howard-nlp/ibom-mt · Datasets at Hugging Face

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0	Lillian Diana Gish (October 14, 1893 – February 27, 1993) was an American actress, director and screenwriter.	Lillian Diana Gish (October 14, 1893 – February 27, 1993) ake de American actress, aladusụñ mme anni s'igwed mkpọ ke screen..
1	Gish was a prominent film star from 1912 into the 1920s, being particularly associated with the films of director D. W. Griffith.	Gish ake de agwọ-etop agwo ke film tọọñọ ke 1912 ben dụk 1920s, adeghe ake aneke nyie ewaana ne mme film aladusụñ, D. W. Griffith.
2	She also did considerable television work from the early 1950s into the 1980s, and closed her career playing opposite Bette Davis in the 1987 film The Whales of August.	Ñko, anye ama anụñ inam utom akemenniche ke eti ndagha tọọñọ ke ntọọñọ efia 1950s ben dụk 1980s, anụñ atuɾo isañ utom amọ k'ida ñchek'iso mmile mme Bette Davis ke film ake efia 1987 "The Whales of August".
3	The first several generations of Gishes were Dunkard ministers.	Akpa nsio-nsio ubon a Gishes eke edeñe mme Dunkard minister.
4	Their mother opened the Majestic Candy Kitchen, and the girls helped sell popcorn and candy to patrons of the old Majestic Theater, located next door.	Eka ammọ ama abeele Majestic Candy Kitchen, ntok-ibaan ade enụñ eñwam enyam popcorn mme candy enọ mme patron ake akaan a old Majestic Theater, adeghe usụñ anni ida mkpeɾe.
5	The seventeen-year-old Lillian traveled to Shawnee, Oklahoma, where James's brother Alfred Grant Gish and his wife, Maude, lived.	Lillian adeghe agwo efia efud mme iba ake nam isañ aka Shawnee ke Oklahoma, itie ejaka agwodeen James, Alfred Grant Gish mme ññwuan amọ, Maude eke elụñọke
6	Her father died in Norman, Oklahoma, in 1912, but she had returned to Ohio a few months before this.	Ete amọ ake akpa ke Norman ke Oklahoma, ke efia 1912, ade anye ama atime inyọñ Ohio ke mkpọ nte afiọñ ifañ mbemiso idagha ini ami
7	When Lillian and Dorothy were old enough they joined the theatre, often traveling separately in different productions.	Sa Lillian mme Dorothy eke ekpoon ekem, ammọ ema edụk theatre, ese enam isañ nsio-nsio eka nsio-nsio a production
8	Gish continued to perform on the stage, and in 1913, during a run of A Good Little Devil, she collapsed from anemia.	Gish ama aka iso is'isio mmile ke abodmmile, ake anụñ ade efia 1913, idagha ini A Good Little Devil, anye ama aluọ ito anemia.
9	Her performance in these frigid conditions gave her lasting nerve damage in several fingers.	Mmile amọ k'ini nleleñ ami ama awiad asip amọ mkpeen-mkpeene ke mme nsio-nsio nnuọn
10	He utilized her expressive talents to the fullest, developing her into a suffering yet strong heroine.	Anye ama aneke ikama enọ ñgwọdilo amọ ajọghọ-jọghọ, adeghe ama aben anye isin ku'fen, ade ade akpachọñ a heroin
11	She directed her sister Dorothy in one film, Remodeling Her Husband (1920), when D. W. Griffith took his unit on location.	Anye ama alad ejaka amọ agwoññwuan usụñ ke film keed, ade ake akpụghọ ebe amọ (1920), idagha D. W. Griffith ake abene unit amọ ke itie.
12	She turned down the money, requesting a more modest wage and a percentage so that the studio could use the funds to increase the quality of her films — hiring the best actors, screenwriters, etc.	Anye iki ibọọghọ akpogho ade, ake ajem ulua s'ifọn mme percentage na ato de studio ekama akpogho ade ebene ndagha film ammọ --k'iben mme actor ne mme screenwriter s'ifọn ñkana, etc.
13	Many of the silent era's leading ladies, such as Gish and Pickford, had been wholesome and innocent, but by the early 1930s (after the full adoption of sound and before the Motion Picture Production Code was enforced) these roles were perceived as outdated.	Ñgwak-ñgwak ibaan s'iki idak iso ke silent era, nte Gish mme Pickford, eke edeñe mbon nti ilo ne mbon s'ili iliọñọke ibak, ade ke ntọọñọ a 1930s (sa eke eben ujo ajọghọ-jọghọ, ñko nte enụk Motion Picture Production) eke ekele ke mme alinam ami adeñe ñkaan.
14	Louis Mayer wanted to stage a scandal ("knock her off her pedestal") to garner public sympathy for Gish, but Lillian didn't want to act both on screen and off, and returned to her first love, the theater.	Louis Mayer ake jem ifiọ-fiọk ñwiad anyiñ amọ ("nuk anye sio ke ndagha amọ") na Gish akama ade anyie mbọm afud agwo, ade Lilian iki ijeme inam ke screen mme ke ataak akpọọbod, ama atime akeene akpa ima amọ, adeghe theater
15	Returning to movies, Gish was nominated for the Academy Award for Best Supporting Actress in 1946 for Duel in the Sun.	K'itime nnyọñ mmile, ema esio Gish se enọ Academy Award for Best Supporting Actress ke efia 1946 a Duel ke the Sun.
16	She was considered for various roles in Gone with the Wind ranging from Ellen O'Hara, Scarlett's mother (which went to Barbara O'Neil), to prostitute Belle Watling (which went to Ona Munson).	Ema ekele inọ anye nsio-nsio iso utom ke Gone mme Wind tọọñọ ke Ellen O'Hara, ekaScarlett (ake akeeneke Barbara O'Neil), aka ina mme Belle Watling (ake akeneke Ona Munson).
17	She appeared as Dowager Empress Maria Feodorovna in the short-lived 1965 Broadway musical Anya.	Anye ake da nte Dowager Empress Maria Feodorovna ke Broadway musical 'Anya' ke 1965 akeli ikpeeneke
18	She was interviewed in the television documentary series Hollywood: A Celebration of the American Silent Film (1980).	Eke ewip anye mme mmime ke television documentary series Hollywood adeghe "A Celebration of the American Silent Film (1980)."
19	She has a star on the Hollywood Walk of Fame at 1720 Vine Street.	Anye anyie ntantaafiọñ ke Hollywood Walk of Fame ke 1720 Vine Street.
20	At the Cannes festival, Gish won a 10-minute standing ovation from the audience.	Ke Cannes festival, Gish ama akan ke mbon nniche ida-da nnọọ anye ukpono ke mminid 10
21	The episode "Marry for Murder" was broadcast on September 9, 1943.	Eke esian ikpeke mmile "Marry for Murder" ke September 9, efia 1943.
22	She was awarded an Academy Honorary Award in 1971, and in 1984 she received an AFI Life Achievement Award.	Ema enọ anye Academy Honorary Award ke efia 1971, anụñ ade ke 1984, anye abọ AFI Life Achievement Award.
23	The University awarded Gish the honorary degree of Doctor of Performing Arts the next day.	Ufọkñgwed ntaifiọk ade ema enọ Gish honorary degree of Doctor ake Performing Arts elem usen.
24	Following Gish's 1993 death, the University raised funds to enlarge its gallery to display memorabilia received from Gish's estate.	Akeene mkpa Gish ke 1993, ufọkñgwed ntaifiọk ade ema etip akpogho inam na itie nniche ammọ akpon se elian memorabilia eke ebọghọ etọ estate Gish.
