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

ⵍⵉⵍⵍⵉⴰⵏ ⴻⵉⴰⵏⴰ ⵗⵉⵙⵂ (14 Oⵛⵜoⴱⵔⴻ 1893 – 27 ⴼⴻvⵔⵉⴻⵔ 1993) ⵜⴰⵈⴰⵍ ⵜⴻⵎⴰⴶⵉⵜ, ⵜⴰ ⵜⴰⴶⴰⵜ ⵜⵉⴷⴰⵓⴻⵏ ⴰⵎⴻⵔⵉⵛⴰⵉⵏⴻ

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

ⵗⵉⵙⵂ ⴻⵈⴰⵍ ⴻⵎⴰⵙⴻⵂⵉ ⴷⴰⵗ ⵛⵉⵏⴻⵎⴰ ⵓⴰⵏ 1912 ⴷⴰⵗ ⴻⵍⴰⵏ ⵓⵉ 1920, ⴰⵏⵜⴰⴷⴰⵗ ⴻⵔⵜⴰⵉ ⴰⴷ ⵙⵉⵍⵎⴰⵜⴰⵏ ⵜⴰⵏ ⵓⴰ ⴰⵜⴰⴶⴰⵏ ⴻ. W. ⵗⵔⵉⴼⴼⵉⵜⵂ

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.

ⵏⵜⴰⴷⴰⵗ ⵜⴰⵛⴰⵍ ⴰⵋⴻⵏ ⵉⴻ ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵙⴰⵏⵜⵓ ⴰⵏ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1950 ⵂⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔ ⴰⵓⵉⵜⵉⴰⵏ ⵓⵉ 1980, ⴰⴷ ⵜⴰⵙⵎⴰⴷⴰ ⴰⵛⴰⵆⵉⵍ ⴰⵏⴻⵙ ⴷⴰⵗ ⵉⴶⵉⵜⴰⵏ ⴰⵏ ⵜⴰⵙⴰⴶⴰ ⵜⴰⵏ ⴱⴻⵜⵜⴻ ⴻⴰⴱⵉⵙ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⵟⵂⴻ ⵓⵂⴰⵍⴻⵙ ⵓⴼ ⴰⵓⵙⵜ ⵚⴰⵏ 1987

The first several generations of Gishes were Dunkard ministers.

ⵉⴷⴰⵔⵣⴰⵏⴻⵏ ⴰⴷⵉⵏⴰⵜ ⴰⵏ ⵗⵉⵙⵂ ⴰⵈⴰⵍⴰⵏ ⴰⵏⴰⵎⵓⴾⴰⵍⴰⵏ ⴻⵓⵏⴾⴻⵔⵜⴰⵏ

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.

ⵎⴰⵜⵉⵙⴰⵏ ⵜⵓⵔⴰ ⵎⴰⵋⴻⵙⵜⵉⵛ ⵛⴰⵏⴷⵉ ⵆⵉⵜⵛⵂⴻⵏ, ⴰⴷ ⵜⴰⵔⴰⵜⴻⵏⴻⵙ ⴰⵍⵉⵍⵏⴰⵜⴰⵙ ⵙⴰⵙⴰⵛ ⴰⵏ ⴱⵓⴱ-ⵛⵓⵔⵏ ⴰⵏ ⴱⵓⴱⵓⵏ ⵉⴻ ⵎⴰⵛⴰⵏⵛⴰⵏ ⵓⵉ ⵔⵓⵏⴻⵏ ⴰⵏ ⵎⴰⵋⴻⵙⵜⵉⵛ ⵟⵂⴻⴰⵜⴻⵔ, ⵉⵍⴰⵏ ⴷⴰⵗ ⴷⴻⴷⴻⵙ.

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

ⵍⵉⵍⵍⵉⴰⵏ, ⵉⵍⴰⵏ ⵎⴰⵔⴰⵓ ⴻⵍⴰⵏ ⴰⴷ ⴷⵉⵉⴰⵏ, ⵉⴾⴰ ⵙⵂⴰⵓⵏⴻⴻ, ⴷⴰⵗ Oⴾⵍⴰⵂⵓⵎⴰ, ⴷⵉⵂⴰ ⴷⵉⴷⴰⵔ ⴰⵎⴰⴷⵔⴰⵉ ⴰⵏ Jⴰⵎⴻⵙ, ⴰⵍⴼⵔⴻⴷ ⵗⵔⴰⵏⵜ ⵗⵉⵙⵂ, ⴰⴷ ⵂⵉⵏⵉⵙ, ⵎⴰⵓⴷⴻ

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

ⵜⵉⵙ ⴰⴱⴰⵜⵉ ⴷⴰⵗ ⵏⵓⵔⵎⴰⵏ, Oⴾⵍⴰⵂⵓⵎⴰ, ⴷⴰⵗ 1912, ⵎⴰⵙⴰⵏ ⵜⴰⵔⴾⴰⵏ ⴷⴰⵗ Oⵂⵉⵓ ⵂⴰⵔⴰⵜ ⵏⵓⵔⴰⵏ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ.

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

ⵓⴶⵓⴷ ⵓⴰ ⵍⵉⵍⵍⵉⴰⵏ ⴰⴷ ⴻ ⵓⵔⵓⵎⵜⵂⵉ ⴰⵈⴰⵍⴰⵏ ⴰⵓⴰⵛⴰⵔⴰⵏ, ⴰⴶⴰⵛⵏⴰⵜ ⵜⵂⴻⴰⵜⵔⴻ, ⵜⴰⵙⴰⴾⴰⵍⵏⴰⵜ ⴰⴶⵓⴷⵉⵉⴰⵏ ⴷⴰⵗ ⴰⵙⴰⴱⴷⴰⵏⴰⵜ ⴰⵛⵉⵆⵉⵍⴰⵏ

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

ⵗⵉⵙⵂ ⵓⴾⴰⵉ ⴷⴰⵗ ⵉⴶⵉⵜⴰⵏ ⴰⵏ ⵙⵉⵏⴻⵎⴰ, ⴰⴷ ⵓⴰⵏ 1913, ⵆⵓⵔⵓⴶⵓⴷ ⵓⴰ ⵜⵉⴷⴰⵓⵜ ⵉⵓⵔ ⴰ ⵗⵓⵓⵍ ⵍⵉⵜⵜⵍⴻ ⴻⴻⴱⵉⵍ, ⵜⴰⴱⴷⴰ ⴷⴰⵙⴰⵂⴰⵜ ⴰⵏⴻⵙ.

