰⴶⴰ ⵜⴰⵆ ⵜⵉⵎⵓⵣⴰⵆ ⵜⵉ ⴰⴶⴰⵏⴻⵏ ⴾⵓⵍ,ⵂⴰⵔⴶⵓⴷⵉ ⴰⵏⴰ ⵓⴰⵔⵂⴰⵙ ⴰⵍⵉⵍ ⴰⵉⵜⴻⴷⴻⵎ ⵓⴰⵍⴰⴷⴰⵗ ⵉⴻⵏ. |
"However, this was almost always confined to the area of extended fantasy sequences, or ""dream ballets""." | "ⴰⵙⵙⴰⵆⴰ ⵓⴻⵏⴷⴰⵗ,ⴰⵏⵜⴰ ⵜⵉⵜⴰⴼ ⴷⴰⵗ ⵉⵎⴰⵏⴻⵙ ⴰⵙⴰⵆⴰ ⵏⵓⵍ,ⴷⴰⵂⴰ ⴰⵏ"ⴱⴰⵍⵍⴻⵜⵙ ⴷⴻ ⵔⵉⴱⴻ." |
"Later in life, he admitted, ""I had to do most of it myself.""" | "ⵜⴰⵂⵓⴶⴰ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻⵏⴻⵙ,ⴰⵏⵜⴰ ⵜⵉⴶⴰⵙⵂ:"ⵏⴰⴾ ⵉⵎⴰⵏⵉⵏ ⴰⴷⵜⵉⴶⴻⵏ." |
"Many dance routines were built around a ""gimmick,"" like dancing on the walls in Royal Wedding or dancing with his shadows in Swing Time." | "ⴰⴶⴻⵏ ⴷⴰⵗ ⴰⵓⴰ ⴰⵜⵉⵓⴰⴶⴻⵏ ⴷⴰⵗ ⴰⴷⴰⵍⴰⵏ ⴰⵏⵜⴰⵏⴻⴷ ⴰⴾⵔⴻⵙⵏⴻⵏ ⴼⴰⵍ ⵉⵉⴰⵏ""ⴶⵉⵎⵎⵉⵛⴾ""ⵙⵓⵏⴷ ⴰⴷⴰⵍⴰⵍ ⴼⴰⵍ ⴻⴷⴰⴶ ⵓⴰⵏ ⵔⵓⵉⴰⵍ ⵓⴻⴷⴷⵉⵏⴶ ⵎⴻ ⴰⴷⴰⵍⴰⵍ ⴰⴷ ⵜⴰⵍⵉⵓⴻⵏ ⴷⴰⵗ ⵙⵓⵉⵏⴶ ⵟⵉⵎⴻ. |
They would work with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators. | ⴰⵛⵉⵆⴰⵍ ⴷⴰⴷ ⵉⵜⴰⴷⴰⵓⴷⴰⵓ ⵓⴰⵏ ⴰⵙⵉⴱⵓⵔⵉⴾ ( ⴰⴶⵓⴷⵉⵉⴰⵏ ⴻⵎⴰⴶ ⵂⴰⵍ ⴱⴱⵔⵏⴻ) ⵓⴰⵙ, ⴷⴰⵆ ⵜⴰⵎⴰⵙⴰⵓⴰⵍ ⴰⵏⴻⵙ, ⵉⵜⴰⵎⴰⴶⵔⴰⴷⴰⵏ ⵜⵓⵎⵓⵜⴰⵉⴻⵏ ⴾⴰⵍ ⵎⴰⵙⴰⵔⵜⴰⵉⴰⵏ ⴰⵏ ⵜⵉⵙⵓⴰⵍ ⵏⴰⵏⴰⵣⴰⵔ. |
With all the preparation completed, the actual shooting would go quickly, conserving costs. | ⵜⵉⵎⴰⵙⵙⵓⴷⴰⵓⴻⵏ ⴾⵓⵍ ⴰⵎⴷⴰⵏⵜⵉⴷ,ⴰⵙⵙⵉⵎⴰⴷⵓⵆⴰⵍ ⴰⵏⵜⴰ ⴰⵉⵜⴰⴶⴰⵏ ⴰⵎⴰⵔⴰⴷⴰⵗ ⵙⵂⵉⴾⴰⵏⴻⵏ,ⴰⵓⴻⵏⴷⴰⵗ ⴰⵉⴾⴰⵏⴻⵏ ⵓⴷⵓⴼ ⴰⵏ ⵜⵉⵎⵣⴰⵍ |
"He will not even go to see his rushes... He always thinks he is no good.""" | ⴰⵏⵜⴰ ⵓⴷⵉⴶⵍⴰ ⵂⴰⴷ ⴰⵏⵂⵉ ⵉⵎⴰⵏⵓⴾⴰⵍⴰⵏ...ⴰⵏⵜⴰ ⴰⴶⴻⵍ ⴰⵓⴻⵏ ⵓⴰⵔⴷ ⴰⵂⵓⵙⴾⴰⵜ." |
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. | ⵎⵉⵛⵂⴰⴻⵍ ⴾⵉⴷⴷ,ⴰⵏⵜⴰ ⵛⵓⵂⴻⴶⵔⴰⴱⵂⴻ ⴰⵏ ⴰⵙⵜⴰⵉⵔⴻ ⴷⴰⵗ ⵉⴷⴰⵍⴰⵍⴰⵏ ⵓⵉⵏ ⵜⵂⴻ ⴱⴰⵏⴷ ⵓⴰⴶⵓⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1953, ⴰⵏⵜⴰ ⵜⴰⵏⵂⴰⵉ ⴰⵙ ⴰⵓⴰ ⵜⴰⵔⵂⴰ ⴷⴰⵗ ⵉⴷⴰⵍⴰⵍⴰⵏ ⵓⵉⴷⴰⵗ ⵓⴰⵔⵜⵉⵜⴰⵔⵂⴰ ⴰⵙ ⵜⴰⵉⵔⴻ |
"Let's add the looks later.' """ | "ⵙⵉⵓⵉⴷⴰⵜ ⵉⵙⵙⵉⴶⵔⵉⵂⴰⵏ ⵓⵉⵏ ⴰⵙⵙⴰⵆⴰⵜⴰⵏ ⵓⵉ ⴰⴾⴰⵉⴻⵏ" |
"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." | "Iⵔvⵉⵏⴶ ⴱⴻⵔⵍⵉⵏ ⵜⵉⴶⴰ ⴰⵙ ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵏⵉⵂⴰⴶⴰ ⴰⴷ ⵉⵙⵙⴰⵎⴰⴷⵓⵆⵓⵍⴰⵏ ⵓⵉⵏ ⴰⵏⴰⵣⴰⵔⴰⵏ ⵓⵉⵏ ⵎⴻⴷⵉⵏ""ⵂⴰⵔⴾⵓⴷⵉ ⴰⵙⴾⴰⵜ ⵉⴻ ⵋⵓⵍⵙⵓⵏ, ⵛⵔⵓⵙⴱⵉ ⵎⴻⵆ ⵙⵉⵏⴰⵜⵔⴰ,ⵓⴰⵔⴷ ⵉⵏⴼⴰ ⵜⴰⵙⵉⴱⴰ ⴰⵏ ⵉⵍⵉⵙ ⴰⵏⴻⵙ ⵎⴰⵙⵂⴰⵏ ⵜⴰⵙⵙⵓⴱⴰ ⴰⵏ ⵜⴰⵔⵂⴰⵏ ⴰⵏⴻⵙ ⵉⴰ ⴰⴷ ⵜⴰⴶⵓ ⴰⵙⵙⴰⵂⴰⵆ. |
In his heyday, Astaire was referenced in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters. | ⵙⴰⵎⴰⵏⵓⴻ ⵏⴻⵙ,ⴰⵙⵜⴰⵉⵔⴻ ⵜⴰⵓⴰⵆⵔⴰ ⴷⴰⵗ ⵉⵎⴰⴶⵔⵉⴷⴻⵏ ⴰⵏ ⵉⵎⴰⴾⵉⴱⴻⵏ ⵓⵉⵏ ⵉⵙⵙⵓⵂⴰⵆ ⵛⵓⵍⴻ ⴱⵓⵔⵜⴻⵔ,ⵍⵓⵔⴻⵏⵣ ⵂⴰⵔⵜ ⴰⴷ ⴻⵔⵉⵛ ⵎⴰⵙⵛⵂⵓⵉⵜⵣ ⵂⴰⵔⴶⵓⴷⵉ ⴰⵏⵜⴰⵏⴻⴷ ⵜⴰⴶⴰⵏ ⵉⴻ ⵛⵓⵎⴱ ⵓⵙⵉⵜⴻⵓⵔⵙ ⵓⵉⵏ ⴰⵉⵏⴰⵉⵏⴻⵏ ⴰⵓⴰ ⴰⵂⵙⴰⵏⵉⴶⵔⴰⵣⴰⵏ |
During 1952, Astaire recorded The Astaire Story, a four-volume album with a quintet led by Oscar Peterson. | ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1952, ⴰⵙⵜⴰⵉⵔⴻ ⵜⵉⴶⵔⴰⵏ ⵜⵂⴻ ⴰⵙⵜⵔⴰⵉⵔⴻ ⵙⵂⵓⵔⵜ,ⵉⵉⴰⵏ ⴰⴰⵏ ⴰⵍⴱⵓⵎ ⵉⵍⴰⵏ ⴰⵈⵓⵣ ⴱⵓⵍⵓⵎⴻⵜⴻⵏ ⴰⴷ ⵉⵉⴰⵏ ⵈⵓⵉⵏⵜⴻⵜ ⵙⴰ ⵏⵉⵂⴰⴷ Oⵙⵛⴰⵔ ⴱⴻⵜⴻⵔⵙⵓⵏ |
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. | ⴱⵓⴶⴰⵔⵜ ⵜⴰⵙⴰⵏⵜⴰ ⴰⴷⴰⵍⴰⵏ ⴷⴰⵗ ⵉⴷⴰⴶⴰⵏ ⵓⵉⵏ ⵉⵙⵓⵂⴰⵆ ⴷⴰⵗ ⴱⵔⵓⴰⴷⵓⴰⵉ.ⴷⴰⵗ ⵛⵉⵏⴻⵎⴰ ⴰⴷ ⴰⵙⵙⴰⵏⵜⴰ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏⴻⵙ ⴰⵏⵜⴰ ⴰⴷ ⵓⴱ ⵟⵂⴻ ⵔⵉⴱⴻⵔ(1930)ⵉⴻ ⴼⵓⵎⵓⵆ ⴰⴷ ⵉⴶⴰⵏⵙⵂⵉⴷ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉ ⴰⵉⵏⴰⵉⵏⴻⵏ ⴰⵍⵓⴰⵆ ⵓⴰⵏ ⴰⵙⵙⴰⵆⴰ ⵓⴰ ⵉⵍⴾⴰⵎⴰⵏ,ⴰⵏⵜⴰ ⵉⵔⴶⴰⵓ ⵎⴻⴷⵉⵏ. |