25	The association between herself and D. W. Griffith was so close that some suspected a romantic connection, an issue never acknowledged by Gish, although several of their associates were certain they were at least briefly involved.	Ewaana amọ mme D. W. Griffith ama aneke ikpede tutu anye de s'itụñ agwo ekele ke ammọ enyie ewaana ima, mkpọ a Gish akeli iliọñọke ibaña, akpesụk ade adeghe nsio-nsio mbon ammọ ema enim ke amọ ema esụk inyie ewaana ima etok-etok.
26	In the 1920s, Gish's association with Duell became something of a tabloid scandal when he sued her and made the details of their relationship public.	Ke 1920s, Ewaana Gish mme Duell ama akaba ade ekamba mkpọ nnọk idagha ake abene anye aka esop anụñ anam na eliọñọ naña ewaana ammọ ake aba ke efelife.
27	George Jean Nathan praised Gish's acting glowingly—comparing her to Eleonora Duse.	George Jean Nathan ama atoolo Gish ujai-ujai ke naña anye asio mmile -- aben anye alomo mme Eleonora Duse.
28	During the period of political turmoil in the US that lasted from the outbreak of World War II in Europe until the attack on Pearl Harbor, she maintained an outspoken non-interventionist stance.	K'idagha ini mfana ukaala ade ke US, ake akpeeneke tọọñọ ke ntọọñọ a World War II ke Europe gwọ ini eke ejiɾeke Pearl Harbor, anye akesụk achọ-chọñ inua anụñ ada ke ndagha amọ.
29	Joseph Frank Keaton (October 4, 1895 – February 1, 1966), known professionally as Buster Keaton, was an American actor, comedian, film director, producer, screenwriter, and stunt performer.	Joseph Frank Keaton (October 4, 1895 – February 1, 1966), eliọñọke ke ndagha utom nte Buster Keaton, ake de American actor, comedian, film director, producer, screenwriter, mme stunt performer.
30	His career declined when he signed with Metro-Goldwyn-Mayer and lost his artistic independence.	Utom amọ ama aluọ sa anye ake asin ubọk ke ñgwed mme Metro-Goldwyn-Mayer, ali inyieghe aba ukaalaidem ke mmile.
31	Many of Keaton's films from the 1920s remain highly regarded, such as Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).	Ñgwak-ñgwak a film a Keaton tọọñọ ke ejo 1920s asụk anye-nyie ukwụ, nte Sherlock Jr. (1924), The General (1926), mme The Cameraman (1928).
32	His father was Joseph Hallie "Joe" Keaton, who owned a traveling show with Harry Houdini called the Mohawk Indian Medicine Company, or the Keaton Houdini Medicine Show Company, which performed on stage and sold patent medicine on the side.	Ete amọ ake de Joseph Hallie "Joe" Keaton, ake anyieghe traveling show mme Harry Houdini eke ekoodo Mohawk Indian Medicine Company, ama ideghe nteɾe ekood the Keaton Houdini Medicine Show Company, adeghe ama asio mmile ke abodmmile anụñ anyam ibọk ewaaka mkpọ eli iliọñọke alian
33	In Keaton's retelling, he was six months old when the incident occurred, and Harry Houdini gave him the nickname.	Ke Keaton imaana nnọọ mmụk, anye ake de afiọñ itekeed naña mkpọ ade ake atibeke, ñko Harry Houdini ake nọọ anye nickname ade.
34	The act was mainly a comedy sketch.	Alinam ade akeneke de comedy sketch
35	A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing.	Ema ekum ubọk a suitcase isin ke mkpọ afọn Keaton na añwan k'ili fụñọke aba.
36	However, Buster was always able to show the authorities that he had no bruises or broken bones.	Naña ade-de, Buster ama akaɾa ilọkọ mme ada iwuo k'iki inyieghe unan kpañ iki iwuọñọ akpọ
37	Several times I'd have been killed if I hadn't been able to land like a cat.	Akañ ñgwak-ñgwak, ekpa eke iñgwod akpede ke ñkisi ikalake nluọ nte abọọsi.
38	Noticing that this caused the audience to laugh less, he adopted his famous deadpan expression when performing.	Ake kud ke ami anam na mbon nniche eli inekeke ichak imam, anye ali ikama iso nteɾe-nteɾe, ichiaka-chiak inụñọ ibọ-ibọp iso idagha asiogho mmile.
39	Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater.	Akpesụk ade ñkọbọ mme mbed ne nnam isañ ñche mme ufọk ikwọ ke United Kingdom akeli ifọnọ, Keaton ake de ñgwọnda agwo ke theater ade.
40	In February 1917, he met Roscoe "Fatty" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck.	Ke afiọñ iba ke efia 1927, anye ama akudo mme Roscoe "Fatty" Arbuckle ke Talmadge Studios ke New York City, itie Arbuckle ake anyieghe uwiọñ utom k'ilak Joseph M. Schenck.
41	Buster was such a natural in his first film, The Butcher Boy, he was hired on the spot.	Buster ake sio mmile nte mkpọ isineke ke akpa a film ammọ, "The Butcher Boy", ema eben anye idaghade-idaghade k'itie ade.
42	Keaton later claimed that he was soon Arbuckle's second director and his entire gag department.	Keaton ama ali iwo k'imọ isọbọ ide ajọghọ aladusụñ iba inọ Arbuckle mme afud mbon s'inam utom ke efaak amọ.
43	It was based on a successful play, The New Henrietta, which had already been filmed once, under the title The Lamb, with Douglas Fairbanks playing the lead.	Ake to ke ntak mmile ake ama agwọñọ usiene, New Henrietta, eke ema esio-sio akañ keed, k'ilak iwuo "The Lamb", adeghe Douglas Fairbanks ake ada iso.
44	He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922).	Anye ama anam ulim a two-reel comedies, adeghe One Week (1920), The Playhouse (1921), Cops (1922), mme The Electric House (1922) ema elọñọ.
45	Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen.	Ke alad usụñ Comedy Leo McCarey iteye mme usen ñkaña eke eseke enam mme slaptstick comedy, anye ama awo "Afud ajid ima iñwana ukeme ijip gagmen mbon mfen.
46	During the railroad water-tank scene in Sherlock Jr., Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterward.	Ke idagha ini a railroad water-tank ke Sherlock Jr., Keaton ama awuụñ itọñ sa ilaad-ilaad ññwuọñ ake to water tower ali iduọkọ anye, ade anye iki iliọñọke tutu mme efia ake fụlọ
47	Keaton's character emerged unscathed, due to a single open window.	Elu Keaton iki ikpụghọke, ke ntak awindo keed ake abeeleke.
48	Aside from Steamboat Bill, Jr. (1928), Keaton's most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1926).	Ke abeeghe Steamboat Bill, mme film a Keaton s'inyiọñ ijem ime ñkana adeñe Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), mme The General (1926).
49	Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time.	Akpesụk ade adeghe ela eli ilad ade nte mkpọ akpono akana k'uwem a Keaton, ema etañ eti mme iliọk ikọ ibaña film ade k'idagha ini ade.
50	His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.	Distributor ne mme United Artist amọ ema ejiile ke production manager ake acheghe mkpọ abaña akpogho se ewiad enụñ esin iso k'usụghọ naña mme mmụk akaya.