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

ⴰⵙⴰⵂⴰⵜ ⴰⵏⴻⵙ ⴷⴰⵗ ⴰⵍⵓⴰⵈⴰⵏ ⴰⵏ ⵜⴰⵙⴰⵎⴷⴻ ⴰⵙⵙⵉⴶⵔⴰⵓⴰⵏⵜⵉ ⵜⵉⵍⴰⵓⴻⵏ ⴰⵂⵓⴶⴰⵏⴻⵏ ⴰⵋⵓⵜⵏⴻⵏ ⴰⵂⴰⴷⵉⴷⵉⵉⴰⵏ

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

ⴰⵜⴾⴰⵍ ⵜⴰⵎⵓⵙⵏⴻⵏⴻⵏ ⵜⴰⵏ ⵎⴰⴶⵔⴰⴷ ⵙⵜⵉⵣⵓⴰⵉ, ⵉⴶⴻⵜ ⵜⴰⵎⴰⵜ ⵜⴰⵙⵓⵂⴻⵜ ⵜⴰⵎⴰⴾⴰⴷⴰⵜ ⵎⴰⵛⴰⵏ ⵜⴰⴱⴷⴰⵜ.

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

ⵜⵏⵉⵂⴰⴷ ⵉⴻ ⵓⴰⵍⴰⵜⵎⴰⵙ ⴻⵓⵔⵓⵜⵂⵉ ⴷⴰⵗ ⵙⵉⵍⵎⴰ, ⵕⴻⵎⵓⴷⴻⵍⵉⵏⴶ ⵂⴻⵔ ⵂⵓⵙⴱⴰⵏⴷ (1920), ⵓⴶⵓⴷ ⵓⴰⵙ ⴻ. W. ⵗⵔⵉⴼⴼⵉⵜⵂ ⴰⵜⵉⵓⵉⴷ ⵂⴰⵔⴰⵜⴰⵏⴻⵙ ⵉⴻ ⴰⵙⴰⵙⴰⵜⴾⵉⵍ.

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.

ⵜⵓⴶⴰⵉ ⵉⴻ ⴰⵣⵔⵉⴼ, ⵙⴰⵙⵜⴰⵏ ⴷⴰⵍⵂⴰⴾ ⵓⴶⴷⴰⵂⴰⵏ ⴰⴷ ⵜⴰⵙⵉⵓⵉⵜ ⴼⴰⵍ ⴰⵜⵓⴷⴰⴱⴰⵜ ⴰⵛⴰⵆⵉⵍ ⴰⵏ ⵜⴻⵍⴻⵏⴻⵙ ⵉⴻ ⴾⴰⵏⴰⵏ ⴰⵂⵓⵙⴾⴰⵜⵏⴻⵏ ⴰⵏ ⵙⵉⵍⵎⴰⵜⴰⵏⴻⵙ – ⴷⴰⵗ ⵜⵉⴾⴰⵍ ⵉⴶⵓⵙⴾⴰⵜⵏⴻⵏ ⵉⵎⴰⵜⴾⴰⵍⴰⵏ, ⵙⵛⴻⵏⴰⵔⵉⵙⵜⴻ

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.

ⴰⴶⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ ⵓⵉ ⴰⵍⵓⴰⵈ ⴰⵙⵓⵙⴰⵎⴰⵏ, ⵙⵓⵏⴷ ⵗⵉⵙⵂ ⴰⵎⴰⴷ ⴱⵉⵛⴾⴼⵓⵔⴷ, ⴰⵈⴰⵍⵏⴰⵜ ⴰⵂⵓⵆⴰⴷⴰⵏ ⴰⴷ ⵓⴰⵔⴰⵛⴻⴷ ⵓⴰⵍⴰ, ⵎⴰⵛⴰⵏ ⴷⴰⵗ ⵙⴰⵏⵜⵓ ⴰⵏ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1930 (ⴷⴰⵔⴰⵜ ⴰⵍⴰⵎⴰⴷ ⴷⴰⴾ ⵜⴰⵙⵓⵉⵍⵜ ⴰⴷ ⴷⴰⵜⴰⵓⴻⵏ ⵉⴶⵉ ⴰⵏ ⵎⵓⵜⵉⵓⵏ ⴱⵉⵛⵜⵓⵔⴻ ⴱⵔⵓⴷⵓⵛⵜⵉⵓⵏ ⵛⵓⴷⴻ), ⴰⵛⴰⵗⵉⵍⴰⵏ ⵓⴰⵏⴷⴰⵗ ⴰⵈⴰⵍⵏⴻⵏ ⴰ ⵓⴾⴰⵉⴰⵏ.

"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."

"ⵍⵓⵓⵉⵙ ⵎⴰⵉⴻⵔ ⴻⵔⵂⴰ ⴰⴷⴰⴶⵓ ⵙⵛⴻⵏⴻ ⴰⵉⵛⴷⴰⵏ ( ""ⴰⵂⴰⵙⴰⴶ ⴰⵜⵉⴶⵉⵍⴻⵏ ⴷⴰⵗ ⴰⵙⵉⵓⵉⴷ ⴰⵏⴻⵙ), ⴼⴰⵍ ⴰⵔⴰⴶⵉⵏ ⵏⴰⵣəⴶⵔⴰⵣ ⵉⴻ ⴰⵍⵋⴰⵎⴰⵆⴰⵜ ⵉⴻ ⵗⵉⵙⵂ, ⵎⴰⵛⴰⵏ Lⵉⵍⵍⵉⴰⵏ ⵓⴰⴷⴰⵔⵂⴰ ⵉⴶⵉ ⴰⵏ ⵜⵉⵙⴻⵜ ⴰⴷ ⴼⴰⵍ ⴷⴰⵓⵉⵜⴰⵂⴰ ⵜⵉⵙⴻⵜ, ⴰⴷ ⴷⵓⵆⵓⵍ ⴰⵏ ⵓⴰⵣⴰⵔⴰⵏ ⵜⴰⵔⵂⴰ, ⵙⵉⴷⴰⵓⴰⵜ."