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. | ⴰⵎⴰⵏⵂⴰⵉⴰⵏ ⵉⵉⴰⴷ ⴰⵏ ⴱⵓⴶⴰⵔⵜ, ⵙⴰⵎ ⵙⴱⴰⴷⴻ ( ⴷⴰⵆ ⴼⴰⵓⵛⵓⵏ ⵎⴰⵍⵜⴰⵉⵙ) ⴰⴷ ⴱⵂⵉⵍⵍⵉⴱ ⵎⴰⵔⵍⵓⵓ (ⴷⴰⵆ ⵗⵔⴰⵏⴷ ⵙⵓⵎⵎⴻⵉⵍ, ⵓⴰⵏ 1946), ⴻⵈⴰⵍⴰⵏ ⵜⵉⵎⵓⵜⴰⵉⴻⵏ ⵜⴰⵏ ⵎⴰⵏⵂⴰⵉⴰⵏ ⴷⴰⵆ ⵙⵉⵍⵎⴰⵜⴰⵏ ⴾⴰⵓⴰⵍⵏⴻⵏ. |
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. | ⴻⴰⵔⴰⵜ ⵏⵉⴶⵉ ⴰⵏ ⴼⵉⵍⵎ ⵜⵂⴻ ⴱⵉⴶ ⵙⵍⴻⴻⴱ (1946,ⴼⵉⵍⵎ ⴰⵏⴰⵙⴰⵏ ⵜⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ ⴷⴰⵗ ⵜⴰⵔⵜⵉⵜ ⵏⴰⵙⴰⵏ)ⴰⵏⵜⴰ ⴰⵙⵉⵙⵜⴰⵏ ⴰⵎⴰⵙⵉⵉ ⴰⴷ ⵂⴰⵏⵉⵙ ⵜⴰⵙ ⴾⴰⵔⴰⴷⴰⵜ,ⴰⵣⴰⵔ ⴰⴷⵓⴱⴰⵏ ⴱⴰⵛⴰⵍⵍ. |
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. | ⴰⵏⵜⴰ ⴰⵙⵙⵉⴶⵔⴰⵂ ⴰⵙⵂⴰⵆⴰⵍ ⵏⴰⵙⴰⵏ ⵉⴾⵏⴰ ⴰⵣⴰⵔ ⵉⵆⵙⵂⴰⴷ ⵙⵓⵏⴷ ⴰⵎⵉⵣⴰⵔ ⴰⵏ ⴰⵉⵜⴻⴷⵉⵎⴰⵏ ⴰⵓⴻⵜⵏⴻⵏ ⴷⴰⵗ ⴰⴾⵉⵏⴰⵙ ⵓⴰⵙ ⴰⵙⵙⵉⵏ ⴰⵏ ⴶⵓⴻⵔⵔⴻ ⵎⵓⵏⴷⵉⴰⵍⴻ ⴷⴰⵗ ⵎⵓⵜⵉⵏⴻⵔⵉⴻ ⵓⴰⵙ ⵛⴰⵉⵏⴻ (1954), ⵓⴰⵙ ⵉⴶⵔⴰⵓⴰⵏ ⴷⴰⵗ ⵜⵉⵎⴰⴷⴰⵙⵂⴻⵏ ⴰⴷ ⵛⵓⵎⵎⴻⵔⵛⵉⴰⵍ ⵂⴰⵔⴶⵓⴷⵉ ⴰⵓⴻⵏ ⵉⴾⴼⴻⵉ ⵜⴰⵙⵙⵉⵓⴰⵜ ⵜⴰⵂⵓⵙⴾⴻⵏ ⴷⴰⵗ ⴰⵙⵂⴰⵆⴰⵍ ⴰⵏⴻⵙ. |
"The name ""Bogart"" derives from the Dutch surname, ""Bogaert""." | "Iⵙⵙⴰⵎ ⵓⴰⵏ"ⴱⵓⴶⴰⵔⵜ"ⴰⴷ ⴷⵉⵣⴶⴰⵔ ⵉⵙⵙⴰⵎ ⴰⵏ ⵜⴰⵓⵙⵙⴻⵜ ⴰⵙ ⴶⴰⵏⴰⵏ ⵏⵉⴻⵔⵍⴰⵏⴷⴰⵉⵙ, , "" ⴱⵓⴶⴰⴻⵔⵜ"" |
Maud was an Episcopalian of English heritage, and a descendant of Mayflower passenger John Howland. | ⵎⴰⵓⴷ ⴰⵜⴰⵈⴰⵍ ⵉⴱⵉⵙⵛⵓⴱⴰⵍⵉⴻⵏⵏⴻ ⴰⵏ ⵓⵔⵉⴶⵉⵏⴻ ⴰⵏⴶⵍⴰⵉⵙⴻ,ⴷⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴰⴷⵉⴷ ⵜⵉⵣⴶⴰⵔ ⵎⴰⵉⴼⵍⵓⵓⴻⵔ, ⵋⵓⵂⵏ ⵂⵓⵓⵍⴰⵏⴷ. |
"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""." | ⵛⵍⵉⴼⴼⵓⵔⴷ ⵎⵛⵛⴰⵔⵜⵉ ⵜⵉⴾⵜⴰⴱ ⴰⵙ ⴰⵉⵜⴻⴷⵉⵎⴻⵏ ⵓⵉ ⵜⴰⴶⴰⵏⴻⵏ ⵉⵙⵙⴰⵍⴰⵏ ⵓⵉⵏ ⵓⴰⵔⵏⴻⵔ ⴱⵔoⵙ əⵎⵉⵙⴾⴰⵍⴰⵏ ⴰⵙⵂⴰⵍ ⵓⴰⵙ 23 ⴰⵏ ⵜⴰⵍⵉⵍ ⵜⴰⵏ ⵋⴰⵏⴱⵉⴻⵔ ⴰⵏ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1900""ⴼⴰⵍ ⴰⴷⵉⴶⵉⵏ ⵜⵉⵂⵓⵙⵙⴰⵉ ⴰⵙ ⴰⵉⵜⴻⴷⵉⵎ ⵓⴰ ⵉⵓⴰⵏ ⴰⵙⵂⴰⵍ Nⵓⴻⵍ ⵓⴰⵔⴷ ⴰⴷⵓⴱⴰⵜ ⴰⴷ ⴰⵈⴰⵍ ⴰⵓⴰⴷⵓⵍ ⵉⴱⵔⴰⵔⴰⵏ. |
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. | ⵍⴰⵓⵔⴻⵏ ⴱⴰⵛⴰⵍⵍ ⵜⵉⴾⵜⴰⴱ ⴷⴰⵗ ⴰⵓⵜⵓⴱⵉⵓⴶⵔⴰⴱⵂⵉⴻ ⴰⵏⴻⵙ ⴰⵙ ⴰⵙⵂⴰⵍ ⵓⴰⴷ ⵜⵓⵓⴰ ⴱⵓⴶⴰⵔⵜ ⴰⵈⴰⵍ ⴰⵉⵜⴰⴶⴻⵏ ⴰⴷⴰⵍⴰⵏ ⵏⴻⵙ ⴰⵙⵂⴰⵍ ⴰⵏ ⵜⵉⵍⵉⵍ ⵜⴰⵏ ⴶⴰⵏⴻⵏ ⵏⵓⴻⵍ,ⴰⵏⵜⴰ ⵜⵉⵏⵏⴰ ⵓⴰⵔⴷ ⵜⵉⵜⵂⴰⴾⴻⵏ ⵛⴰⴷⴻⴰⵓⵆ əⵏ ⴰⵏⵏⵉⴱⴻⵔⵙⴰⵉⵔⴻ ⴰⵏⴻⵙ. |
Maud was a commercial illustrator who received her art training in New York and France, including study with James Abbott McNeill Whistler. | ⵎⴰⵓⴷ ⴰⵏⵜⴰ ⴰⵉⵜⴻⴷⴻⵏ ⴰⵏ ⵉⵙⵙⴰⵏⴰⵏ ⵛⵓⵎⵎⵉⵔⴻ,ⵜⴰⵎⵓⵙⵏⴻⵏ ⴰⵏⴻⵙ ⵜⴰⵏ ⴰⵔⵜⵉⵙⵜⵉⵈⵓⴻ ⴰⴷⴰⵗ ⵜⴰ ⵜⵉⵔⴶⴰⵓ ⵏⴻⵓ ⵗⵓⵔⴾ ⴰⴷ ⴼⵔⴰⵏⵛⴻ,ⴼⴰⵍ ⵋⴰⵎⴻⵙ ⴰⴱⴱⵓⵜⵜ ⵎⵛⵏⴻⵉⵍⵍ ⴷⵂⵉⵙⵜⵍⴻⵔ. |
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. | ⵗⴰⵔⴰⵓ ⴰⴶⴰⵔⴰⵏ 50 000 ⴷⵓⵍⵍⴰⵔⵙ ⴷⴰⵆ ⴰⵓⴰⵜⴰⵉ ⵉⵓⵔ ⵙⴰⵎⴰⵏⴷⵓ ⵏⴰⵛⵉⵆⵉⵍ ⴰⵏⴻⵙ – ⵎⴰⴷⵉⵏ ⵉⴾⵏⴰⵏ ⵂⵓⵍⴻⵏ ⴷⴰⵆ ⴻⵂⴰⵏⵉⵏ, ⴰⴷ ⴰⵂⵓⵙⴾⴰⵜ ⵂⵓⵍⴻⵏ ⴼⴰⵍ 20 000 ⴷⵓⵍⵍⴰⵔⵙ ⵜⴰⵏ ⴰⵂⴰⵍⵉⵙ ⴰⵏⴻⵙ. |
"He had two younger sisters: Frances (""Pat"") and Catherine Elizabeth (""Kay"")." | "ⴰⵏⵜⴰ ⵜⵉⵍⴰ ⵙⵂⴰⵜⵎⴰⵙ ⵙⴰⵏⴰⵜⴰⵜ:ⴼⵔⴰⵏⵛⴻⵙ("ⴱⴰⵔ") ⴰⴷ ⵛⴰⵜⵂⴻⵔⵉⵏⴻ ⵉⵍⵉⵣⴰⴱⴻⵜⵂ("ⵆⴰⵉ")." |
A kiss, in our family, was an event. | Iⵉⴰⵏ ⴰⵏ ⵜⴰⵎⵓⵍⴻⵜ ⴷⴰⵗ ⵜⴰⵓⵙⴻⵜ ⵜⴰ ⵏⴰⵏⴰⵆ ⵜⴰⴶⵂⴰⵍ ⵜⵉⴷⴰⵓ ⵎⴰⴶⵂⴰⵔⴰⵜ. |