51	The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after.	Mbon s'isio mmile eke ese emụ-mụụm ujoikọ abio mfen egwede elọñ k'iwuo ke etok idagha, enụñ esio mmile ade ataak idaghade.
52	The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's famous Three Stooges shorts.	Aladusụñ akese ama ide Jules White, ineme amọ ke slapstick mme farce ake anama na umiañ mme film ami ebied agwọ-etop a Three Stooges shorts mbakala.
53	However, director White's insistence on blunt, violent gags resulted in the Columbia shorts being the least inventive comedies he made.	Naña ade-de, White ijiile ke mme blunt violent gag ake nam na mme Columbia Short edeñe mme comedy se mkpọ ali inekeke isine.
54	He made his last starring feature El Moderno Barba Azul (1946) in Mexico; the film was a low-budget production, and it may not have been seen in the United States until its release on VHS in the 1980s, under the title Boom in the Moon.	Anye ake nam akpaturo elu ñgwọnda amọ Moderno Barba Azul (1946) ke Mexico; agwọ inam film ade akede ake etok akpogho, anụñ akeme ide ke agwo iki ikudo ke United States tutu esio ke VHS ke ufọọd ini 1980s, k'ilak iwuo mmile "Boom in the Moon".
55	In In the Good Old Summertime, Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together, where they bump into each other on the street.	Ke Good Old Summertime, Keaton k'idem amọ ake lad mme ñgwọnda mbon mile, Judy Garland mme Van Johnson usụñ ke akpa ikpeke mmile ammọ, itie ammọ eke ekudoke ke efaak.
56	Reaction was strong enough for a local Los Angeles station to offer Keaton his own show, also broadcast live, in 1950.	Naña mbon agwo eke enam ama aneke ichọñ inọ local Los Angeles station se enọ Keaton mmile amọ, mme agwo isin mmile ade ke afum idagha enama de ke 1950.
57	Buster Keaton's wife Eleanor also was seen in the series (notably as Juliet to Buster's Romeo in a little-theater vignette).	Ñko, ema ekud ññwuan Buster Keaton, Eleanor ke ikpeke ade (nte Juliet iwine Romeo Buster ke etok little-theater vignette ekudo).
58	Keaton's periodic television appearances during the 1950s and 1960s helped to revive interest in his silent films.	Keaton isi inam mkpọ ke akewenniche k'ini-k'ini idagha ke idagha ejo a 1950s ne 1960s ama añwam anye ideme ineme ke mme silent film amọ.
59	Well into his fifties, Keaton successfully recreated his old routines, including one stunt in which he propped one foot onto a table, then swung the second foot up next to it and held the awkward position in midair for a moment before crashing to the stage floor.	Sa aduk fifties amọ, Keaton ama akaɾa imaana inam ñkaan mkpọ se anye akese anam, adeghe anye anye akeseke abene ukod keed alod ke akpokolo, ama afụñọ ajọghọ ukod iba alod de anụñ ada ukanaukono ke ufọọd afum ke etok ini nte aliana adụk isọñ abodmmile asine de.
60	Keaton had prints of the features Three Ages, Sherlock Jr., Steamboat Bill, Jr., and College (missing one reel), and the shorts "The Boat" and "My Wife's Relations", which Keaton and Rohauer then transferred to Cellulose acetate film from deteriorating nitrate film stock.	Keaton ama anyie mme ñgwed ase eluak inam ake alọñọke, Three Ages, Sherlock Jr., Steamboat Bill Jr., College (a reel keed ama abọkọ ), the shorts "The Boat" mme "My Wife's Relations", adeghe Keaton ne Rohauer ema esio inọ aka Cellulose acetate film atoogho deteriorating nitrate film stock.
61	In a series of silent television commercials for Simon Pure Beer made in 1962 by Jim Mohr in Buffalo, New York, Keaton revisited some of the gags from his silent film days.	K'umiaañ a silent television commercials adeghe anọ Simon Pure Beer a Jim Mohr ake anama ke 1962 ke New York, Keaton ama amaana iki che itụñ mme gag ke mme usen a silent film amọ.
62	In December 1958, Keaton was a guest star in the episode "A Very Merry Christmas" of The Donna Reed Show on ABC.	Ke December 1958, Keaton ake de guest star ke episode ade "A Very Merry Christmas" ake Donna Reed Show ke ABC.
63	In 1960, he returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's The Adventures of Huckleberry Finn.	Ke 1960, anye ama atime inyọñ MGM nte akpaturo, adeghe ake awile nte lion tamer ki'imeghe mme Twain Mark "The Adventures of Huckleberry Finn" ke 1960.
64	He worked with comedian Ernie Kovacs on a television pilot tentatively titled "Medicine Man," shooting scenes for it on January 12, 1962—the day before Kovacs died in a car crash. "	Anye ama anam utom mme comedian Ernie Kovacs ke television pilot eke ekoodo "Medicine Man," ke etok ini, adeghe ama anaña mmile inọ ke January 12, 1962- nte Kovacs akpa elemusen ke unọmọ mmoto
65	He traveled from one end of Canada to the other on a motorized handcar, wearing his traditional pork pie hat and performing gags similar to those in films that he made 50 years before.	Anye ama ato iwuo a Canada umi inam isañ iki gwọ elem uko ke motorized handcar, asiine traditional pork pie hat anụñ asio mmile gag abiede ake mme film anye ake nama efia 50 ke elem.
66	Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring Franco Franchi and Ciccio Ingrassia.	Ñko ke 1965, anye ama aka isañ ke Italy ika iwile uwiọñutom ke Due Marines e un Generale, co-starring Franco Franchi mme Ciccio Ingrassia.
67	One of his most biting parodies is The Frozen North (1922), a satirical take on William S. Hart's Western melodramas, like Hell's Hinges (1916) and The Narrow Trail (1917).	Keed ke atu mme parody amọ s'iki jibe agwo ade, The Frozen North (1922), mkpọ ñchagha ke Western melodramas William S. Hart, nte Hinges (1916) ne The Narrow Trail (1917).
68	Audiences of the 1920s recognized the parody and thought the film hysterically funny.	Mbon nniche ake ejo a 1920 ema eliọñọ parody enụñ ekud film ade nte utọ s'inọ agwo imam.
69	The short also featured the impression of a performing monkey which was likely derived from a co-biller's act (called Peter the Great).	The Short ñko ama agwọd ilo ebọk asiogho mmile, adeghe ana nte ade ke eben eto act co-biller (ekoodo Peter the Great).
70	Note: Source misspells Keaton's frequent appellation as "Great Stoneface".	Liọñọ: Nte mmụk ato ikoodo anyiñ eseke esọp ekood Keaton na afọn, akood "Great Stoneface".
71	Keaton dated actress Dorothy Sebastian beginning in the 1920s and Kathleen Key in the early 1930s.	Keaton ama anyie ewaana ima mme actress Dorothy Sebastian tọọñọ ke ejo a 1920s, ñko mme Kathleen Key ke ntọọñọ ejo a 1930s.
72	He escaped a straitjacket with tricks learned from Harry Houdini.	Anye ama akama ñkala ake akpeebe ato Harry Houdini ibọkọ straitjacket.