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

ⴻⴰⵗ ⵓⵆⵉⵍ ⴰⵏ ⵙⵉⵏⴻⵎⴰⵏ, ⵗⵉⵙⵂ ⵉⴶⵔⴰⵓ ⵓⵆⵓⵍ ⴰⵏ Oⵙⵛⴰⵓ ⵓⴰ ⵜⴰⵏ ⵓⴼⴰⵏ ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⴰⵛⴰⵆⵉⵍ ⵓⴰ ⵙⴰⵙⴰⵏ ⴰⵏ 1946 ⵉⴻ ⴻⵓⴻⵍ ⵓⵏ ⵜⵂⴻ ⵙⵓⵏ.

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).

ⵜⴰⵈⴰⵍ ⴰⵜⵉⵓⴰⵙⴰⵎⵆⴰⵔⴰⵏ ⴷⴰⵗ ⴰⵛⴰⵆⵉⵍⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ ⴰⵏ ⴰⵓⵜⴰⵏⵜ ⴷⴰⵗ ⴰⵙ ⵜⵉⴶⵔⴰⵓ ⴰⵙⵓⴾ, ⵜⵉⴼⴰⵍ ⴻⵍⵍⴻⵏ O'ⵂⴰⵔⴰ, ⵎⴰⵙ ⴰⵏ ⵙⵛⴰⵔⵍⴻⵜⵜ ( ⵜⴰ ⵜⴰⴾⴰⵜ ⴱⴰⵔⴱⴰⵔⴰ O'ⵏⴻⵉⵍ), ⵜⴰⴾⴰⵔⵓⴰⵜ ⴱⴻⵍⵍⴻ Wⴰⵜⵍⵉⵏⴶ (ⵜⴰ ⵜⴰⴾⴰⵜ Oⵏⴰ ⵎⵓⵏⵙⵓⵏ).

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

"ⵜⴰⵙⴻⵓⴰⴷ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ

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

ⵟⴰⵈⴰⵍ ⴰⵎⵉⵜⴾⴰⵍⴰⵏ ⴷⴰⵗ ⵎⴰⴶⵔⴰⴷ ⴰⵏ ⴾⴰⵜⴰⴱⴰⵏ ⴰⵏⵉⵍⴾⴰⵎⵏⴻⵏ ⴰⵏ ⵙⵉⵍⵎⴰ ⵜⴰⵏ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ : ⴰⴰ ⵛⴻⵍⴻⴱⵔⴰⵜⵉⵓⵏ ⵓⴼ ⵜⵂⴻ ⴰⵎⴻⵔⵉⵛⴰⵏ ⵚⵉⵍⴻⵏⵉⵜ ⵙⵉⵍⵎⴰ (1980)

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

ⵟⵉⵍⴰ ⵜⴰⵜⵔⴰⵜ ⴷⴰⵗ ⵂⵓⵍⵍⵉⵓⵓⵓⴷ Wⴰⵍⴾ ⵓⴼ ⴼⴰⵎⴻ ⵉⵓⵔ 1720 ⵠⵉⵏⴻ ⵚⵜⵔⴻⴻⵜ.

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

ⵗⵓⵔ ⵙⵉⴷⴰⵓⴰⵜ ⵜⴰⵏ ⵛⴰⵏⵏⴻⵙ, ⵗⵉⵙⵂ ⵉⴶⵔⴰⵓ ⵜⴰⵍⴾⵉⵜ ⵜⴰⴱⴷⴰⴷⴰⵜ ⴰⵏ 10 ⵎⵉⵏⵉⵜⴰⵏ ⵂⵉⵙ ⵉⴶⴰⵏ ⴰⵍⵋⴰⵎⴰⵗⴰⵜ.

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

"ⵟⴰⵙⵓⵉⵍⵜ ""ⵎⴰⵔⵔⵉ ⴼⵓⵔ Mⵓⵔⴷⴻⵔ"" ⴰ ⴷⴰⵗ ⵜⵉⵣⴶⴰⵔ 9 ⵙⴻⵒⵜⴻⵎⴱⵔⴻ 1943.

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

ⵟⵉⴶⵔⴰⵓ ⴰⵍⵂⴰⴾ ⵏⴰⵜⵉⵈⴰⵍ ⵏⴰ Iⵏⵉⴱⴻⵔⵙⵉⵜⴻ ⴷⴰⵗ 1971, əⴷ ⴷⴰⵗ 1984, ⵜⵉⴶⵔⴰⵓ ⴰⴼI ⵍⵉⴼⴻ ⴰⵛⵂⵉⴻⴱⴻⵎⴻⵏⵜ ⴰⵓⴰⵔⴷ.

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

ⵍⵏⵉⴱⴻⵔⵙⵉⵜⴻ ⵉⴼⴰ ⵗⵉⵙⵂ ⴰⵍⴾⴰⴷ ⵏⴰⵜⵉⵈⴰⵍ ⵓⴰ ⵏⴰⵏⴰⵎⵆⴰⵔ ⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⴰⵏ ⵜⵉⴷⴰⵓⴻⵏ ⴻⵛⴰⵍⵓⴻⵏ.

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

ⴻⴰⵔⴰⵜ ⵜⴰⵎⴰⵜⴰⵏⵜ ⵜⴰⵏ ⵗⵉⵙⵂ ⴷⴰⵗ 1993, ⵓⵏⵉⴱⴻⵔⵙⵉⵜⴻ ⴰⵙⴷⴰⵓ ⴰⵣⵔⵉⴼ ⴼⴰⵍ ⴰⵙⵉⵎⵆⵉⵔⴰⵏ ⴻⴷⴰⴶ ⴰⵏⴻⵙ ⴼⴰⵍ ⴰⵣⵉⵣⴶⵔⵉⵔⴰⵏ ⴰⵙⴰⵎⵉⴾⵜⴰⵏⴻⵙ ⵓⵉⴶⵔⴰⵓⴰⵏ ⴷⴰⵔⴰⵜ ⵗⵉⵙⵂ.

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.