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. | ⴰⵏⵜⴰ ⵉⵔⴶⴰⵓ ⴼⴰⵍ ⴰⴰⴱⴰ ⴰⵏⴻⵙ ⵂⴰⵔⴰⵜ ⵓⴰ ⵉⵜⴰⴾⴰⵙⵙⴰⵏ ⵉⵎⴰⵏⴰⵏ ⴷⴰⵗ ⴰⵎⴰⵏ,ⴰⵓⴻⵏ ⵜⴰⵔⵂⴰ ⴰⵏ ⵂⴰⴾⵓⴾ ⵗⴻ ⵜⴰⵓⴷⴻⵙ ⵜⴰⵏ ⴰⵎⴰⵏ ⴰⴷ ⵜⵉⴷⴻⴷⴻⵏ ⵜⵉ ⵙⴰⵏⴻⵏ ⵂⴰⵔⴰⵜ ⵉⴻ ⵉⵎⴰⵏ ⵏⴰⵙⵏⴰⵜ. |
Bogart later attended Phillips Academy, a boarding school to which he was admitted based on family connections. | ⴻⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴱⵓⴶⴰⵔⵜ ⵜⵉⵏⵂⴰⵉ ⴰⵛⴰⴷⴻⵎⵉ ⵓⴰⵏ ⴱⵂⵉⵍⵉⴱⴱⵙ,ⵜⴰⵔⵂⴰ ⵜⴰ ⵜⵉⴶⵔⴰⵓ ⵜⴰⵙⵙⵓⴱⴰ ⴰⵏ ⵜⴰⵔⵂⴰ ⵉⴻ ⵜⵉⵓⵙⵙⴰⵜⴻⵏ ⴰⵏⴻⵙ. |
Several reasons have been given; according to one, he was expelled for throwing the headmaster (or a groundskeeper) into Rabbit Pond on campus. | ⴰⴶⴻⵏ ⴰⵜⵓⴰⵏⴰⵂ ⵉⴶⴰ ⴰⵙ ⴰⵎⵉⵣⴰⵔ ⴰⵏ ⴻⵜⴰⵏⴶ ⵔⴰⴱⴱⵉⵜ ⴱⵓⵏⴷ ⴼⴰⵍ ⵛⴰⵎⴱⵓⵙ. |
He then volunteered for the Coast Guard Temporary Reserve in 1944, patrolling the California coastline in his yacht, the Santana. | ⴰⵏⵜⴰ ⵉⴶⴰ ⵉⵎⴰⵏⴻⵙ ⵓⴰⵏ ⴶⴰⵔⴷⴻⵙ-ⵛⵓⵜⴻⵙ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1944,ⴰⵏⵜⴰ ⵉⵙⵓⴰⴷ ⵍⵉⵜⵜoⵔⴰⵍ ⵓⴰⵏ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻⵏ ⴰⵙ ⵉⵂⴰ ⴰⵎⴰⵙ ⴰⵏ ⵉⴰⵛⵂⵜ ⴰⵏⴻⵙ, ⵙⴰⵏⵜⴰⵏⴰ. |
In one, his lip was cut by shrapnel when his ship (the ) was shelled. | ⵜⴰⵍⵉⴾ ⴰⵏ ⵉⵉⴰⵜ ⴷⴰⵗⴻⵏ ⵜⴰⵜ ⵓⴰⵏⴾⴰⴷ ⴼⴰⵍ ⵜⴰⴾⴰⵜ ⴰⵍⵓⴰⵈ ⵓⴰⵏ ⵜⴰⵙⵏⵉⵜ ⵜⴰⵜⵓⴰⴶⴰⵔ ⴰⵙ ⴻⴼⴻⵓ |
While changing trains in Boston, the handcuffed prisoner reportedly asked Bogart for a cigarette. | ⴰⵙ ⵜøⴶⴰⵣ ⴰⵍⵓⴰⵈ ⵓⴻⵏⴷⴰⵗ ⵉⵏⵣⴰⵔ ⴷⴰⵗ ⵜⵔⴰⵉⵏ ⴰⵏ ⴱⵓⵙⵜⵓⵏ,ⴰⵉⵜⴻⴷⴻⵎ ⴻⵈⴼⴰⵍⴰⵏ ⴰⵙ ⵜⵉⵙⵙⵉⵈⴼⴰⵍ ⴰⵙⵙⵉⵙⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵉⵉⴰⵜ ⴰⵏ ⵜⴻⵣⴻⵜ ⴰⵏ ⵙⵉⴶⴰⵔⴻⵜⵜⴻ |
By the time Bogart was treated by a doctor, a scar had formed. | ⴰⵍⵓⴰⵈ ⵓⴰ ⵉⴾⴰⵍ ⴰⵙⵙⵉⵙⵙⴰⴼⴰⵔ ⵓⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵆⵓⵔ ⴻⵏⴰⵙⵙⴰⴼⴰⵔ,ⴰⵂⴰⵉⵓⴶ ⵉⵉⴰⵏ ⴰⵎⴻⵔⴰ ⵂⵉⴷ. |
"Instead of stitching it up, he screwed it up.""" | "ⴰⵏⵜⴰ ⵓⴰⵔ ⵂⴰⵙ ⵉⵙⵙⴰⴼⴰⵔ,ⵓⴾⵏⴻⵜ ⴰⵙⵙⵉⵏⴰⵏⵜⵉⴼ." |
His character and values developed separately from his family during his navy days, and he began to rebel. | ⵜⴰⵍⵈ ⴰⵏⴻⵙ ⴰⴷ ⵙⵓⵔⵂⵓ ⴰⵏⴻⵙ ⴰⵙⵙⵉⵙⴾⴰⵏⴰⵏ ⵜⵉ ⵜⴰⵓⵙⴻⵜ ⴰⵏⴻⵙ ⵉⵂⴰⴷⴰⵏ ⵓⵉⵏ ⵉⴶⴰ ⴼⴰⵍ ⴰⵎⴰⵏ,ⴰⵓⴻⵏ ⴻⵈⴰⵍⴰⵙ ⴰⴷ ⵜⴰⵙⵙⵉⵙⴾⴰⵏⴰⵏ ⵜⴰⵎⵉⵜⴻⵏ ⵏⴻⵙ. |
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. | ⴱⵓⴶⴰⵔⵜ ⵉⴶⴰ ⵜⴰⵎⵉⴷⵓⴰ ⵜⴰⵉⵏⴰⵉⴰⵜ ⴰⴷ ⴱⵉⵍⵍ ⴱⵔⴰⴷⵉ ⵂⵔ.(ⴰⴱⴰ ⴰⵏⴻⵙ ⵉⵍⴰ ⵉⵎⵓⵣⴰⵉⴰⵏ ⵓⵍⴰⵏ ⴷⴰⵗ ⵙⵂⵓⵓ-ⴱⵓⵙⵉⵏⴻⵙⵙ)ⴷⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴰⴻⵏⵜⴰ ⵉⴶⵔⴰⵓ ⴰⵙⵂⴰⵆⴰⵍ ⴷⴰⵗ ⴰⴷⴰⴶ ⴰⵏ ⵜⵉⵎⴰⵙⵂⴰⵆⴰⵍⴻⵏ ⴷⴰⵗ ⵓⵓⵔⵍⴷ ⴼⵉⵍⵎⵙ ⴷⴻ ⵓⵉⵍⵍⵉⴰⵎ ⴰ.ⴱⵔⴰⴷⵉ. |
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. | "ⵜⴰⵔⴰⵜ ⴰⵏ |
A barroom brawl at this time was also a purported cause of Bogart's lip damage, dovetailing with Louise Brooks' account. | Iⵉⴰⵏ ⴰⵏ ⴰⴾⵉⵏⴰⵙ ⵉⴶⴰⵏ ⴷⴰⵗ ⴱⴰⵔ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴻⵏ ⴷⴰⵗ ⵉⵓⴰⵉⵉⴷ ⴱⵓⴶⴰⵔⵜ ⴷⴰⵗ ⵍⴻⵙⵉⵓⵏⵙ ⵍⴰⴱⵉⴰⵍⴻⵙ,ⴰⵓⴻⵏⴷⴰⵗ ⴰ ⵜⵉⵓⴰⵉⴰⵏⵉⴷ ⴷⴰⵗ ⵔⵉⵛⵉⵜ ⵓⴰⵏ ⵍⵓⵓⵉⵙⴻ ⴱⵔⵓⵓⴾⵙ. |
"Bogart disliked his trivial, effeminate early-career parts, calling them ""White Pants Willie"" roles." | "ⴱⵓⴶⴰⵔⵜ ⵓⴰⵔ ⴻⵔⵂⴰ ⴰⴷ ⴰⵈⴻⵍ ⴰⵓⴰⴷⴰⵎ ⵓⴰ ⵓⵏⵉⵙⵙⴻⵏ ⵂⴰⵔⴰⵜ ⴰⴷ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴰⵏ ⵜⵓⴷⴻⴷⴻⵏ ⵉⵜⴰⴶⵓ ⴷⴰⵗ ⴰⵣⴰⵎⴰⵏ ⵓⴰⵂⵉⵏ ⵓⴾⴻⵉⴻⵏ,ⴰⵏⵜⴰ ⴰ ⵉⵔⵂⴰ ⴰⴷ ⵜⵉⴾⴼⵉⵏ"ⵓⵂⵉⵜⴻ ⴱⴰⵏⵜⵙ ⵓⵉⵍⵍⵉⴻ". |