73	She filed for divorce in 1935 after finding Keaton with Leah Clampitt Sewell, the wife of millionaire Barton Sewell, in a hotel in Santa Barbara.	Anye ama asin ñgwed ijem ugwọñọndọ ke 1935 sa akud Keaton mme Leah Clampitt Sewell, ññwuan millionaire Barton Sewell, ke hotel ke Santa Barbara.
74	He stopped drinking for five years.	Ama atulo ññwuọñ mkpọ ke efia itien
75	The marriage lasted until his death.	Ndọ ade ama achiọñọ tutu mkpa amọ.
76	Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home.	Sa eke efiik anye esin k'ufọkibọk ke mme akpaturo usen amọ, Keaton iki inyieghe nduọkalulu, ake anụñ asa-saña akana ubeed ade ituɾoke, ajem itime ññyọñ ufọk.
77	The screenplay, by Sidney Sheldon, who also directed the film, was loosely based on Keaton's life but contained many factual errors and merged his three wives into one character.	The Screenplay, Sidney Sheldon, ake alada usụñ ñko ke film, ake abaña ugwom Keaton, ade ama alọñọ nsụ anụñ alian ññwuan amọ naña ita ammọ ekaba ede agwo mmile keed.
78	Dedicated to bringing greater public attention to Keaton's life and work, the membership includes many individuals from the television and film industry: actors, producers, authors, artists, graphic novelists, musicians, and designers, as well as those who simply admire the magic of Buster Keaton.	K'isin idem nnam na ñgwak-ñgwak mbonagwo ekana anyen eche uwem ne utom a Keaton, mbon s'ilọñọ ke echid ede ñgwak-ñgwak mbonagwo s'ito television mme film industry adeghe: mme actor, producer, author, artist, graphic novelist, musician, and designer, ade mbon s'ima utiwemkpọ Buster Keaton.
79	Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures".	Hirschfeld ake wo ke achọñ agwo inyie eñwaña nto mme film star afaejo, ke mme comedian ke silent film nte Laurel ne Hardy mme Keaton "eke ebied mkpọ ñchak imam ammọ".
80	Film critic Roger Ebert stated, "The greatest of the silent clowns is Buster Keaton, not only because of what he did, but because of how he did it.	Film critic Roger Ebert ama atañ, "Anni ikpon ñkana ke atu mme clown ade Buster Keaton, ideghe ke ntak se anye ake nam, ade ke ntak naña anye ake nam.
81	Filmmaker Mel Brooks has credited Buster Keaton as a major influence, saying: "I owe (Buster) a lot on two levels: One for being such a great teacher for me as a filmmaker myself, and the other just as a human being watching this gifted person doing these amazing things.	Filmmaker, Mel Brooks atoolo Keaton nte akpan agwo s'ikama mmọñyọ, awo: "Ami mme kama (Buster) umiaañ mkpọ ke ndagha iba: keed ke anye ide akwa annikpeep inọ nnyien nte filmmaker k'idem ami, añko ade nte agwo inụñ ñche agwo ama anyie enọ nte anaña afud mfọọn mkpọ ami.
82	Actor and stunt performer Johnny Knoxville cites Keaton as an inspiration when coming up with ideas for Jackass projects.	Actor mme ataak agwo mmile Johnny Knoxville asiak Keaton nte agwo uñwana ke ama asio mme ifiọk amọ ibaña mme Jackass project.
83	Lewis was particularly moved by the fact that Eleanor said his eyes looked like Keaton's.	Ama abene lewis k'idem asaña-saña ke ntak Eleanor iwo ke anyen amọ abieed ake Keaton.
84	In 1964, he told an interviewer that in making "this particular pork pie", he "started with a good Stetson and cut it down", stiffening the brim with sugar water.	Ke 1964, anye ama alọkọ interviewer iwo k'inam "utọ a pork pie ami", anye "atọọñọ mme eti a Stetson anụñ akpeke anim k'isọñ", ama achiọñọ etiñanyọñ ade mme sugar water.
85	His paternal great-grandparents were Welsh.	Etebom mme ekam amọ ke elem ete eke edeññe Welsh.
86	Lloyd began collaborating with Roach who had formed his own studio in 1913.	Lloyd ama atọọñọ iliana mme Roach akema asiak studio amọ ke 1913 nnam mkpọ.
87	In 1919, she left Lloyd to pursue her dramatic aspirations.	Ke 1919, anye ama akpoñ Lloyd ijiɾe udọñ mmile amọ.
88	Reportedly, the more Lloyd watched Davis the more he liked her.	Naña eke etañ ade, ke naña Lloyd ake che Davis aka, nteɾe ke ake ka iso ama anye.
89	Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism.	Harold Lloyd ala adaka ikpọñ tragicomic personas, anụñ anam mkpọ nte afud ideen ne nchiọñọnda uko mme ilodanyen.
90	To create his new character Lloyd donned a pair of lensless horn-rimmed glasses but wore normal clothing; previously, he had worn a fake mustache and ill-fitting clothes as the Chaplinesque "Lonesome Luke". "	K'isiak ufa a character, Lloyd ama anam lensless horn-rimmed glasses iba esañake keed, ade ake sine ataak afọn, adeghe ke akpa, ake sine afọn a mustache ali ideghe ataak anye inụñọ ilod anye nte Chaplinesque "Lonesome Luke".
91	They were natural and the romance could be believable."	Ammọ eke ede ataak anye, ima ade ama anụñ ide se enim akpanikọ.
92	On Sunday, August 24, 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he picked up what he thought was a prop bomb and lit it with a cigarette.	Ke Sunday, August 24, 1919, k'ini adagha anọ promotional still photograph ke Los Angeles Witzel Photography Studio, anye ama abene se ake kele ke de prop bomb anụñ asụm ikañ ato cigarette.
93	Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye.	Lloyd ake ba ke mbubeghe ndomo ikañ ke cigarette nto nsụñ ake bomb idagha abuboke atob, ñko ama ata iso mme echid amọ iliọk-iliọk anụñ anọ anye unan ke anyen.
94	Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films.	Lloyd mme Roach ema esuana ke 1924, Lloyd ake anụñ ali ide ndakidem a producer anọ mme film amọ.
95	All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s.	Afud a film ami ama aneke igwọñọ usiene anụñ asine udụk, Lloyd ñko ala ajoko ikaba ide agwo mmile a film se ekpe ekana ke ejo 1920s.
96	However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s.	Naña ade-de, go-getting screen character amọ iki ibaagha mme Great Depression movie audiences ake ejo a 1930s.
97	On March 23, 1937, Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints.	Ke March 23, 1937, Lloyd ama anyam isọñ a studio amọ, Harold Lloyd Motion Picture Company anọ The Church of Jesus Christ of Latter-day Saints.
98	He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes.	Anye ama atime ika ulian a starring appearance ke The Sin of Harold Diddlebock, mbọyọ akeli ifọnọ mme isañ utom Lloyd, a Preston Sturges ake alada usụñ, Howard Hughes anọ akpogho.
99	Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, "the last two-thirds of it he wrote in a week or less".	Lloyd ne Sturges eke enyieñe akikele nsio-nsio ebaña material ade enụñ eñwana mbañ-mbañ k'ini a shoot; mbubeghe Lloyd akeneke de k'idagha Sturges ake awiada mkpọ nte afiọñ ita me inaañ ke script akpa ajọghọ ita ke film ade, "akpaturo ajọghọ mme two-third mkpọ ade ake akama ulua keed me asibe akan ade agwed.