ⵜⴰⵏⵎⵉⵜⴰⴼⵜ ⴰⵏⴻⵙ ⴰⴷ ⴰ. ⵓ. ⵗⵔⵉⴼⴼⵉⵜⵂ ⵜⴰⵈⴰⵍ ⴰⵓⵆⴰⴷⴰⵏ ⵓⴰⴷⴰⵗ ⴼⴰⵍ ⴰⵉⴰⴷ ⴰⵆⴻⵍⴰⵏ ⵉⵍⴻ ⵂⴰⵔⴰⵜ ⴰⵏ ⵜⴰⵔⵂⴰ, ⴰⵓⴰ ⵗⵉⵙⵂ ⵉⵙⴾⴰⵍⴰ ⵓⴰⵔⵜⵉⵏⵂⴻⵉ, ⴰⵂⵓⵙⴾⴰⵜ ⴰⵙ ⴰⵋⴻⵏ ⴷⴰⵗ ⵎⵉⴷⴰⵓⴰⵏⴻⵙ ⴰⵔⴷⴰⵏ ⴰⵙ ⴰⵈⴰⵍⴰⵏ ⴰⴷⴰⵔⵂⴻⵔⵜⴰⵉ ⴰⴶⵓⴷⵉⵉⴰⵏ.

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.

ⴻⴰⵗ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1920, ⵜⴰⵏⵎⵉⵜⴰⴼⵜ ⵜⴰⵏ ⵗⵉⵙⵂ ⴰⴷ ⴻⵓⴻⵍⵍ ⴻⵈⴰⵍ ⵙⵓⵏⴷ ⴱⴰⵏⴰⵏ ⵉⴻ ⴰⵏⴷⵉⵔⴰⵏ ⵓⴶⵓⴷ ⵓⴰ ⵂⴰⵙ ⵜⵉⴾⴰⵎ ⴷⴰⵗ ⵉⵛⵉⵔⵉⵆⴰ ⴰⴷ ⵜⵉⴶⴰ ⴰⵍⵋⴰⵎⴰⵆⴰⵜ ⴷⴰⵗ ⵜⴰⴱⴰⴷⴰⵓⵜ ⴰⵏ ⴶⴰⵔⴻⵙⴰⵏ

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

ⵗⴻⵓⵔⴶⴻ ⵋⴻⴰⵏ ⵏⴰⵜⵂⴰⵏ ⵉⴶⴰ ⵜⵉⵎⴰⵍ ⵏⴰⴷⴰⵍ ⵓⴰⵏ ⵗⵉⵙⵂ, ⵜⴰⵜⵓⵍⴰⵂⴰⵜ— ⴰⵏ ⴻⵍⴻⵓⵏⵓⵔⴰ ⴻⵓⵙⴻ.

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.

ⴻⴰⵗ ⴰⵍⵓⴰⵈ ⵜⵉⵔⵉⵎⴰⵆ ⴰⵏ ⵜⵉⵏⴰⵓⵉⵉⴻⵏ ⴷⴰⵗ ⴻⵜⴰⵜⵙ-ⵓⵏⵉⴻⵙ ⵜⴰⴶⴰⵜ ⵜⴰⵂⴰⴶⵉⵜ ⵜⴰⵏ ⵙⴰⵏⵜⵓ ⴰⵏ ⵔⴻⵛⵓⵏⴷⴻ ⵗⵓⴻⵔⵔⴻ ⵎⵓⵏⴷⵉⴰⵍⴻ ⴷⴰⵗ ⴻⵓⵔⵓⴱⴻ ⵂⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔ ⴰⴶⴰⴷ ⴰⵏ ⴱⴻⴰⵔⵍ ⵂⴰⵔⴱⵓⵔ, ⴰⵜⴰⴼ ⴰⵎⴰⴾ ⵓⴰⵏⴰⵏ ⴰⵜⵉⴶⵉⵛ ⴰⵉⴰⴱⴰⵜⴰⵏ.

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.

ⵋⵓⵙⴻⴱⵂ ⴼⵔⴰⵏⴾ ⵆⴻⴰⵜⵓⵏ(4 Oⵛ ⵓⴱⵔⴻ 1895 - 1ⴻⵔ ⴼⴻⴱⵔⵉⴻⵔ 1966), ⴰⵜⵉⵓⴰⵣⴰⵉⴰⵏ ⵙⴰⵙⴰⵎ ⵓⴰ ⴱⵓⵙⵜⴻⵔ ⵆⴻⴰⵜⵓⵏ, ⴻⵈⴰⵍ ⴻⵎⴰⴶ, ⴰⵓⵙⴰⵜⴰ , ⵓⴰ ⴷⴰⴾⴰⵍⴰⵏ, ⵓⴰ ⴰⵜⴰⴶⴰⵏ, ⵓⴰ ⴰⵙⵉⵎⵙⵉⴷⵉⵓⴰⵏ ⴰⴷ ⵓⴰ ⴰⵛⴰⵣⴰⵣ ⴰⵏ ⴰⵎⴻⵔⵉⵛⴰⵉⵏ.

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

ⴰⵣⴰⵍ ⴰⵏⴻⵙ ⵓⴰ ⴰⵆⵉⵔⴰⵎⴱⴰⵉⴰⵏ ⵓⴶⵓⴷ ⵓⴰ ⴻⵔⴷⴰ ⵉⴻ ⵎⴻⵜⵔⵓ-ⵗⵓⵍⴷⵓⵉⵏ-ⵎⴰⵉⴻⵔ ⴰⴷ ⵜⴰⴶⵎⴰⵜⵉ ⵜⴰⵏⵂⴰⵜ ⴰⵏⴻⵙ ⵜⴰⵏ ⴰⵎⴰⵏⵣⴰⵔ.

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

ⴻⴰⵗ ⵙⵉⵍⵎⴰⵜⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ ⴰⵏ ⵆⴻⴰⵜⵓⵏ ⵉⵍⴰⵏⴰⵜ ⴻⵍⴰⵏ ⵓⵉ 1920 ⴰⵈⴰⵍⵏⴻⵏ ⴰⵉⴾⵏⴰⵏ, ⵙⵓⵏⴷ ⵙⵂⴻⵔⵍⵓⵛⴾ ⵋⵔ (1924), ⵟⵂⴻ ⵗⴻⵏⴻⵔⴰⵍ (1926) ⴰⵏ ⵟⵂⴻ ⵛⴰⵎⴻⵔⴰⵎⴰⵏ (1928).