Menken said in her divorce filing that Bogart valued his career more than marriage, citing neglect and abuse. | ⵎⴻⵏⴾⴻⵏ ⵜⵉ ⵙⵉⵙⵙⵜⴰⵏⵜ ⴷⴰⵗ ⵎⴰⴶⵔⴻⴷ ⴰⵏⴻⵙ ⵓⴰⵏ ⴰⵎⵉⵣⵉⵉ ⴱⵓⴶⴰⵔⵜ ⴰ ⵜⴰⵙⵙⵓⴼⴰ ⴰⵙⵂⴰⵆⴰⵍ ⴰⵏⴻⵙ ⴼⴰⵍ ⴰⴷⵓⴱⵉⵏ ⵉⵏⴰ ⴰⵏⵜⴰ ⵓⴰⵔ ⵜⵉⴶⴰ ⴰⴷⵓⴱⵉⵏ ⵓⴰⵍⴰ. |
There he met Spencer Tracy, a Broadway actor whom Bogart liked and admired, and they became close friends and drinking companions. | ⴻⴷⴻⴶ ⵓⴻⵏ ⴷⴰⵗ ⴰⴷ ⵉⵎⴰⵏⵂⴰⵉ ⴰⴷ ⵙⴱⴻⵏⵛⴻⵔ ⵟⵔⴰⵛⵉ,ⴰⵛⵜⴻⵓⵔ ⴰⵏ ⴱⵔⵓⴰⴷⵓⴰⵉ ⵓⴰ ⵜⴰⵔⵂⴰ ⴱⵓⴶⴰⵔⵜ ⴰⵙ ⵜⵉⵂⵓⵙⵙⴰⵉ,ⴷⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ ⴰⵈⴰⵍⴰⵏ ⵉⵎⵉⴷⵉⵓⴻⵏ ⴼⴰⵍ ⵂⴰⵔⴰⵜⴻⵏ ⴰⴶⴰⵜⵏⴰⵏ. |
Tracy received top billing, but Bogart appeared on the film's posters. | "Iⵙⵙⴰⵎ ⵓⴰⵏ ⵟⵔⴰⵛⵉ ⴰⵉⵂⴰⵏ ⴻⵈⴰⴼ,ⵎⴰⵙⵂⴰⵏ |
A quarter of a century later, the two men planned to make The Desperate Hours together. | ⴰⴾⵓⵣⴰⵜ ⵜⴰⵣⵓⵏⴰⵓⴰⵏ ⴷⴰⵆ ⵜⴻⵎⴻⴷⴻ ⵏⴰⵓⴰⵜⴰⵉ ⵏⴰⴶⵓⴷⵉⵉⴰⵏ, ⵎⴻⴷⵉⵏ ⴶⴰⵏⴰⵏ ⴰⴷⵉⵈⵉⵍⴰⵏ ⵙⴰⵔⵜⴰⵉⴰⵏ ⴰⵍⵓⴰⵈ ⵓⴰⵏⵉⴱⴰ ⴰⵏ ⵎⵓⵔⴷⴰ. |
Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, out of work for long periods. | ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1930 ⴰⴷ 1935,ⴱⵓⴶⴰⵔⵜ ⵉⵍⴰ ⴶⴰⵔ ⵋⵓⵍⵍⵉⵓⵓⵓⴷ ⴰⴷ ⵙⵛⵉⵏⴻ ⵏⴻⵓ-ⵉⵓⵔⴾⴰⵉⵙⴻ,ⴰⵏⵜⴰ ⵉⴶⴰ ⴻⵍⴰⵏ ⴰⴶⵓⵜⵏⴻⵏ ⵓⴰⵔⴷ ⵉⵍⴰ ⴰⵙⵂⴰⵆⴰⵍ |
"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.""" | ⵍⴻⵙⵍⵉⴻ ⵂⵓⵓⴰⵔⴷ ⴰⵏⴷⴻⵔ ⴰⵏⵜⴰ ⴰⵙ ⴱⴻⴷⴻⵜⵜⴻ ,ⵉⵎⴰⴶⵔⵉⴷⴰⵏ ⴼⴰⵍ ⴱⵔⵓⵓⴾⵙ ⴰⵜⴾⵉⵏⵙⵓⵏ ⵓⴰⵏ ⵏⴻⵓ-ⵗⵓⵔⴾ ⵔⵉⵎⴻⵙ ⴰⵏⵜⴰ ⵜⴰⵏⴰ ⴱⵉⵉⵛⴻ ⵜⴰ ⴰⵜⴰⵈⴰⵍ"ⵓⵏⴻ ⴱⴻⵛⵂⴻ...ⵓⵏ ⵎⵉⵍⵓⴷⵔⴰⵎⴻ ⵓⴻⵙⵜⴻⵔⵏ ⵔⵓⴶⵉⵙⵙⴰⵏⵜ...ⵂⵓⵎⴱⵂⵔⴻⵉ ⴱⵓⴶⴰⵔⵜ ⵉⴶⴰ ⴰⵙⵂⴰⵆⴰⵍ ⴰⵂⵓⴾⵙⵙⴻⵏ ⴷⴰⵗ ⵜⴰⵎⵓⴷⵔⴻⵏⴻⵙ. |
Warner Bros. bought the screen rights to The Petrified Forest in 1935. | ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ ⵜⴰ ⵙⵂⵉⵏⵙⵂⴰⵂⵉⴷ ⴷⵔⵓⵉⵜⵙ ⵟⵂⴻ ⴱⴻⵜⵔⵉⴼⵉⴻⴷ ⴼⵓⵔⴻⵙⵜ ⴰⵏ ⴰⵓⴰⵉ ⵓⴰⵙ 1935. |
Howard, who held the production rights, made it clear that he wanted Bogart to star with him. | ⵂⵓⵓⴰⵔⴷ, ⴰⵏⵜⴰ ⴰⵜⵉⵜⴰⴼⴰⵜ ⴰⵙⵙⴰⵂⴰⵜ ⵓⴰⵏ ⴱⵔⵓⴷⵓⵛⵜⵉⵓⵏ,ⵉⵏⴰ ⴰ ⴻⵔⵂⴰ ⴰⵙ ⴱⵓⴶⴰⵔⵜ ⴷⴻⴷⴻⵙ ⴰⵏⴻⵙ. |
When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart. | ⵓⴶⵓⴷ ⵓⴰ ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ, ⵉⵣⴰⵆ ⵂⵓⵓⴰⵔⴷ ⵓⴰⵔⵉⵜⵉⵉⵓ, ⵉⵜⵉⵎⴰⵍ ⴰⴷ ⵉⴾⴰⵙ ⴱⵓⴶⴰⵔⵜ |
"According to Variety, ""Bogart's menace leaves nothing wanting""." | ⵠⴰⵔⵉⴻⵜⵉ ⵜⵉⵏⴰ,""ⵜⴰⵙⵙⵉⵏⴻ ⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵓⴰⵔ ⵜⵓⵉⴰ ⵜⴰⵔⵂⴰ ⵓⴰⵍⴰ ⴷⴰⵗ ⵉⵉⴻⵜ" |
There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. | Iⵍⴰⵉ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⵎⴰⴶⵔⴰⴷ ⵓⴰ ⵏⵉⵏ,ⵎⴻⵆ ⵉⴷⴰⵎ ⵓⴰ ⵉⴱⵔⴰⵔⴰⵏ...ⵂⴰⵔⴻⵜ ⵉⵉⴻⵏ ⵉⴷⴶⴰⵣⴰⵏ ⴰⵉⵜⴻⴷⴻⵎⴰⵏ ⴾⵓⵍ. |
In spite of his success, Warner Bros. had no interest in raising Bogart's profile. | ⵂⴾⵉⴷ ⴷⴰⵗ ⴰⵓⴰ ⵜⵉⴶⵔⴻⵓ, ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵂⵙ. ⵓⴰⵔ ⵜⵉⵍⴰ ⵜⴰⴱⵓⵆⵓⵔⵜ ⴰⵏ ⴰⵜⵉⴼⵏⴰⵣ ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ. |