0

Lillian Diana Gish (October 14, 1893 – February 27, 1993) was an American actress, director and screenwriter.

Lillian Diana Gish (October 14, 1893 – February 27, 1993) ake de American actress, aladusụñ mme anni s'igwed mkpọ ke screen..

1

Gish was a prominent film star from 1912 into the 1920s, being particularly associated with the films of director D. W. Griffith.

Gish ake de agwọ-etop agwo ke film tọọñọ ke 1912 ben dụk 1920s, adeghe ake aneke nyie ewaana ne mme film aladusụñ, D. W. Griffith.

2

She also did considerable television work from the early 1950s into the 1980s, and closed her career playing opposite Bette Davis in the 1987 film The Whales of August.

Ñko, anye ama anụñ inam utom akemenniche ke eti ndagha tọọñọ ke ntọọñọ efia 1950s ben dụk 1980s, anụñ atuɾo isañ utom amọ k'ida ñchek'iso mmile mme Bette Davis ke film ake efia 1987 "The Whales of August".

3

The first several generations of Gishes were Dunkard ministers.

Akpa nsio-nsio ubon a Gishes eke edeñe mme Dunkard minister.

4

Their mother opened the Majestic Candy Kitchen, and the girls helped sell popcorn and candy to patrons of the old Majestic Theater, located next door.

Eka ammọ ama abeele Majestic Candy Kitchen, ntok-ibaan ade enụñ eñwam enyam popcorn mme candy enọ mme patron ake akaan a old Majestic Theater, adeghe usụñ anni ida mkpeɾe.

5

The seventeen-year-old Lillian traveled to Shawnee, Oklahoma, where James's brother Alfred Grant Gish and his wife, Maude, lived.

Lillian adeghe agwo efia efud mme iba ake nam isañ aka Shawnee ke Oklahoma, itie ejaka agwodeen James, Alfred Grant Gish mme ññwuan amọ, Maude eke elụñọke

6

Her father died in Norman, Oklahoma, in 1912, but she had returned to Ohio a few months before this.

Ete amọ ake akpa ke Norman ke Oklahoma, ke efia 1912, ade anye ama atime inyọñ Ohio ke mkpọ nte afiọñ ifañ mbemiso idagha ini ami

7

When Lillian and Dorothy were old enough they joined the theatre, often traveling separately in different productions.

Sa Lillian mme Dorothy eke ekpoon ekem, ammọ ema edụk theatre, ese enam isañ nsio-nsio eka nsio-nsio a production

8

Gish continued to perform on the stage, and in 1913, during a run of A Good Little Devil, she collapsed from anemia.

Gish ama aka iso is'isio mmile ke abodmmile, ake anụñ ade efia 1913, idagha ini A Good Little Devil, anye ama aluọ ito anemia.

9

Her performance in these frigid conditions gave her lasting nerve damage in several fingers.

Mmile amọ k'ini nleleñ ami ama awiad asip amọ mkpeen-mkpeene ke mme nsio-nsio nnuọn

10

He utilized her expressive talents to the fullest, developing her into a suffering yet strong heroine.

Anye ama aneke ikama enọ ñgwọdilo amọ ajọghọ-jọghọ, adeghe ama aben anye isin ku'fen, ade ade akpachọñ a heroin

11

She directed her sister Dorothy in one film, Remodeling Her Husband (1920), when D. W. Griffith took his unit on location.

Anye ama alad ejaka amọ agwoññwuan usụñ ke film keed, ade ake akpụghọ ebe amọ (1920), idagha D. W. Griffith ake abene unit amọ ke itie.

12

She turned down the money, requesting a more modest wage and a percentage so that the studio could use the funds to increase the quality of her films — hiring the best actors, screenwriters, etc.

Anye iki ibọọghọ akpogho ade, ake ajem ulua s'ifọn mme percentage na ato de studio ekama akpogho ade ebene ndagha film ammọ --k'iben mme actor ne mme screenwriter s'ifọn ñkana, etc.

13

Many of the silent era's leading ladies, such as Gish and Pickford, had been wholesome and innocent, but by the early 1930s (after the full adoption of sound and before the Motion Picture Production Code was enforced) these roles were perceived as outdated.

Ñgwak-ñgwak ibaan s'iki idak iso ke silent era, nte Gish mme Pickford, eke edeñe mbon nti ilo ne mbon s'ili iliọñọke ibak, ade ke ntọọñọ a 1930s (sa eke eben ujo ajọghọ-jọghọ, ñko nte enụk Motion Picture Production) eke ekele ke mme alinam ami adeñe ñkaan.

14

Louis Mayer wanted to stage a scandal ("knock her off her pedestal") to garner public sympathy for Gish, but Lillian didn't want to act both on screen and off, and returned to her first love, the theater.

Louis Mayer ake jem ifiọ-fiọk ñwiad anyiñ amọ ("nuk anye sio ke ndagha amọ") na Gish akama ade anyie mbọm afud agwo, ade Lilian iki ijeme inam ke screen mme ke ataak akpọọbod, ama atime akeene akpa ima amọ, adeghe theater

15

Returning to movies, Gish was nominated for the Academy Award for Best Supporting Actress in 1946 for Duel in the Sun.

K'itime nnyọñ mmile, ema esio Gish se enọ Academy Award for Best Supporting Actress ke efia 1946 a Duel ke the Sun.

16

She was considered for various roles in Gone with the Wind ranging from Ellen O'Hara, Scarlett's mother (which went to Barbara O'Neil), to prostitute Belle Watling (which went to Ona Munson).

Ema ekele inọ anye nsio-nsio iso utom ke Gone mme Wind tọọñọ ke Ellen O'Hara, ekaScarlett (ake akeeneke Barbara O'Neil), aka ina mme Belle Watling (ake akeneke Ona Munson).

17

She appeared as Dowager Empress Maria Feodorovna in the short-lived 1965 Broadway musical Anya.

Anye ake da nte Dowager Empress Maria Feodorovna ke Broadway musical 'Anya' ke 1965 akeli ikpeeneke

18

She was interviewed in the television documentary series Hollywood: A Celebration of the American Silent Film (1980).

Eke ewip anye mme mmime ke television documentary series Hollywood adeghe "A Celebration of the American Silent Film (1980)."

19

She has a star on the Hollywood Walk of Fame at 1720 Vine Street.

Anye anyie ntantaafiọñ ke Hollywood Walk of Fame ke 1720 Vine Street.

20

At the Cannes festival, Gish won a 10-minute standing ovation from the audience.

Ke Cannes festival, Gish ama akan ke mbon nniche ida-da nnọọ anye ukpono ke mminid 10

21

The episode "Marry for Murder" was broadcast on September 9, 1943.

Eke esian ikpeke mmile "Marry for Murder" ke September 9, efia 1943.

22

She was awarded an Academy Honorary Award in 1971, and in 1984 she received an AFI Life Achievement Award.

Ema enọ anye Academy Honorary Award ke efia 1971, anụñ ade ke 1984, anye abọ AFI Life Achievement Award.

23

The University awarded Gish the honorary degree of Doctor of Performing Arts the next day.

Ufọkñgwed ntaifiọk ade ema enọ Gish honorary degree of Doctor ake Performing Arts elem usen.

24

Following Gish's 1993 death, the University raised funds to enlarge its gallery to display memorabilia received from Gish's estate.

Akeene mkpa Gish ke 1993, ufọkñgwed ntaifiọk ade ema etip akpogho inam na itie nniche ammọ akpon se elian memorabilia eke ebọghọ etọ estate Gish.

25

The association between herself and D. W. Griffith was so close that some suspected a romantic connection, an issue never acknowledged by Gish, although several of their associates were certain they were at least briefly involved.

Ewaana amọ mme D. W. Griffith ama aneke ikpede tutu anye de s'itụñ agwo ekele ke ammọ enyie ewaana ima, mkpọ a Gish akeli iliọñọke ibaña, akpesụk ade adeghe nsio-nsio mbon ammọ ema enim ke amọ ema esụk inyie ewaana ima etok-etok.

26

In the 1920s, Gish's association with Duell became something of a tabloid scandal when he sued her and made the details of their relationship public.

Ke 1920s, Ewaana Gish mme Duell ama akaba ade ekamba mkpọ nnọk idagha ake abene anye aka esop anụñ anam na eliọñọ naña ewaana ammọ ake aba ke efelife.

27

George Jean Nathan praised Gish's acting glowingly—comparing her to Eleonora Duse.