"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."

"ⵜⵉⵙ ⴰⵏⴻⵙ ⴰⵏⵜⴰ ⴰⵙ ⵋⵓⵙⴻⴱⵂ ""ⵋⵓⴻ"". ⵍⴻⴰⵜⵓⵏ, ⵉⵍⴰⵙⵉⴷⴰⵓⴰⵜ ⵜⵉⵍⴰⵜ ⵜⴰⴱⴰⵔⴰⵜ ⴷⴰⴷⵔ ⵂⴰⵔⵔⵉ ⵂⵓⵓⴷⵉⵏⵉ, ⴰⵆⵔⴰⵜⵉ ⴰⵙ ⵎⵓⵂⴰⵓⴾ Iⵏⴷⵉⴰⵏⴰ ⵎⴻⴷⵉⵛⵉⵏⴻ ⵛⵓⵎⴱⴰⵏⵉ, ⵉⵓⵔ ⵆⴻⴰⵜⵓⵏ ⵂⵓⵓⴷⵉⵏⵉ ⵎⴻⴷⵉⵛⵉⵏⴻ ⵙⵂⵓⵓ ⵛⵓⵎⴱⴰⵏⵉ, ⵜⴰⵜ ⵜⴰⴶⴰⵜ ⴼⴰⵍ ⴱⴰⵜⵎⴰ ⴰⴷ ⴷⴰⵛⴰⵏⵛ ⴰⵏ ⵜⴰⵎⴰⵆⵓⴰⵏⴻⵏ ⴰⵈⵉⵉⵎⴰⵏⴻⵏ ⴷⴰⵗ ⴷⴻⴷⴻⵙ."

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

ⴻⴰⵗ ⵜⴰⵏⴼⴰⵙ ⵜⴰⵏ ⵆⴻⴰⵜⵓⵏ, ⵉⵍⴰ ⵙⴰⴷⵉⵙ ⵓⵔⴰⵏ ⵓⴶⵓⴷ ⵓⴰ ⴷⴰⵓⴰⴼⴰⵍ ⵓⵉⵔⵉⴶⴰ ⵉⴶⴰ ⴰⴷ ⵙⴻⵈⴰⵍ ⵂⴰⵔⵔⵉ ⵂⵓⵓⴷⵉⵏⵉ ⴰ ⵜⴰⴼⴰⵏ ⴰⵏⴰⵎⴰⴷⴰⵗ ⴻⵏ.

The act was mainly a comedy sketch.

ⵏⵓⵎⴻⵔⵓ ⴻⵈⴰⵍ ⴰⵏⵜⴰⵆⴰⵙ ⵙⴾⴻⵜⵛⵂ ⴰⵙⵉⵙⵜⴰⵏ.

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

ⵜⴰⵎⵙⵓⴷⵓⵜⴰⵏ ⵙⵓⴷⵓⵈⴰⵏ ⵜⴰⵣⵎⴰⵉ ⴷⴰⵗ ⴾⴰⵔⵛⴰⵉⴰⵏ ⵓⵉ ⵆⴻⴰⵜⵓⵏ ⴼⴰⵍ ⴰⵂⵉⵙ ⵉⵍⴰⵍ ⵉⴰ ⵜⴰⵈⴰⵍ ⵓⴶⵓⴷⴰⵗ ⴰⴷⵉⵓⴻⵏ.

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

ⴰⴶⵓⴷⴻⵏⴷⴰⵗ, ⴱⵓⵙⵜⴻⵔ ⴻⵈⴰⵍ ⵂⴰⵔⵓⴰ ⴰⴷⵓⴱⴻⵏ ⵉⴰ ⴷⵉⵙⴰⴾⵏⵓ ⵉⴻ ⵏⴰⵎⵆⴰⵔⴰⵏ ⴰⵙ ⵓⴰⵔⵉⵍⴰ ⵓⴰⵍⴰ ⴱⴰⵔⵛⴻⵆ ⴻⵆⴰⵙ ⴻⵔⵣⴰⵏ.

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

Iⵂⴰⴷⴰⴶⴰⵏ ⴰⵋⵓⵜⵏⴻⵏ, ⵉⵛⵓⴰⵔ ⴰⵜⵓⴰⴶⴰ ⴰⴼⴰⵍ ⵓⴰⵔⴰⵈⴻⵍⴰⵏ ⴻⵔⴻ ⴰⴷⵓⴱⴻⵏ ⴰⵙⵔⵉⵙ ⵓⴰ ⵎⵓⵙ.

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

ⴰⵏⵂⴰⵉⴰⵏ ⴰⵙ ⴰⵓⴻⵏ ⴰⵙ ⴰⵏⴷⵉⵔⴰⵏ ⴰⵉⵙⴰⵙⵜⴰ ⴷⴰⵗ ⴰⴷⵉⵏⴰⵜ, ⵉⵍⵎⴰⴷⴰⵏ ⵎⴰⴶⵔⴰⴷ ⵓⴰ ⴰⵙⵓⵂⴻⵏ ⵓⴰⵏⴰⵏ ⴰⵜⵓⴰⵔⴷⴰ ⵉⵓⵔ ⵙⴰⴾⵏⵉⵜⴰⵏ.

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

ⴰⵓⴻⵏⴷⴰⵗ ⴷⴰⴾ ⴷⴰⵗ ⴰⵛⵓⵂⵓⵛⵉⵍ ⴰⵏ ⵓⴰ ⴰⵙⴰⵙⴰⴶⴷⴰⵂⴰⵏ ⴰⵎⴰⴷ ⴷⵉⵙⵉⵙⵉⵜⴾⵉⵍ ⴰⵙⵓⵣⵙⴰⴷⴰⵏ ⴷⴰⵗ ⵎⵓⵙⵉⵛ-ⵂⴰⵍⵍⵙ ⵜⴰⵏ ⵔⵓⵉⴰⵓⵎⴻ-ⵓⵏⵉ, ⵆⴻⴰⵜⵓⵏ ⴻⵈⴰⵍ ⴰⵎⵉⵍⴰⵍⴰⵓ ⴷⴰⵗ ⵜⵉⵛⵓⴾⵓⴾⵉⵏⴻⵏ

"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."