Bogart used these years to begin developing his film persona: a wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a code of honor. | ⴱⵓⴶⴰⵔⵜ ⵉⴾⵏⴰ ⴷⴰⵆ ⵓⵉⵜⵉⴰⵏ ⴼⴰⵍ ⴰⵔⵉⵙⴰⵏⵜⵓ ⴰⵙⵉⵓⵉⴷ ⵏⴰⴷⵉⵏⴰⵜ ⴰⵏⴻⵙ ⵓⵉ ⵙⵉⵍⵎⴰ : ⴰⴷⵎⴰⵏⴻⵙ ⵉⵂⵉⴰⴶ, ⴰⵜⴰⵂⴰⵏⵉⵏⵜ, ⵛⵉⵏⵉⵈⵓⴻ, ⴰⵂⵓⵙⴾⴻⵏ, ⵜⴰⵍⵉⵈⴻ ⴰⴷ ⴰⵋⵓⵜⵏⴻⵏ ⴰⵏ ⵜⴰⵔⵂⴰⵏⴰⵙⴰⵏ ⴷⴰⵔ ⵜⵉⵔⵉⴷⴰⵓⵜ ⴰⵏ ⵜⴰⵔⵂⴰ. |
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. | ⵜⴰⵎⴰⴷⴰⵙⵂ ⴰⵏⴻⵙ ⴰⴷ ⵓⴰⵔⵏⴻⵔ ⴱⵔⵓⵙ.ⴼⴰⵍ ⵉⵙⵙⴰⵍⴰⵏ ⴰⵓⴰ ⴰⵏⴱⴰⴷ ⵜⴰⴶⵉ ⴰⴷ ⴰⵣⵔⵓⴼⵓⴻⵍⴰⵂ ⴰⴷ ⵓⴰ ⵉⵓⴰⵉⵉⴷ ⵙⵜⵓⴷⵉⵓ ⴰⴷ ⵉⵎⴰⵏⵣⴰⵔⴰⵏ ⵓⵉ ⵓⵍⴰⵂⵏⴻⵏ ⴰⴷ ⴱⴻⵜⵜⴻ ⴻⴰⴱⵉⵙ ⴰⴷ ⵋⴰⵎⴻⵙ ⵛⴰⴶⵏⴻⵉ. |
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. | ⴰⵙⵂⴰⵗⴰⵍ ⴰⵏⴻⵙ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⴷⴰⵗ ⴰⵓⴰⵜⴰⵉ ⵓⴰ ⵉⴶⴰ ⴷⴰⵗ ⴻⴻⴰⴷ ⴻⵏⴷ (1937,ⴰⵜⵓⴰⵂⴰⴾⴰ ⵉⴻ ⵙⴰⵎⵓⴻⵍ ⵗⵓⵍⵓⵉⵏ) ⴻⵉⵂⴰ ⴰⴷ ⵉⴶⵔⴰⵓ ⴶⴰⵏⴶⵙⵜⴻⵔ ⴰⵉⴻⵏ ⵙⴰⴼⴰⵍⴰ ⴰⵏ ⴱⴰⴱⵉ ⴼⴰⵛⴻ ⵏⴻⵍⵙⵓⵏ. |
"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." | "ⴻⴰⵆ ⴱⵍⴰⵛⴾ ⵍⴻⴶⵉⵓⵏ (1937), ⵉⵉⴰⵜ ⵙⵉⵍⵎⴰ ⵉⵙ ⵗⵔⴰⵂⴰⵎ ⵗⵔⴻⴻⵏⴻ ⵉⴾⵜⴰⴱ ⵙⵓⵏⴷ ""ⴰⵏⵉⵉⴰⵜ ⴰⴷ ⴰⵣⵉⴾⴰⵔⴰⵏ, ⴰⵂⵓⵙⴾⴰⵜ ⴰⵙ ⵉⵜⴱⴰⵜ"", ⵉⵜⴰⴶⵓ ⴰⵂⴰⵍⵉⵙ ⴰⵂⵓⵙⴾⴻⵏ ⴻⵈⴰⵍⴰⵏ ⴰⵜⵉⵓⴰⵜⴰⴼⴰⵏ (ⴰⴷ ⴻⵆⵛⴰⴷ) ⵉⵙ ⵜⵉⴷⴰⵓⴻⵏ ⴰⴱⴷⴰⵏⴻⵏ ⵜⵉⵓⵙⴰⵜⴻⵏ |
"The trouble was they were drinking mine and I was making this stinking movie.""" | ⴰⵍⵎⴰⵙⵉⴱⴰⵜ ⴰⵙ ⴰⵏⵜⴰ ⵉⵙⵙⴰⵙ ⴻⴷⴰⴶⴰⵔ ⵓⴰⵏⵉⵏ ⵂⴰⴾⵓⴷⵉ ⵜⴰⴶⴰⵆ ⵓⴰⴷⴰⵗ ⴼⵉⵍⵎ." |
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. | 21 ⴰⵏ ⵜⴰⵍⵉⵍ ⵜⴰⵙ 1938,ⴱⵓⴶⴰⵔⵜ ⴰⵙⵙⵉⵏⵜⴰ ⴰⴷⵓⴰⵏ ⴰⵏⴻⵙ ⵓⴰⵙ ⴰⵙⵙⵉⵏ ⴰⴷ ⵎⴰⵉⵓ ⵎⴻⵜ ⵂⵓⵜ,ⵜⴰⵎⴰⵜ ⴷⴰⵔ ⴰⵎⴻⴷⴰⵓ ⵂⵓⵍⴻⵏ ⵎⴰⵙⵂⴰⵏ ⵜⴰⵎⴰⵜ ⵜⴻⵏ ⵓⴰⵔ ⵍⴰⵎⵉⴷ ⴰⵣⴰⵔ ⵜⴰⴾⴼⴰⵔ ⵂⵓⵍⴻⵏ ⵉⵂⴻⵜ ⴰⴾⵉⵏⴰⵙ ⵂⵓⵍⴻⵏ ⴰⴶⵓⴷ ⴾⵓⵍ ⵓⴰ ⴰⴷ ⵜⵉⵙⵓⴰ ⴰⵙⵎⵉⴷ. |
She set their house afire, stabbed him with a knife, and slashed her wrists several times. | ⴰⵏⵜⴰ ⵜⵉⴶⴰ ⴻⴼⴻⵓ ⴷⴰⵗ ⴻⵂⴰⵏ ⵏⴰⵙⵙⴻⵏ, ⵜⵉⴷⴰⴾⴻⵜ ⵙⴰⴱⵙⵉⵔ |
"According to their friend, Julius Epstein, ""The Bogart-Methot marriage was the sequel to the Civil War""." | “ⴰⵓⴰ ⵉⵏⴰ ⴰⵎⵉⴷⵉ ⵏⴰⵙⵙⴻⵏ, ⵋⵓⵍⵉⵓⵙ ⴻⴱⵙⵜⴻⵉⵏ,""ⴰⵣⵍⵉ ⵓⴰⵏ ⴱⵓⴶⴰⵔⵜ ⴰⴷ ⵎⴻⵜⵂⵓⵜ ⴻⵈⴰⵍ ⴰⵙ ⵉⵍⴾⴰⵎ ⴰⴾⵉⵏⴰⵙ ⴶⴰⵔ ⵜⵉⵓⵙⵙⴰⵜⴻⵏ." |
Methot's influence was increasingly destructive, however, and Bogart also continued to drink. | ⵜⴰⵎⵓⵙⵏⴻ ⵜⴰⵏ ⵎⴻⵜⵂⵓⵜ ⵜⴰⵈⴰⵍ ⴰⵍⵎⴰⵙⵙⵉⴱⴰⵜ ⴰⵏ ⵜⵉⴼⴰⵓⵜ ⴾⵓⵍ, ⵎⴰⵙⵂⴰⵏ, ⴱⵓⴶⴰⵔⵜ ⴷⴰⵗ ⵉⵙⵙⴰⵙ ⵂⴰⴶⵓⴷⵉ. |
When he thought an actor, director or studio had done something shoddy, he spoke up publicly about it. | ⴰⵍⵓⴰⵆ ⵓⴰ ⴰⴷ ⵉⴾⵜⴰⵂⵉⴷ ⴰⵙ ⵉⵉⴻⵏ ⴰⵏ ⴰⵛⵜⴻⵓⵔ, ⵔⵉⴰⵍⵉⵙⴰⵜⴻⵓⵔ ⵎⴻⵆ ⵙⵜⵉⴷⵉo ⵉⴶⴰ ⵂⴰⵔⴰⵜ ⵉⴱⵔⴰⵔⴰⵏ, ⴰⵏⵉⵂⴰⴶⴰ ⴰⴷ ⴰⵏⴻⵏ ⴷⴰⵜ ⴰⴷⵓⵉⴰⵜ ⴾⵓⵍ. |
Paul Muni, George Raft, Cagney and Robinson turned down the lead role, giving Bogart the opportunity to play a character with some depth. | ⴱⴰⵓⵍ ⵎⵓⵏⵉ, ⵗⴻⵓⵔⴶⴻ ⵔⴰⴼⵜ, ⵛⴰⴶⵏⴻⵉ ⴰⴷ ⵔⵓⴱⵉⵏⵙⵓⵏ ⵓⴶⴰⵉⴰⵏ ⵉⴻ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵙⴰⵏⵜⵓ, ⵜⴰⵏ ⵉⴼⴰ ⴱⵓⴶⴰⵔⵜ ⴷⴰⵆ ⵜⴰⴱⴰⵆⵓⵔ ⵏⵓⵆⵉⵍ ⵏⴰⵓⴰⴷⵉⵎ ⴷⴰⵔ ⴰⵏⴷⵉⵔⴰⵏ ⴷⴰⵆ ⵉⴷⴻⵔ. |
He worked well with Ida Lupino, sparking jealousy from Mayo Methot. | ⴰⵙⵂⵉⵗⴰⵍ ⴰⵙ ⵜⵉⵂⵓⵙⵙⴰⵉ ⴰⴷ Iⴷⴰ ⵍⵓⴱⵉⵏⵓ, ⴻⴰⵗ ⴰⵂⴰⵏⴰⵜ ⵜⵉⵙⵎⵉⵜⴻⵏ ⴰⵏ ⵎⴰⵉⵓ ⵎⴻⵜⵂⵓⵜ |
He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare, and subscribed to the Harvard Law Review. | .ⴰⵏⵜⴰ ⵉⵈⵔⴰ ⴱⵍⴰⵜⵓⵏ,ⴱⵓⴱⴻ, ⵔⴰⵍⴱⵂ ⵓⴰⵍⴷⵓ ⴻⵎⴻⵔⵙⵓⵏ ⴰⴷ ⴰⵓⴰ ⵓⴶⴰⵔⴰⵏ ⴻⴼⴰⴷ ⴶⵓⵔ ⵙⵂⴰⴾⴻⵙⴱⴻⴰⵔⴻ,ⵎⴰⵙⵂⴰⵏ ⴰⵏⵜⴰⵏⴻⴷ ⵉⴶⴰⵏ ⵉⵙⵙⵎⴰⵓⴰⵏ ⵏⴰⵙⵙⴻⵏ ⴷⴰⴶ ⵂⴰⵔⴱⴰⵔⴷ ⵍⴰⵓ ⵔⴻⴱⵉⴻⵓ. |