George Jean Nathan ama atoolo Gish ujai-ujai ke naña anye asio mmile -- aben anye alomo mme Eleonora Duse.

28

During the period of political turmoil in the US that lasted from the outbreak of World War II in Europe until the attack on Pearl Harbor, she maintained an outspoken non-interventionist stance.

K'idagha ini mfana ukaala ade ke US, ake akpeeneke tọọñọ ke ntọọñọ a World War II ke Europe gwọ ini eke ejiɾeke Pearl Harbor, anye akesụk achọ-chọñ inua anụñ ada ke ndagha amọ.

29

Joseph Frank Keaton (October 4, 1895 – February 1, 1966), known professionally as Buster Keaton, was an American actor, comedian, film director, producer, screenwriter, and stunt performer.

Joseph Frank Keaton (October 4, 1895 – February 1, 1966), eliọñọke ke ndagha utom nte Buster Keaton, ake de American actor, comedian, film director, producer, screenwriter, mme stunt performer.

30

His career declined when he signed with Metro-Goldwyn-Mayer and lost his artistic independence.

Utom amọ ama aluọ sa anye ake asin ubọk ke ñgwed mme Metro-Goldwyn-Mayer, ali inyieghe aba ukaalaidem ke mmile.

31

Many of Keaton's films from the 1920s remain highly regarded, such as Sherlock Jr. (1924), The General (1926), and The Cameraman (1928).

Ñgwak-ñgwak a film a Keaton tọọñọ ke ejo 1920s asụk anye-nyie ukwụ, nte Sherlock Jr. (1924), The General (1926), mme The Cameraman (1928).

32

His father was Joseph Hallie "Joe" Keaton, who owned a traveling show with Harry Houdini called the Mohawk Indian Medicine Company, or the Keaton Houdini Medicine Show Company, which performed on stage and sold patent medicine on the side.

Ete amọ ake de Joseph Hallie "Joe" Keaton, ake anyieghe traveling show mme Harry Houdini eke ekoodo Mohawk Indian Medicine Company, ama ideghe nteɾe ekood the Keaton Houdini Medicine Show Company, adeghe ama asio mmile ke abodmmile anụñ anyam ibọk ewaaka mkpọ eli iliọñọke alian

33

In Keaton's retelling, he was six months old when the incident occurred, and Harry Houdini gave him the nickname.

Ke Keaton imaana nnọọ mmụk, anye ake de afiọñ itekeed naña mkpọ ade ake atibeke, ñko Harry Houdini ake nọọ anye nickname ade.

34

The act was mainly a comedy sketch.

Alinam ade akeneke de comedy sketch

35

A suitcase handle was sewn into Keaton's clothing to aid with the constant tossing.

Ema ekum ubọk a suitcase isin ke mkpọ afọn Keaton na añwan k'ili fụñọke aba.

36

However, Buster was always able to show the authorities that he had no bruises or broken bones.

Naña ade-de, Buster ama akaɾa ilọkọ mme ada iwuo k'iki inyieghe unan kpañ iki iwuọñọ akpọ

37

Several times I'd have been killed if I hadn't been able to land like a cat.

Akañ ñgwak-ñgwak, ekpa eke iñgwod akpede ke ñkisi ikalake nluọ nte abọọsi.

38

Noticing that this caused the audience to laugh less, he adopted his famous deadpan expression when performing.

Ake kud ke ami anam na mbon nniche eli inekeke ichak imam, anye ali ikama iso nteɾe-nteɾe, ichiaka-chiak inụñọ ibọ-ibọp iso idagha asiogho mmile.

39

Despite tangles with the law and a disastrous tour of music halls in the United Kingdom, Keaton was a rising star in the theater.

Akpesụk ade ñkọbọ mme mbed ne nnam isañ ñche mme ufọk ikwọ ke United Kingdom akeli ifọnọ, Keaton ake de ñgwọnda agwo ke theater ade.

40

In February 1917, he met Roscoe "Fatty" Arbuckle at the Talmadge Studios in New York City, where Arbuckle was under contract to Joseph M. Schenck.

Ke afiọñ iba ke efia 1927, anye ama akudo mme Roscoe "Fatty" Arbuckle ke Talmadge Studios ke New York City, itie Arbuckle ake anyieghe uwiọñ utom k'ilak Joseph M. Schenck.

41

Buster was such a natural in his first film, The Butcher Boy, he was hired on the spot.

Buster ake sio mmile nte mkpọ isineke ke akpa a film ammọ, "The Butcher Boy", ema eben anye idaghade-idaghade k'itie ade.

42

Keaton later claimed that he was soon Arbuckle's second director and his entire gag department.

Keaton ama ali iwo k'imọ isọbọ ide ajọghọ aladusụñ iba inọ Arbuckle mme afud mbon s'inam utom ke efaak amọ.

43

It was based on a successful play, The New Henrietta, which had already been filmed once, under the title The Lamb, with Douglas Fairbanks playing the lead.

Ake to ke ntak mmile ake ama agwọñọ usiene, New Henrietta, eke ema esio-sio akañ keed, k'ilak iwuo "The Lamb", adeghe Douglas Fairbanks ake ada iso.

44

He made a series of two-reel comedies, including One Week (1920), The Playhouse (1921), Cops (1922), and The Electric House (1922).

Anye ama anam ulim a two-reel comedies, adeghe One Week (1920), The Playhouse (1921), Cops (1922), mme The Electric House (1922) ema elọñọ.

45

Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen.

Ke alad usụñ Comedy Leo McCarey iteye mme usen ñkaña eke eseke enam mme slaptstick comedy, anye ama awo "Afud ajid ima iñwana ukeme ijip gagmen mbon mfen.

46

During the railroad water-tank scene in Sherlock Jr., Keaton broke his neck when a torrent of water fell on him from a water tower, but he did not realize it until years afterward.

Ke idagha ini a railroad water-tank ke Sherlock Jr., Keaton ama awuụñ itọñ sa ilaad-ilaad ññwuọñ ake to water tower ali iduọkọ anye, ade anye iki iliọñọke tutu mme efia ake fụlọ

47

Keaton's character emerged unscathed, due to a single open window.

Elu Keaton iki ikpụghọke, ke ntak awindo keed ake abeeleke.

48

Aside from Steamboat Bill, Jr. (1928), Keaton's most enduring feature-length films include Our Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), and The General (1926).

Ke abeeghe Steamboat Bill, mme film a Keaton s'inyiọñ ijem ime ñkana adeñe Hospitality (1923), The Navigator (1924), Sherlock Jr. (1924), Seven Chances (1925), The Cameraman (1928), mme The General (1926).

49

Though it would come to be regarded as Keaton's greatest achievement, the film received mixed reviews at the time.

Akpesụk ade adeghe ela eli ilad ade nte mkpọ akpono akana k'uwem a Keaton, ema etañ eti mme iliọk ikọ ibaña film ade k'idagha ini ade.

50

His distributor, United Artists, insisted on a production manager who monitored expenses and interfered with certain story elements.

Distributor ne mme United Artist amọ ema ejiile ke production manager ake acheghe mkpọ abaña akpogho se ewiad enụñ esin iso k'usụghọ naña mme mmụk akaya.

51

The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after.

Mbon s'isio mmile eke ese emụ-mụụm ujoikọ abio mfen egwede elọñ k'iwuo ke etok idagha, enụñ esio mmile ade ataak idaghade.

52

The director was usually Jules White, whose emphasis on slapstick and farce made most of these films resemble White's famous Three Stooges shorts.

Aladusụñ akese ama ide Jules White, ineme amọ ke slapstick mme farce ake anama na umiañ mme film ami ebied agwọ-etop a Three Stooges shorts mbakala.