"ⴻⴰⵗ ⴼⴻⴱⵔⵉⴻⵔ 1917, ⴰⵎⵓⵈⴰⵙ ⴰⵏ ⵔⵓⵙⵛⵓⴻ ""ⴼⴰⵜⵜⵉ"" ⴰⵔⴱⵓⵛⴾⵍⴻ ⴷⴰⵗ ⴷⴰⴶⴰⵏ ⵓⵉ ⵏⴰⵙⵉⵙⵉⵍⴾⵉⵍ ⴰⵏ ⵟⴰⵍⵎⴰⴷⴶⴻ ⴷⴰⵗ ⵏⴻⵓ ⵗⵓⵔⴾ, ⴷⵉⵂⴰ ⴰⵔⴱⵓⵛⴾⵍⴻ ⴻⵈⴰⵍ ⴰⵜⵉⵍⴰⵏ ⴼⴰⵍ ⴰⵎⴰⵜⴾⴰⵍ ⴷⴰⴷⵔ ⵋⵓⵙⴻⴱⵂ ⵎ. ⵙⵛⵂⴻⵏⵛⴾ

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

ⴱⵓⵙⵜⴻⵔ ⴻⵈⴰⵍ ⵉⵏⵜⴰ ⵆⴰⵙ ⴷⴰⵗ ⵜⴰⵣⴰⵔⴰⵏ ⵙⵉⵍⵎⴰ ⴰⵏⴻⵙ, ⵟⵂⴻ ⴱⵓⵜⵛⵂⴻⵔ ⴱⵓⵉ, ⵓⴰ ⴻⵔⴷⴰⵏ ⴰⴶⵓⴷⴻⵏⴷⴰⵗ

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

ⵆⴻⴰⵜⵓⵏ ⵉⵍⴰⵆⴰⵜ ⴰⵙ ⵓⴶⵓⴷⵉⵉⴰⵏ ⴰ ⴷⴻⴾⴰⵍ ⵛⵉⴾⵛⵉⴾ ⵓⴰ ⵙⴰⵙⴰⵏ ⴰⵏ ⵓⴰ ⵉⵜⴰⴶⴰⵏ ⴰⵔⴱⵓⵛⴾⵍⴻ ⴰⴷ ⴼⵓⴾ ⵓⵉ ⵜⵓⵂⴰⵣⵏⴻⵏ.

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.

ⴰⴱⴷⴰⵂⵉⵏ ⴷⴰⴷⴰⴶ ⵉⵂⴰ ⴰⴶⴰⵔⴰⵓ, ⵟⵂⴻ ⵏⴻⵓ ⵂⴻⵏⵔⵉⴻⵜⵜⴰ, ⵉⵙ ⴾⴰⵍⴰ ⴰⵜ ⵜⵉⵎⵉⵍⴾⴰⵍ ⵓⴶⵓⴷ ⵉⵉⴰⴷⵗ, ⴼⴰⵍ ⵙⴰⵍⴰⵏ əⵏ ⵟⵂLⴰⵎⴱ, ⴷⴰⴷ ⴹⵓⵓⴶⵍⴰⵙ Fⴰⵉⵔⴱⴰⵏⴾⵙ ⴷⴰⵗ ⴰⵛⴰⵆⵉⵍ ⵓⴰ ⴰⵣⴰⵔⴰⵏ.

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

ⵉⴶⴰ ⴰⵏⴰⵍⴾⴰⵎⴰⵏ ⴷⴰⵗ ⵙⴰⵙⵜⴰ ⵓⵉ ⴰⵙⴰⵏ ⴱⵓⴱⵉⵜⴰⵏ, ⵉⴻ Oⵏⴻ ⵓⴻⴻⴾ (1920), ⵟⵂⴻ ⴱⵍⴰⵉⵂⵓⵓⵙⴻ (1921), ⵛⵓⴱⵙ (1922) ⴰⴷ ⵟⵂⴻ ⴻⵍⴻⵛⵜⵔⵉⵛ ⵂⵓⵓⵙⴻ (1922).

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

"ⴻⵎⴰⴶ ⴰⵏ ⵙⴰⵙⵜⴰ Lⴻⵓ ⵎⵛⵛⴰⵔⴻⵉ, ⴰⵙⴰⵎⴰⴾⵜⴻⵏ ⴻⵂⴰⵏⵉⵏ ⵓⴶⵓⴷ ⵉⵜⴰⴶⵓ ⵙⴰⵙⵜⴰ ⵜⴰⵏ ⴰⵓⴰ ⴰⵜⴰⵓⴰⵏⴻⵏ ⴷⴰⵗ ⵣⴰⴱⵓ ⵏⴰⵍⵆⴻⵔ, ⴰⵍⴰⵆⴰⵜ : "ⵏⴰⵜⵉⵔⵉⵎ ⴷⴰⴾⵏⴰⵏⴰⵆ ⴰⴼⴰⵔⵓ ⵜⴰⴼⵓⵙⴻⵏ ⵜⵉ ⵓⴰⵉⴰⴷⵏⴻⵏ."

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.

ⵓⴶⵓⴷ ⵓⴰ ⵂⴰⵔⴰⵜ ⵓⴰ ⵏⴰⵙⵉⵜⵓⴰⵏ ⴷⴰⵗ ⴻⴷⴰⴶ ⵓⴰ ⵏⴰⵎⴰⵏ ⵓⵉ ⵜⴰⴱⴰⵔⴰⵜ ⵜⴰⵏ ⵜⴰⵣⵓⵍⵉ ⴷⴰⵗ ⵙⵂⴻⵔⵍⵓⵛⴾ ⵋⵔ, ⵆⴻⴰⵜⵓⵏ ⴻⵔⵣⴰ ⴻⵔⵉⵏⴻⵙ ⵓⴶⵓⴷ ⵓⴰ ⴼⴰⵍⴰⵙ ⴷⴰⴼⵜⴰⵣⴻⵏ ⴰⵎⴰⵏ ⵓⴷⴰ ⴼⴰⵍⴰⵙ ⴷⴰⵓ ⵛⵂⴰⵜⴻⴰⵓ ⵏⴰⵎⴰⵏ, ⵎⴰⵛⴰⵏ ⵉⵍⵎⴰⴷ ⴰⵙ ⴷⴰⵔⴰⵜ ⵓⵉⵜⵉⴰⵏ ⴰⵉⴰⴷ.