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. | Iⵍⴰⵉ ⴼⴰⵍ ⵔⵓⵎⴰⵏ ⵓⴰⵏ ⵔⴰⵙⵂⵉⴻⵍⵍ ⵂⴰⵎⵍⴻⵜ,ⴼⵉⵍⵎ ⵜⴰⵜⵓⴰⵙⴰⴶⵔⴰⵂ ⴰⵙ ⵙⵉⵔⵉⴻ ⴻⴰⵗ ⵎⴰⴶⴰⵣⵉⵏⴻ ⵓⴰⵏ ⴱⵓⵍⴱ ⴱⵍⴰⵛⴾ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵙ 1929 ⴰⵣⴰⵔ ⵉⴶⴰ ⵉⴾⴼⴰ ⵜⴰⴱⴰⵔⴰⵜ ⵉⴻ ⴰⵙⵙⵉⵏ ⴱⴻⵔⵙⵉⵓⵏⵜⴰⵏ ⴰⵏ ⵛⵉⵏⵉⵎⴰⵜⵓⴶⵔⴰⴱⵂⵉⵈⵓⴻ ⵜⴰ ⵙⴰⵏⴰⵜⴰⵜ ⴰⵙ ⵙⴰⵜⴰⵏ ⵎⴻⵜ ⴰ ⵍⴰⴷⵉ(1936), ⴰⴷ ⴱⴻⵜⵜⴻ ⴻⴰⴱⵉⵙ. |
Huston then eagerly accepted Bogart as his Sam Spade. | ⵂⵓⵙⵜⵓⵏ ⴻⵔⴷⴰⵂ ⴰⵙⵜⵉⵂⵓⵙⵙⴰⵉ ⴰⵙ ⴱⵓⴶⴰⵔⵜ ⵉⵜⴰⴶ ⵙⴰⵎ ⵙⴱⴰⴷⴻ ⴰⵏⴻⵙ. |
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. | ⴼⵉⵍⵎ ⵜⴰ ⵉⴶⴰ ⵎⵉⵛⴰⴻⵍ ⵛⵓⵔⵜⵉⵣ, ⵉⴾⵏⴰ ⵂⴰⵍ ⵓⴰⵍⵍⵉⵙ,ⵜⵉⴾⴼⴰ ⴰⵂⵓⴾⵙⵙⴻⵏ ⵉⵉ Iⵏⴶⵔⵉⴷ ⴱⴻⵔⴶⵎⴰⵏ,ⵛⵍⴰⵓⴷⴻ ⵛⵔⴰⵉⵏⵙ, ⵙⵉⴷⵏⴻⵉ ⵗⵔⴻⴻⵏⵙⵜⵔⴻⴻⵜ, ⴱⴰⵓⵍ ⵂⴻⵏⵔⴻⵉⴷ,ⵛⵓⵏⵔⴰⴷ ⵠⴻⵉⴷⵜ,ⴱⴻⵜⴻⵔ ⵍⵓⵔⵔⴻ ⴰⴷ ⴻⵓⵓⵍⴻⵉ ⵓⵉⵍⵙⵓⵏ. |
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. | ⴱⵓⴶⴰⵔⵜ ⴰ ⵉⴶⵔⴰⵓⴻⵏ ⵜⴰⵎⴾⵉⵔⴻ ⴰⵙ ⵔⵉⵛⴾ ⴱⵍⴰⵉⵏⴻ ⴰⵏⵉⵂⴰⴶⴰ ⴰⴷ ⴰⵜⵓⵉⴶⵓ ⴰⵎⴰⴷⵍⴰⵍ ⵓⴰ ⵉⵆⴰⵙⵂⴰⴷⴰⵏ,ⵜⵉⵎⴾⴰⵔⴰⵓⴻⵏ ⴰⵂⴰⵏⴻⵏ ⴶⴰⵔⴻⵙⵙⴰⵏ ⴰⵏⵜⴰ ⴰⴷ ⵎⵉⴷⴰⵓⴰⵏ ⴰⵏⴻⵙ ⵂⴰⴾⵉⴷ ⴻⴰⵗ ⵉⵎⵉⴾⵙⵙⴰⵏⴰⵏ ⴰⵏⴻⵙ. |
Bogart was nominated for Best Actor in a Leading Role, but lost to Paul Lukas for his performance in Watch on the Rhine. | ⴻⴰⵗ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴰ ⴰⵏ ⵜⵉⴷⴰⵜ,ⴱⵓⴶⴰⵔⵜ ⴰⵜⵓⴰⴶⴰ ⴰⵛⵜⴻⵓⵔ ⵓⴰ ⴰⵣⴰⵔⴰⵏ ⴾⵓⵍ,ⵎⴰⵙⵂⴰⵏ ⴰⵣⴰⵔⴰⵙ ⴱⴰⵓⵍ ⵍⵓⴾⴰⵙ ⴰⵙ ⵜⵉⵂⵓⵙⵙⴰⵏ ⴻⴰⵗ ⵓⴰⵜⵛⵂ ⵓⵏ ⵜⵂⴻ ⵔⵂⵉⵏⴻ |
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). | ⴱⵓⴶⴰⵔⵜ ⴷ ⵎⴻⵜⵂⵓⵜ ⵓⵙⴰⵏ ⵓⵏⵉⵜⴻⴷ Oⵔⴶⴰⵏⵉⵣⴰⵜⵉⵓⵏⵙ ⴷ ⵓⴰⵔ ⴱⵓⵏⴷ ⵟⵓⵓⵔⵙ ⴷⴰⴶⵂ ⴰⵓⴰⵜⴰⵉ ⵓⴰⵏ 1943 ⴷ ⵓⴰⵏ 1944, ⵉⵋⵋⴰⵏ ⵉⵙⵉⴾⵉⵍⴰⵏ ⴰⵙⵙⵓⵂⴰⵜ ⵏⴻⵏ ⵙ Iⵜⴰⵍⵉⴰ ⴷ ⴰⴼⵔⵉⴾⵉⵉⴰ ⵜⴰⵏ ⵟⴰⵎⴰⵙⵏⴰ (ⵜⴰⵂⴰ ⵛⴰⵙⴰⴱⵍⴰⵏⵛⴰ). |
"When they met, Bacall was 19 and Bogart 44; he nicknamed her ""Baby.""" | ⴰⵍⵓⴰⵈ ⵓⴰⴷ ⴰⵎⴰⵏⵂⴰⵉⴻⵏ, ⴱⴰⵛⴰⵍⵍ ⵉⵍⴰ ⴻⵍⴰⵏ 19, ⴱⵓⴶⴰⵔⵜ 44 ⴰⵏ ⴰⵓⴰⵜⴰⵉ; ⴰⴷ ⵂⴰⵙ ⵉⴶⴰⵏⵓ " ⴱⴰⴱⵉ" |
"We'll have a lot of fun together""." | ⵏⴰⴾⴰⵏⴻⴷ ⵏⴰⴶⴰ ⵏⵉⴷⴰⵍ ⵂⵓⵍⴻⵏ ⴶⴰⵔⴻⵏ ⵏⴰⵆ. |
By Myself and Then Some, HarperCollins, New York, 2005. | ⴱⵉ ⵎⵉⵙⴻⵍⴼ ⴰⵏ ⵟⵂⴻⵏ ⵙⵓⵎⴻ, ⵂⴰⵔⴱⴻⵔⵛⵓⵍⵍⵉⵏⵙ, ⵏⴻⵓ ⵗⵓⵔⴾ, 2005. |
He considered himself Bacall's protector and mentor, and Bogart was usurping that role. | ⴰⵏⵜⴰⵏⴻⴷ ⴰⴶⴰⵏⴰⵙ ⵉⵙⵜⵓⵙⵙⴰⵂ ⵓⴶⴰⵣ ⴰⵎⵉⴷⵉ ⴰⵏⴻⵙ, ⵎⴻⵏⵜⵓⵔ ⵓⴰⵏ ⴱⴰⵛⴰⵍⵍ ⴰⴷ ⴱⵓⴶⴰⵔⵜ ⵉⵜⵉⴾⴰⵔ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴻⵏ |
"Also, he has a sense of humor that contains that grating undertone of contempt.""" | ⴻⴰⵔⴰⵜ ⴰⵏ ⴰⵓⴻⵏ, ⴰⵏⵜⴰ ⵉⵜⴰⴶ ⵉⵙⵙⴰⵙⵜⴰ ⵓⵉ ⵜⴰⵂⴰ ⵉⴰⵙⵙⵉⵏⴻ. "" |
The dialogue, especially in the added scenes supplied by Hawks, was full of sexual innuendo, and Bogart is convincing as private detective Philip Marlowe. | ⴻⴷⴰⵓⴰⵏⵉ,ⵂⵓⵍⴻⵏ ⵓⴰ ⵉⴶⴰ ⵂⴰⵓⴾⵙ ⴼⴰⵍ ⵙⵛⵉⵏⴻ, ⴰⵂⴰⵏⵜⵉ ⵉⵎⵉⴶⵔⵉⴷⴻⵏ ⴰⵗⴼⴰⵍⵏⴻⵙ ⵂⵓⵍⴻⵏ ⴼⴰⵍ ⴰⴷⵓⴱⴰⵏ, ⴱⵓⴶⴰⵔⵜ ⵉⴶⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⵓⵉ ⴰⵔⵏⴰⴻⵏ ⴻⴰⵗ ⵜⴻⵎⴰⵙⵂⴰⵆⴰⵍ ⵜⴰⵏ ⴷⵉⵜⴻⵛⵜⵉⴱⴻ ⴱⵔⵉⴱⵉⴻ ⵜⴰⵏ ⴱⵂⵉⵍⵉⴱ ⵎⴰⵔⵍⵓⵓⴻ |
The marriage was a happy one, with tensions due to their differences. | ⴰⵣⵍⵉ ⴰⵂⵓⴾⵙⵙⴰⵜ ⵂⵓⵍⴻⵏ, ⴼⴰⵍ ⵜⵉⵎⵓⵙⵏⴰⵓⴻⵏ ⵜⵉ ⴰⴱⴷⴰⵏⴻⵏ ⴶⴰⵔⴻⵙⵙⴰⵏ. |