53

However, director White's insistence on blunt, violent gags resulted in the Columbia shorts being the least inventive comedies he made.

Naña ade-de, White ijiile ke mme blunt violent gag ake nam na mme Columbia Short edeñe mme comedy se mkpọ ali inekeke isine.

54

He made his last starring feature El Moderno Barba Azul (1946) in Mexico; the film was a low-budget production, and it may not have been seen in the United States until its release on VHS in the 1980s, under the title Boom in the Moon.

Anye ake nam akpaturo elu ñgwọnda amọ Moderno Barba Azul (1946) ke Mexico; agwọ inam film ade akede ake etok akpogho, anụñ akeme ide ke agwo iki ikudo ke United States tutu esio ke VHS ke ufọọd ini 1980s, k'ilak iwuo mmile "Boom in the Moon".

55

In In the Good Old Summertime, Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together, where they bump into each other on the street.

Ke Good Old Summertime, Keaton k'idem amọ ake lad mme ñgwọnda mbon mile, Judy Garland mme Van Johnson usụñ ke akpa ikpeke mmile ammọ, itie ammọ eke ekudoke ke efaak.

56

Reaction was strong enough for a local Los Angeles station to offer Keaton his own show, also broadcast live, in 1950.

Naña mbon agwo eke enam ama aneke ichọñ inọ local Los Angeles station se enọ Keaton mmile amọ, mme agwo isin mmile ade ke afum idagha enama de ke 1950.

57

Buster Keaton's wife Eleanor also was seen in the series (notably as Juliet to Buster's Romeo in a little-theater vignette).

Ñko, ema ekud ññwuan Buster Keaton, Eleanor ke ikpeke ade (nte Juliet iwine Romeo Buster ke etok little-theater vignette ekudo).

58

Keaton's periodic television appearances during the 1950s and 1960s helped to revive interest in his silent films.

Keaton isi inam mkpọ ke akewenniche k'ini-k'ini idagha ke idagha ejo a 1950s ne 1960s ama añwam anye ideme ineme ke mme silent film amọ.

59

Well into his fifties, Keaton successfully recreated his old routines, including one stunt in which he propped one foot onto a table, then swung the second foot up next to it and held the awkward position in midair for a moment before crashing to the stage floor.

Sa aduk fifties amọ, Keaton ama akaɾa imaana inam ñkaan mkpọ se anye akese anam, adeghe anye anye akeseke abene ukod keed alod ke akpokolo, ama afụñọ ajọghọ ukod iba alod de anụñ ada ukanaukono ke ufọọd afum ke etok ini nte aliana adụk isọñ abodmmile asine de.

60

Keaton had prints of the features Three Ages, Sherlock Jr., Steamboat Bill, Jr., and College (missing one reel), and the shorts "The Boat" and "My Wife's Relations", which Keaton and Rohauer then transferred to Cellulose acetate film from deteriorating nitrate film stock.

Keaton ama anyie mme ñgwed ase eluak inam ake alọñọke, Three Ages, Sherlock Jr., Steamboat Bill Jr., College (a reel keed ama abọkọ ), the shorts "The Boat" mme "My Wife's Relations", adeghe Keaton ne Rohauer ema esio inọ aka Cellulose acetate film atoogho deteriorating nitrate film stock.

61

In a series of silent television commercials for Simon Pure Beer made in 1962 by Jim Mohr in Buffalo, New York, Keaton revisited some of the gags from his silent film days.

K'umiaañ a silent television commercials adeghe anọ Simon Pure Beer a Jim Mohr ake anama ke 1962 ke New York, Keaton ama amaana iki che itụñ mme gag ke mme usen a silent film amọ.

62

In December 1958, Keaton was a guest star in the episode "A Very Merry Christmas" of The Donna Reed Show on ABC.

Ke December 1958, Keaton ake de guest star ke episode ade "A Very Merry Christmas" ake Donna Reed Show ke ABC.

63

In 1960, he returned to MGM for the final time, playing a lion tamer in a 1960 adaptation of Mark Twain's The Adventures of Huckleberry Finn.

Ke 1960, anye ama atime inyọñ MGM nte akpaturo, adeghe ake awile nte lion tamer ki'imeghe mme Twain Mark "The Adventures of Huckleberry Finn" ke 1960.

64

He worked with comedian Ernie Kovacs on a television pilot tentatively titled "Medicine Man," shooting scenes for it on January 12, 1962—the day before Kovacs died in a car crash. "

Anye ama anam utom mme comedian Ernie Kovacs ke television pilot eke ekoodo "Medicine Man," ke etok ini, adeghe ama anaña mmile inọ ke January 12, 1962- nte Kovacs akpa elemusen ke unọmọ mmoto

65

He traveled from one end of Canada to the other on a motorized handcar, wearing his traditional pork pie hat and performing gags similar to those in films that he made 50 years before.

Anye ama ato iwuo a Canada umi inam isañ iki gwọ elem uko ke motorized handcar, asiine traditional pork pie hat anụñ asio mmile gag abiede ake mme film anye ake nama efia 50 ke elem.

66

Also in 1965, he traveled to Italy to play a role in Due Marines e un Generale, co-starring Franco Franchi and Ciccio Ingrassia.

Ñko ke 1965, anye ama aka isañ ke Italy ika iwile uwiọñutom ke Due Marines e un Generale, co-starring Franco Franchi mme Ciccio Ingrassia.

67

One of his most biting parodies is The Frozen North (1922), a satirical take on William S. Hart's Western melodramas, like Hell's Hinges (1916) and The Narrow Trail (1917).

Keed ke atu mme parody amọ s'iki jibe agwo ade, The Frozen North (1922), mkpọ ñchagha ke Western melodramas William S. Hart, nte Hinges (1916) ne The Narrow Trail (1917).

68

Audiences of the 1920s recognized the parody and thought the film hysterically funny.

Mbon nniche ake ejo a 1920 ema eliọñọ parody enụñ ekud film ade nte utọ s'inọ agwo imam.

69

The short also featured the impression of a performing monkey which was likely derived from a co-biller's act (called Peter the Great).

The Short ñko ama agwọd ilo ebọk asiogho mmile, adeghe ana nte ade ke eben eto act co-biller (ekoodo Peter the Great).

70

Note: Source misspells Keaton's frequent appellation as "Great Stoneface".

Liọñọ: Nte mmụk ato ikoodo anyiñ eseke esọp ekood Keaton na afọn, akood "Great Stoneface".

71

Keaton dated actress Dorothy Sebastian beginning in the 1920s and Kathleen Key in the early 1930s.

Keaton ama anyie ewaana ima mme actress Dorothy Sebastian tọọñọ ke ejo a 1920s, ñko mme Kathleen Key ke ntọọñọ ejo a 1930s.

72

He escaped a straitjacket with tricks learned from Harry Houdini.

Anye ama akama ñkala ake akpeebe ato Harry Houdini ibọkọ straitjacket.

73

She filed for divorce in 1935 after finding Keaton with Leah Clampitt Sewell, the wife of millionaire Barton Sewell, in a hotel in Santa Barbara.

Anye ama asin ñgwed ijem ugwọñọndọ ke 1935 sa akud Keaton mme Leah Clampitt Sewell, ññwuan millionaire Barton Sewell, ke hotel ke Santa Barbara.

74

He stopped drinking for five years.

Ama atulo ññwuọñ mkpọ ke efia itien

75

The marriage lasted until his death.

Ndọ ade ama achiọñọ tutu mkpa amọ.