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

ⴰⵓⴰⴷⵉⵎ ⵓⴰ ⵆⴻⴰⵜⵓⵏ ⵉⵣⴶⴰⵔ ⴰⵙ ⵓⴰⵔ ⴰⵛⴻⴷ ⵂⴰⵔⴰⵜ, ⴼⴰⵍ ⵜⴰⵙⴰⴱⴰ ⵏⵉⵉⴰⴷⴰ ⵜⴰⵙⴰⵏⴾⴰⵔⵓⵜ ⵜⴰⵎⴻⵔⴰⵜ.

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).

ⵉⴶⴰ ⵙⵜⴻⴰⵎⴱⵓⴰⵜ ⴱⵉⵍⵍ, ⵋⵔ ⵏⴰⴱⵉⴶⴰⵜⵓⵔ (1928), ⵜⴰⵣⴰⴶⵔⵉⵜ ⵏⴰⵏⴰⴾⴰⵛ ⵓⴰ ⵓⴶⴰⵔⴰⵏ ⵜⴰⵂⴰⴶⵉⵜ ⵉⴻ ⵆⴻⴰⵜⵓⵏ ⵉⵙⵍⴰ Oⵓⵔ ⵂⵓⵙⴱⵉⵜⴰⵍⵉⵜⵉ (1923), ⵟⵂⴻ ⵏⴰⴱⵉⴶⴰⵜⵓⵔ (1924), ⵙⵂⴻⵔⵍⵓⵛⴾ ⵋⵔ. (1924), ⵙⴻⴱⴻⵏ ⵛⵂⴰⵏⵛⴻⵙ (1925), ⵟⵂⴻ ⵛⴰⵎⴻⵔⴰⵎⴰⵏ (1928) ⴰⴷ ⵟⵂⴻ ⵗⴻⵏⴻⵔⴰⵍ ( 1926).

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

ⴼⴰⵍⴰⵙ ⴰⵜⵉⵓⴰⴶⴰ ⴰⵙ ⵓⴰ ⵓⴶⴰⵔⴰⵏ ⴰⴶⴰⵔⴰⵓ ⴰⵏ ⵆⴻⴰⵜⵓⵏ, ⵙⵉⵍⵎⴰ ⵉⴶⵔⴰⵓ ⵜⵉⵣⵎⵉⵜ ⵜⴰⴾⵏⴰⵜ ⴱⴰⵂⴰⵏⵉⵏ

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

ⴰⵎⴰⵣⴰⵏ ⴰⵏⴻⵙ, ⵓⵏⵉⵜⴻⴷ ⴰⵔⵜⵉⵙⵜⵙ, ⴰⵙⵂⴰⵛⴰⵍ ⴰⵙ ⴰⵏⴰⵎⵓⴾⴰⵍ ⵉⴶⵉⵜⴰⵏ ⴰⵔⴰⴶⵓ ⴰⵏⴰⵉⴰⵜ ⵉⴻ ⴰⵣⵔⵓⴼ ⵓⴰⵣⴰⴶⴰⵔⴰⵏ ⴰⴷ ⴰⵔⴰⴶⵉⵛ ⵂⴰⵔⴰⵜⴰⵏ ⵉⵉⴰⴷ ⴰⵏ ⵜⵉⵏⴼⴰⵙ.

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

ⴰⵎⴰⴶⴰⵏ ⴰⵜⴰⴼⴰⵏ ⴷⴰⵆ ⴾⴰⵜⴱⴰⵏ əⵏ ⵛⴾⴻⵍⴰⵏ ⴷⴰⵆ ⵎⴰⴶⵔⴰⴷ ⵏⴰⴷⴰⴶ ⵉⵉⴰⵏ, ⵜⵉⵙⵉⵔⴰⴷ ⵜⵉⵉⴰⴷ ⴰⴶⵓⴷⵉⵉⴰⵏ, ⴰⴷ ⵜⵉⵎⵍⵉⵍⵉⵉⵏⴰⵜ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ

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

ⵓⴰ ⴰⴷⴰⴾⴰⵍⴰⵏ ⴻⵈⴰⵍ ⴰⵏⵜⴰⴷⴰⵆ ⵋⵓⵍⴻⵙ ⵓⵂⵉⵜⴻ, ⵓⴰⵙ ⴰⵙⴾⴻⵍⴰⵏ ⵏⴻⵙ ⵉⴶⴰⵛⴰⵏ ⴰⵙⴰⵎⵓⵜⵉⵉ ⴰⴷ ⵜⴰⴱⴰⵜⵓⵍⵜ ⵜⴰⵈⴰⵍⴰⵜ ⵓⵍⴰⵂⴰⵏ ⴷⵉⵉⴰⴷ ⴷⴰⵆ ⵙⵉⵍⵎⴰⵜⴰⵏ ⵓⵉ ⴰⵙⵓⵂⴰⵜⵏⴻⵏ ⴰⵍⵓⴰⵈ ⵓⴰ ⵏⴰⴾⴻⵜ ⴰⵏ ⵟⵔⵓⵉⵙ ⵙⵜⵓⵓⴶⴻⵙ ⵓⴰⵏ ⵓⵂⵉⵜⴻ

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

ⴰⵍⵓⴰⵈ ⵓⴻⵏⴷⴰⵆ, ⴰⵙⵓⵂⵓⵛⵉⵍ ⴰⵏ ⵓⴰ ⵉⴷⴰⴾⴰⵍⴰⵏ ⵓⵂⵉⵜⴻ ⴼⴰⵍ ⵜⴰⴼⵓⵙⴻⵏ ⴰⵙⵓⵂⴰⵜⵏⴻⵏ ⴰⴷ ⴰⵙⵓⵆⵙⴰⴷⵏⴻⵏ ⵉⴶⴰⵏⴻⵏ ⴰⵙ ⵙⴰⴾⵓⵜⴰⵏ ⵓⴰⵏ ⵛⵓⵍⵓⵎⴱⵉⴰ ⴰⵈⴰⵍⴰⵏ ⴰⵙⵉⵙⵜⴰ ⵓⵉ ⴰⵏⴷⵉⵔⴰⵜⵏⴻⵏ ⴷⴰⵆ ⵉⴶⵉ ⵓⴰ ⴰⵜⴾⴰⵍ

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.