"According to Bogart's biographer, Stefan Kanfer, it was ""a production line film noir with no particular distinction""." | Iⵏⴰ ⴱⵉⵓⴶⵔⴰⴱⵂⴻ ⵓⴰⵏ ⴱⵓⴶⴰⵔⵜ, ⵙⵜⴻⴼⴰⵏ ⵆⴰⵏⴼⴻⵔ, ⴰⵏⵜⴰ""ⵉⵉⴻⵏ ⴰⵏ ⴼⵉⵍⵎ ⴰⵏ ⴰⵎⵉⴾⵓⴰⵍ, ⵓⴰⵔⴷⵉⵍⴰ ⵉⴱⴰⴷⵂⵉ. |
Lacking a love interest or a happy ending, it was considered a risky project. | ⵓⴰⵔⵉⵍⴰ ⴰⵏⴰⴼⴰ ⵓⴰⵔⵉⵍⴰ ⴰⵣⵉⴶⵔⴰⵣ ⴰⵏ ⵎⴰⵏ, ⴰⵓⴻⵏ ⵓⵍⴰⵂⴷ ⴰⴷ ⴱⵔⵓⵋⴻⵜ ⵉⴱⵔⴰⵔⴰⴻⵏ |
"James Agee wrote, ""Bogart does a wonderful job with this character ... miles ahead of the very good work he has done before.""" | ⵋⴰⵎⴻⵙ ⴰⴶⵔⴻⴻ ⵉⴾⵜⴰⴱ""ⴱⵓⴶⴰⵔⵜ ⵉⵜⴰⴶ ⴰⵙⵂⴰⵈⴰⵍ ⴰⵂⵓⴾⵙⴻⵏ ...ⴰⵙⵂⴰⵈⴰⵍ ⵉⵍⴰⵏ ⴾⵉⵍⵓⵎⵉⵜⵔⴻⵙ ⵜⴻⵏ. |
Bogart appeared in his final films for Warners, Chain Lightning (1950) and The Enforcer (1951). | ⴱⵓⴶⴰⵔⵜ ⵉⵣⴶⴰⵔⵉⴷ ⴹⴰⵗ ⴼⵉⵍⵉⵎⵜⴻⵏ ⵜⵉ ⴷⴰⵍⴾⴰⵎⵏⴻⵏ ⴾⵓⵍ ⵉⴻ ⵓⴰⵔⵏⴻⵔ, ⵛⵂⴰⵉⵏ ⵍⵉⴶⵂⵜⵉⵏⴶ(1950) ⴰⴷ ⵟⵂⴻ ⴻⵏⴼⵓⵔⵛⴻⵔ (1951). |
Santana also made two films without him: And Baby Makes Three (1949) and The Family Secret (1951). | ⵙⴰⵏⵜⴰⵏⴰ ⵜⵉⴶⴰ ⴰⵏⵜⴰ ⴻⴰⵗ ⴼⵉⵍⵎⵙ ⵜⴻⵏ ⵙⴰⵏⴰⵜⴻⵜ ⵓⴰⵔ ⵉⵂⴰ ⴰⵏⵜⴰ :ⴰⵏⴷ ⴱⴰⴱⵉ ⵎⴰⴾⴻⵙ ⵟⵂⴻⴻ(1949)ⴰⴷ ⵜⵂⴻ ⴼⴰⵎⵉⵍⵉ ⵙⴻⵛⵔⴻⵜ (1951) |
Several Bogart biographers, and actress-writer Louise Brooks, have felt that this role is closest to the real Bogart. | ⴱⵉⵓⴶⵔⴰⴱⵂⴻⵙ ⵜⴻⵏ ⴰⴶⴻⵜⵏⴻⵏ ⴰⵏ ⴱⵓⴶⴰⵔⵜ, ⴰⴷ ⵜⴰⵏⴰⴾⵜⵉⴱⵜ ⵍⵓⵓⵉⵙⴻ ⴱⵍⵓⵓⴾⵙ,ⴰⵏⵜⴰⵏⴻⴷ ⴰⵆⴻⵍⴰⵏ ⴰⵙ ⵜⴰⵎⴰⵙⵂⴰⵆⴰⵍ ⵜⴰ ⵜⵓⵂⴰⵣ ⵂⵓⵍⴻⵏ ⵜⴻⵎⴰⵙⵂⴰⵆⴰⵍ ⵜⴰⵏ ⴱⵓⴶⴰⵔⵜ. |
A parody of sorts of The Maltese Falcon, Beat the Devil was the final film for Bogart and John Huston. | ⴱⴰⵔⵓⴷⵉⴻ ⴻⴰⵗ ⵟⵂⴻ ⵎⴰⵍⵜⴻⵙⴻ ⴼⴰⵍⵛⵓⵏ,ⴱⴻⴰⵜ ⵜⵂⴻ ⴻⴻⴱⵉⵍ ⴰⵙ ⴼⵉⵍⵎ ⵓⴰ ⵉⵍⴾⴰⵎⴰⵏ ⴰ ⴱⵓⴶⴰⵔⵜ ⴰⴷ ⵋⵓⵂⵏ ⵂⵓⵍⵙⵓⵏ |
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. | ⵜⴰⵔⵂⴰ ⴰⵏ ⴰⵙⵙⵉⴾⴰⵍ ⵉⴻ ⵂⵓⵍⵙⵓⵏ, ⵜⴰⵎⵆⵔⴻ ⵜⴰⵎⵉⴷⵓⵓⴰ ⴰⵏⴻⵙ ⴰⴷ ⴱⵓⴶⴰⵔⵜ, ⴰⴷ ⵜⴰⴷⴰⴱⵉⵜ ⴰⵏⴻⵙ ⵉⴻ ⴰⵙⵂⴰⵆⴰⵍ ⴰⴷ ⵂⴻⴱⴱⵓⵔⵏ ⴰⴶⵔⴰⵓⴻⵏ ⵜⴰⵔⵏⴰ ⴼⴰⵍ ⴰⵛⵜⴻⵓⵔ ⵏⴰⵙⵙⴻⵏ ⵓⴰⵏ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ ⴰⴷ ⴰⴼⴰⵍ ⴰⵙⵂⴰⵆⴰⵍ ⵓⴰ ⴼⴰⵍ ⴰⵔⴶⴰⵓⴰⵏ ⴰⴷ ⴰⴶⴰⵏ ⵜⴰⵗⴰⵍⴰⵉ ⵗⴰⵍⴰⵉⴻⵏ ⴰⴶⵓⵜⵏⴻⵏ ⴷⴰⵗ ⴰⵎⴰⵙ ⴰⵏ ⵛⵓⵏⴶⵓ ⴱⴻⵍⴶⴻ. |
Bacall came for the over-four-month duration, leaving their young son in Los Angeles. | ⴱⴰⵛⴰⵍⵍ ⵓⵙⵙⴰⴷ ⵉⴻ ⴰⴷⴰⴶⵓ ⴾⴰⵔⴰⴷ ⵓⵔⴰⵏ ⴰⵏ ⵜⴰⵂⴰⴶⵉⵜ,ⴻⴰⵗ ⵓⴻⵉⴰⵂⵉⵏ ⴻⵍⴻⵙⵙⴰⵏ ⴷⴰⵗ ⵍⵓⵙ ⴰⵏⴶⴻⵍⴻⵙ. |
"She Luxed my undies in darkest Africa.""" | "ⴰⵏⵜⴰ ⵜⴰ ⵜⵓⴱⴰⵜ ⵉⴾⴰⵔⵙⵂⴰⵉⴻⵏ ⴰⵏⴰⵓ ⴻⴰⵗ ⵜⵉⵂⴰⵉ. |
Hepburn (a teetotaler) fared worse in the difficult conditions, losing weight and at one point becoming very ill. | ⵂⴻⴱⴱⵓⵎ ( ⵓⴰⵏⴰⵏ ⵉⵙⵉⵙⵓ ⴰⵙⵎⵉⴷ) ⵉⴶⵔⴰⵓ ⵉⵎⴰⵏⴻⵙ ⴷⴰⵆ ⴰⵍⵓⴰⵈⴰⵏ ⴰⵙⵓⵂⴰⵜⵏⴻⵏ, ⵓⴶⵓⴷ ⴰⵏ ⵜⴰⵣⴰⵉⵜ ⴰⴷ ⵓⴷⴰ ⵙⵓⴼⵔⵓⵉ ⵂⵓⵍⴻⵏ. |
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. | ⴻⴰⵗ ⵉⴱⴰ ⵏⴰⵙⴰⵂⴰⵜ ⵓⴰ ⵜⵉⵓⴶⴰⵜ ⴰⵏ ⵏⴰⴾⴰⵔⴰⵎⴱⴰⵓ ⴷⴰⵗ ⵜⴰⴷⵎⴰⵔ ⵏⴰⵎⴰⵏ, ⵉⵋⴻⵔⴻⵔⴰⵏ ⴰⴷ ⴷⵓⴰⵍ, ⵟⵂⴻ ⴰⴼⵔⵉⵛⴰⵏ ⵔⵓⴻⴻⵏ ⵉⵏⵜⴰⴷⴰⵗ ⴰⵙⴰⵏⴾⴰⵔ ⵜⴰⵔⵂⴰⵏⴻⵙ ⵜⴰⵙⵓⵂⴻⵜ ⴰⵏ ⴱⵓⴶⴰⵔⵜ ⵉⴻ ⴾⴰⵔⴰⴱⴰⵓⴰⵏ ; ⵓⴶⵓⴷ ⵓⴰ ⴻⴰⵈⴰⵍ ⵛⴰⵍⵉⴼⵓⵔⵏⵉⴻ, ⴰⵛⴰⵛⴰ ⵜⴰⵙⵏⵉⵜ ⵜⵓⵍⴰⵗⴰⵜ ⵂⴰⵛⴾⴻⵔ-ⵛⵔⴰⴼⵜ ⴰⵏ ⵂⵉⵛⴾ ⵉⵜⵓⴰⵔ ⵂⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔⵜⴰⴱⴰ |
"When Bogart won, however, he said: ""It's a long way from the Belgian Congo to the stage of this theatre." | ⵎⵓⴶⵓⴷⵓ ⴱⵓⴶⴰⵔⵜ ⵉⴶⵔⴰⵓ, ⴰⴶⵓⴷⴻⵏⴷⴰⵗ , ⴰⴷⵉⵏⴰ : ‘’ ‘’ ⵟⴰⴱⴰⵔⴰⵜ ⵜⴰⵏ ⵛⵓⵏⴶⵓ ⴱⴻⵍⴶⴻ ⵣⴰⴶⵔⵉⵜ ⵉⴻ ⵜⵉⴷⴰⵓⵜ ⵉⵏ ⵜⴰⴼⵓⵙⴻⵏ'' ‘ |
As in tennis, you need a good opponent or partner to bring out the best in you. | ⵙⵓⵏⴷ ⵜⴻⵏⵏⵉⵙ, ⴰⵏⵉⵂⴰⴶⴰ ⴰⴶⴰⵔⴰⵓ ⵏⴰⵎⴰⴾⴻⵏⵉⵙ ⵉⵓⴰⵔ ⵙⴰⵔⵂⵓ ⵎⴻⵆ ⴰⵎⵉ ⴼⴰⵍ ⴰⵣⵣⵉⵣⴶⵔⴰⵔ ⵉⵏ ⵜⴰⴷⴰⴱⵉⵜⴻ ⵉⵏ ⵎⴰⵏⴻⵙ. |
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. | Iⵏⴾⴰ ⴰⴷⴻⵜⴰⴼ ⴰⵏⴷⴰⵔⴰⵏ ⴷⴰⵗ ⵜⴰⵙⵙⴰⵏⴰⵓⴻⵏ ⵉⴻ ⵜⴰⴱⴰⵔⴰⵜ ⵜⴻⵏ, ⵉⴶⴰ ⴰⵛⴰⵗⵉⵍ ⵉⵓⴰⵔ ⵙⴰⵔⵂⵓ ⴷⴰⵗ ⵣⴰⴱⵓ ⵜⴰ-ⵜⴰⵛⴰⵎⴰⵜ ; ⵉⴶⵔⴰⵓ ⵜⵉⵏⵉⵎⵓⴾⵍⴰⵏⴻⵙⵙ ⵜⴰ-ⵙⴰⵎⴰⵏⴷⵓ ⵉⵏ Oⵙⵛⴰⵔⵙ ⴰⵣⴰⵔ ⵉⴶⴰⵉ ⵜⴻⵎⴰⵍⵙⴰⵜ ⵉⵏ ⵎⴰⴶⴰⵣⵉⵏⴻ ⵜⵉⵎⴻ ⵍⴻ 7 ⵋⵓⵉⵏ 1954. |
He is the type of director I don't like to work with ... the picture is a crock of crap. | ⵙⵓⵏⴷ ⴻⵏⴰⵎⴰⵂⴰⵜ ⵓⴰ ⴷⴰⵗ ⴷⴰⵔ ⵓⴰⴷⴻⵔⵂⴰⵆ ⴰⴷ-ⵏⴰⵎⵛⴰⵆⵉⵍ…ⵙⵉⵍⵎⴰ ⵜⴰⵈⴰⵍ ⴰⵉⵙⴰⵔⵜⴰⵉⴰⵏ ⴰⵏ ⵜⴰⵍⴰⴼⴻⵏ. |
"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""." | ‘’ ⵗⵓⵔ ⵙⴰⵏⵜⵓ ⵓⴰⵔ ⴰⴾⵏⴰ, ⵙⵉⵍⵎⴰ ⵜⴰⵈⴰⵍ ⴰⵂⵓⵙⴾⴻⵏ ; ⴷⴰⵗ ⵜⴰⵣⵎⵉⵜ ⵜⴰⵏ ⵏⴻⵓ ⵗⵓⵔⴾ ⵟⵉⵎⴻⵙ, ⴱⵓⴶⴰⵔⵜ ⴻⵈⴰⵍ ⴷⴰⵗ ⵉⴱⴰ ⵎⵓⵔⴷⴰ ⴻⵔⴻ ⴰⵓⴰⵏⴰⵏⵓⵆⴻⴷ…ⵜⴰⵎⵆⴰⵔ ⵏⴰⵆⵎⴰⵔ ⵓⴰ ⵉⵜⴰⴶⴰⵏ ⵙⵉⵍⵎⴰⵜⴰⵏ ⴰⵏ ⵜⴰⵍⴰⵙⵙⴻ ⵜⴰⵏ ⵔⵓⵛⴾ ⵎⴻⵍⴻ ⵉⴻ ⵉⵎⵉⴷⵉⵓⴰⵏ ⴰⵏ ⴰⵏⵎⵉⵜⵉⴼ ⴰⵏ ⵏⴰⵍⵎⴰⵆⵏⴰ ⴰⵏ ⵜⵉⵓⵛⵔⴻ ⵉⴻ ⴰⵜⵉⴱⴰ ⴻⴶⴰⵍ ⴰⴶⴰⵔⴰⵣⴰⵜ ⵎⴰⴶⴰⵔⴰⵏ ⵉⴻ ⴻⵔⴻ ⵓⴰ ⵉⴶⵉⵂⴰⵏ |
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. | ⵓⴰ ⴰⵙⴶⵔⴻⵣ ⵎⴰⵏⴻⵙⵙ ⴷⴰⵗ ⴰⴱⴰ ⵗⴰⵔⴷⵏⴻⵔ ⵓⴰ ⴰⵛⵗⴰⵍ ⴷⴰⵗ ⴰⵎⴰⴾ ⵓⴰ ⴷⴻⴷⴻⵏ; Iⴾⴻⵜ ⴰⵜⴰⵎⵛⴰⵛⴰⵜ ⴷⴰⵎⵉⴷⵉⵏⴻⵙ ⵓⴰⵏ ⵔⴰⵜ ⴱⴰⵛⴾ, ⴱⵔⴰⵏⴾ ⵙⵉⵏⴰⵜⵔⴰ, ⴰⴷ ⴱⵓⴶⴰⵔⵜ ⵙⴰⴶⵔⴰⵣⴰⵏ ⴰⵏ ⵙⴰⵍⴰⵏ ⵓⵉⵔⵙⴻⵏ ⵂⵓⵍⴻⵏ. |
When Bacall found them together, she extracted an expensive shopping spree from her husband; the three traveled together after the shooting. | ⴰⴶⵓⴷ ⵓⴰ ⴰⵜⴰⵏⵂⵉⴰ ⴱⴰⵛⴰⵍⵍ ⴰⵔⵜⴰⵉⴰⵏ, ⵜⴰⵙⵉⵙⵜⴰⵏ ⴰⵂⴰⵍⵉⵙ ⴰⵏⴻⵙⵙ ⵉⴰ ⵔⴰⴶ ⴰⵙⵓⴾ ⴰⵙⵙⵓⵂⴻⵏ ; ⵓⵉⵏ ⵛⴰⵔⴰⴷ ⴰⵙⴻⴾⴰⵍⴰⵏ ⴷⴰⵔⴰⵜ ⴰⵙⴰⵙⴰⵜⴾⵉⵍ. |
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). | Iⵣⴶⴰⵔⵉⴷ ⴷⴰⵗ ⵙⴰⵍⴰⵏ ⵓⵉ ⵟⵂⴻ ⵋⴰⵛⴾ ⴱⴻⵏⵏⵉ ⵙⵓⵓ, ⴷⴰⵗ ⴰⴷⴰⴾⴰⵍ ⴰⵏ ⵙⴰⵍⴰⵏ ⴰⴶⵓⴷⴻⵏⴷⴰⵗ ⴰⵏ ⵜⴰⵎⵓⴷⵔⴻ ⴰⵏ ⵜⴰⵏⵎⴰⵜⴰⴼⵜ ⴷⴰⵗ ⵛⴰⵙⵜⵓⵜⴰⵏ ⵉⵓⵔ ⵙⴾⴻⵜⵛⴻⵙ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ( 25 ⵓⵛⵜⵓⴱⵔⴻ 1953). |
Stephen became an author and biographer and hosted a television special about his father on Turner Classic Movies. | ⵙⵜⴻⴱⵂⴻⵏ ⴻⴶⴰⵍ ⴰⵏⵉⵎⵆⴰⵔ ⴰⵏ ⵜⴰⵎⴰⵙⵏⴰⵓⴻⵏ ⵏⴰⵓⴰ ⵉⵛⴰⵆⴰⵍⴰⵏ ⵉⵣⴰⵔ ⵉⵙⵉⵎⵙⵉⴷⵓⵓ ⵉⵙⴰⵍⴰⵏ ⴰⴱⴷⴰⵏⴻⵓ ⴼⴰⵍ ⵜⵉⵙ ⴼⴰⵍ ⵟⵓⵏⴻⵔ ⵛⵍⴰⵙⵙⵉⵛ ⵎⵓⴱⵉⴻ |
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. | ⴻⴰⵗ ⴰⴷⵔⵉⵛ ⵓⴰ ⵙⴰⵏⵜⴰⵏⴰ, ⴱⵓⴶⴰⵔⵜ ⵉⵍⴰ ⵜⴰⵙⵉⵔⵜⴰⵉⵜ ⵜⴰⵉⵏⴰⵉⴰⵜ ⵉⵣⴰⵔ ⵉⵍⴰ ⵉⵙⴰⵍⴰⵏ ⵏⴰⴶⵉ ⴰⵏ ⵙⵉⵍⵎⴰ (ⵎⴻⵍⴱⵉⵍⵍⴻ ⵗⵓⵓⴷⵓⵉⵏ, ⵓ.ⵙ.ⴰ) ⵓⴰ ⴷⴰⵗ ⵉⵎⴰ ⴷⵉⵈⵉⵍ ⴰⵏⵉⵎⵆⴰⵔ ⴰⴷ ⴱⴰⵛⴰⵍⵍ ⴰⵏⴰⵎⵓⴾⴰⵍ ⴰⵏ ⵙⵉⴷⴰⵓⴰⵜ |
He did not talk about his health and visited a doctor in January 1956 after considerable persuasion from Bacall. | ⵓⴰⴷ ⵉⵜⵉⵎⴶⵔⵉⴷ ⴼⴰⵍ ⴰⵛⴻⵆⴰⵜ ⵉⵏⴻⵙ ⴰⴷ ⵉⵙⴰⵙⵜⴰⵏ ⵍⴰⵛⵜⵓⵔ ⴷⴰⵗ ⵋⴰⵏⴱⵉⴻⵔ 1956, ⴷⴰⵔⴰⵜ ⵓⵆⵓⵍ ⵏⵉⵎⴰⵙⴷⵉⵎⴰⵍ ⵉⵏⴰ ⴱⴰⵛⴰⵍⵍ |
He had additional surgery in November 1956, when the cancer had metastasized. | Iⴶⴰ ⵓⴱⴻⵔⴻ ⵎⴰⵈⴰⵔⴰⵏ ⴷⴰⵗ ⵏⵓⴱⴻⵎⴱⵔⴻ 1956, ⵎⴰⵛⴰⵏ ⵛⴰⵏⵛⴻⵔ ⵜⴰⵓⴰⴷ. |
"On it was inscribed, ""If you want anything, just whistle.""" | ⴰⴾⵜⴰⴱ ⴼⴰⵍⵍⴰⵙ :`` `` ⴰⴼⴰⵍ ⵜⴰⵔⵂⴻⴷ ⵂⴰⵔⴰⵜ, ⵙⵓⴾⵓⵙⵓⵜ. |