76

Confined to a hospital during his final days, Keaton was restless and paced the room endlessly, desiring to return home.

Sa eke efiik anye esin k'ufọkibọk ke mme akpaturo usen amọ, Keaton iki inyieghe nduọkalulu, ake anụñ asa-saña akana ubeed ade ituɾoke, ajem itime ññyọñ ufọk.

77

The screenplay, by Sidney Sheldon, who also directed the film, was loosely based on Keaton's life but contained many factual errors and merged his three wives into one character.

The Screenplay, Sidney Sheldon, ake alada usụñ ñko ke film, ake abaña ugwom Keaton, ade ama alọñọ nsụ anụñ alian ññwuan amọ naña ita ammọ ekaba ede agwo mmile keed.

78

Dedicated to bringing greater public attention to Keaton's life and work, the membership includes many individuals from the television and film industry: actors, producers, authors, artists, graphic novelists, musicians, and designers, as well as those who simply admire the magic of Buster Keaton.

K'isin idem nnam na ñgwak-ñgwak mbonagwo ekana anyen eche uwem ne utom a Keaton, mbon s'ilọñọ ke echid ede ñgwak-ñgwak mbonagwo s'ito television mme film industry adeghe: mme actor, producer, author, artist, graphic novelist, musician, and designer, ade mbon s'ima utiwemkpọ Buster Keaton.

79

Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures".

Hirschfeld ake wo ke achọñ agwo inyie eñwaña nto mme film star afaejo, ke mme comedian ke silent film nte Laurel ne Hardy mme Keaton "eke ebied mkpọ ñchak imam ammọ".

80

Film critic Roger Ebert stated, "The greatest of the silent clowns is Buster Keaton, not only because of what he did, but because of how he did it.

Film critic Roger Ebert ama atañ, "Anni ikpon ñkana ke atu mme clown ade Buster Keaton, ideghe ke ntak se anye ake nam, ade ke ntak naña anye ake nam.

81

Filmmaker Mel Brooks has credited Buster Keaton as a major influence, saying: "I owe (Buster) a lot on two levels: One for being such a great teacher for me as a filmmaker myself, and the other just as a human being watching this gifted person doing these amazing things.

Filmmaker, Mel Brooks atoolo Keaton nte akpan agwo s'ikama mmọñyọ, awo: "Ami mme kama (Buster) umiaañ mkpọ ke ndagha iba: keed ke anye ide akwa annikpeep inọ nnyien nte filmmaker k'idem ami, añko ade nte agwo inụñ ñche agwo ama anyie enọ nte anaña afud mfọọn mkpọ ami.

82

Actor and stunt performer Johnny Knoxville cites Keaton as an inspiration when coming up with ideas for Jackass projects.

Actor mme ataak agwo mmile Johnny Knoxville asiak Keaton nte agwo uñwana ke ama asio mme ifiọk amọ ibaña mme Jackass project.

83

Lewis was particularly moved by the fact that Eleanor said his eyes looked like Keaton's.

Ama abene lewis k'idem asaña-saña ke ntak Eleanor iwo ke anyen amọ abieed ake Keaton.

84

In 1964, he told an interviewer that in making "this particular pork pie", he "started with a good Stetson and cut it down", stiffening the brim with sugar water.

Ke 1964, anye ama alọkọ interviewer iwo k'inam "utọ a pork pie ami", anye "atọọñọ mme eti a Stetson anụñ akpeke anim k'isọñ", ama achiọñọ etiñanyọñ ade mme sugar water.

85

His paternal great-grandparents were Welsh.

Etebom mme ekam amọ ke elem ete eke edeññe Welsh.

86

Lloyd began collaborating with Roach who had formed his own studio in 1913.

Lloyd ama atọọñọ iliana mme Roach akema asiak studio amọ ke 1913 nnam mkpọ.

87

In 1919, she left Lloyd to pursue her dramatic aspirations.

Ke 1919, anye ama akpoñ Lloyd ijiɾe udọñ mmile amọ.

88

Reportedly, the more Lloyd watched Davis the more he liked her.

Naña eke etañ ade, ke naña Lloyd ake che Davis aka, nteɾe ke ake ka iso ama anye.

89

Harold Lloyd would move away from tragicomic personas, and portray an everyman with unwavering confidence and optimism.

Harold Lloyd ala adaka ikpọñ tragicomic personas, anụñ anam mkpọ nte afud ideen ne nchiọñọnda uko mme ilodanyen.

90

To create his new character Lloyd donned a pair of lensless horn-rimmed glasses but wore normal clothing; previously, he had worn a fake mustache and ill-fitting clothes as the Chaplinesque "Lonesome Luke". "

K'isiak ufa a character, Lloyd ama anam lensless horn-rimmed glasses iba esañake keed, ade ake sine ataak afọn, adeghe ke akpa, ake sine afọn a mustache ali ideghe ataak anye inụñọ ilod anye nte Chaplinesque "Lonesome Luke".

91

They were natural and the romance could be believable."

Ammọ eke ede ataak anye, ima ade ama anụñ ide se enim akpanikọ.

92

On Sunday, August 24, 1919, while posing for some promotional still photographs in the Los Angeles Witzel Photography Studio, he picked up what he thought was a prop bomb and lit it with a cigarette.

Ke Sunday, August 24, 1919, k'ini adagha anọ promotional still photograph ke Los Angeles Witzel Photography Studio, anye ama abene se ake kele ke de prop bomb anụñ asụm ikañ ato cigarette.

93

Lloyd was in the act of lighting a cigarette from the fuse of the bomb when it exploded, also badly burning his face and chest and injuring his eye.

Lloyd ake ba ke mbubeghe ndomo ikañ ke cigarette nto nsụñ ake bomb idagha abuboke atob, ñko ama ata iso mme echid amọ iliọk-iliọk anụñ anọ anye unan ke anyen.

94

Lloyd and Roach parted ways in 1924, and Lloyd became the independent producer of his own films.

Lloyd mme Roach ema esuana ke 1924, Lloyd ake anụñ ali ide ndakidem a producer anọ mme film amọ.

95

All of these films were enormously successful and profitable, and Lloyd would eventually become the highest paid film performer of the 1920s.

Afud a film ami ama aneke igwọñọ usiene anụñ asine udụk, Lloyd ñko ala ajoko ikaba ide agwo mmile a film se ekpe ekana ke ejo 1920s.

96

However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s.

Naña ade-de, go-getting screen character amọ iki ibaagha mme Great Depression movie audiences ake ejo a 1930s.

97

On March 23, 1937, Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to The Church of Jesus Christ of Latter-day Saints.

Ke March 23, 1937, Lloyd ama anyam isọñ a studio amọ, Harold Lloyd Motion Picture Company anọ The Church of Jesus Christ of Latter-day Saints.

98

He returned for an additional starring appearance in The Sin of Harold Diddlebock, an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes.

Anye ama atime ika ulian a starring appearance ke The Sin of Harold Diddlebock, mbọyọ akeli ifọnọ mme isañ utom Lloyd, a Preston Sturges ake alada usụñ, Howard Hughes anọ akpogho.

99

Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, "the last two-thirds of it he wrote in a week or less".

Lloyd ne Sturges eke enyieñe akikele nsio-nsio ebaña material ade enụñ eñwana mbañ-mbañ k'ini a shoot; mbubeghe Lloyd akeneke de k'idagha Sturges ake awiada mkpọ nte afiọñ ita me inaañ ke script akpa ajọghọ ita ke film ade, "akpaturo ajọghọ mme two-third mkpọ ade ake akama ulua keed me asibe akan ade agwed.

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Collection including howard-nlp/ibom-mt

IBOM-NLP