ⴰⵙⵎⴰⵍⴰⵍⴰⵉ ⵓⴰ ⴰⵍⴾⴰⵎⴰⵏ ⴰⵏⴻⵙ ⵛⵉⴶⵔⴻⵏ ⴰⴾⵓⵜⴰⵏ ⴻⵍ ⵎⵓⴷⴻⵔⵏⵓ ⴱⴰⵔⴷⴰ ⴰⵣⵓⵍ ( 1946) ⴷⴰⵆ ⵎⴻⵆⵉⵈⵓⴻ ; ⵙⵉⵍⵎⴰ ⵜⴰⵈⴰⵍ ⴰⵜⴰⵓⴰⴶⴻⵏ ⵙⴰⴷⵉⵔⴰⵏ ⴷⴰⵆ ⴰⵣⵔⵉⴼ, ⴰⴷ ⴰⴷⵓⴱⴰⵜ ⴰⵙ ⵓⴰⵔⵓⵙⴰ ⵉⵜⴰⵜⵙ-ⵓⵏⵉⵙ ⴷⴰⵜ ⴰⵣⴰⴶⴰⵔ ⴰⵏⴻⵙ ⵓⴰ ⵠⵂⵙ ⴷⴰⵆ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1980, ⴼⴰⵍ ⵙⴰⵍⴰⵏ ⴰⵏ ⴱⵓⵓⵎ ⵓⵏ ⵜⵂⴻ ⵎⵓⵓⵏ.

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.

ⵉⵏⵜⴰⴷⴰⵗ ⵉⵍⵓⴰⵉ ⵉⵎⵓⵙⵓⵂⴰ ⵓⴰⵏ ⵋⵓⴷⵉ ⵗⴰⵔⵍⴰⵏⴷ ⴰⴷ ⴱⴰⵏ ⵋⵓⵂⵏⵙⵓⵏ ⴷⴰⵗ ⵜⴰⵜⴰⵣⴰⵔⴰⵜ ⵜⵉⴷⴰⵓⵜ ⴰⵔⵜⴰⵉⴰⵏ, ⵉⵓⵔ ⴰⵎⵓⵈⴰⵙⴰⵏ ⴷⴰⵗ ⴰⵎⴰⵣⴰⵆ

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

ⴰⵙⵓⵂⵓ ⴼⴰⵍ ⴰⵙ ⴰⵙⵉⴱⴷⵉⴷ ⵓⵏ ⵂⵉⵏⴰⵏ ⵓⵉ ⵍⵓⵙ ⴰⵏⴶⴻⵍⴻⵙ ⵉⴼⴰ ⵆⴻⴰⵜⵓⵏ ⴰⴷⵉⵏⴰⵜⵉⵏⴻⵙ ⴻⵎⴰⵏⴻⵙ, ⵓⴰⴷⴰⵗ ⴰⴷⵉⵣⴶⴰⵔⴰⵏ ⴷⴰⵗ ⴰⵙⵉⵜⴰⵓⴰⵏⵂⴰⵉ, ⴷⴰⵗ 1950

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

ⵜⴰⵎⴰⵜ ⵜⴰⵏ ⴱⵓⵙⵜⴻⵔ ⵆⴻⴰⵜⵓⵏ, ⴻⵍⴻⴰⵏⵓⵔ, ⵉⵏⵜⴰⴷⴰⵗ ⵜⵓⵣⴶⴰⵔⵉⴷ ⴷⴰⵗ ⴰⵓⴰ ⴷⵉⵍⴾⴰⵎⴰⵏ (ⴷⴰⵗ ⴰⵓⴻⵏ ⴷⴰⵗ ⴰⵛⴰⵆⵉⵍ ⵓⴰⵏ ⵋⵓⵍⵉⴻⵜⵜⴻ ⵜⴰⵏ ⵔⵓⵎⴻⵓ ⴰⵏ ⴱⵓⵙⵜⴻⵔ ⴷⴰⵗ ⵙⴰⵎⴰⵏⴷ ⵓ ⴰⵏ ⵜⴰⵜⵉⴾⴻⵜ ⵙⵉⴷⴰⵓⴰⵜ).

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

ⵉⵣⴰⴶⴰⵔⴰⵏ ⴰⵏ ⵂⴰⵏⴷⴰⴶⴰⵏ ⵓⵉ ⵆⴻⴰⵜⵓⵏ ⴷⴰⵗ ⵙⵉⵍⵎⴰ ⴷⴰⵗ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1950 ⴰⴷ 1960 ⴰⵙⴻⵓⴰⴷⴰⵏ ⴰⵙⵓⴷⵔ ⴰⵏ ⵜⴰⵏⴼⵓ ⵉⴻ ⵙⵉⵍⵎⴰⵜⴰⵏ ⵜⴰ ⴰⵙⵓⵙⴰⵎⵏⴻⵏ

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.

ⵙⵓⵎⵓⵙⴰⵏⵜ ⵜⴰⵎⵓⵔⵓⴻⵏ ⵓⴾⴰⵉⴰⵏ, ⵆⴻⴰⵜⵓⵏ ⴰⵙⵏⴰⵍⴰⵙ ⵉⴶⵉ ⴷⴰⴷⵔ ⴰⵙⵉⵙⴰⴾⵏⴰ ⵓⵉ ⵔⵓⵏⴻⵏ ⵉⵍⵎⴰⴷ, ⵉⵏⵜⴰⴷⴰⵎⴰⵗ ⵂⴻⵔⴾⵉⵛⵉⵆⵉⵍ ⵓⴰ ⴷⴰⵗ ⵉⵜⵉⴷⵉⴷ ⵉⴷⴰⵔⴰⵏ ⴼⴰⵍ ⵜⴰⵙⴰⵈⴰⵉⵎⵓⵜ, ⵉⵣⴰⵔ ⵉⵙⵉⵓⵍⵉⵓⵉⵍ ⵓⴰ ⵙⴰⵙⴰⵏ ⴰⴷⵉⴷⵔ ⴷⴻⴷⴻⵙ ⴰⴷ ⴰⵎⴰⵔⴰ ⴰⵎⵉⴾ ⴰⵎⵙⴰⴷⴰⵏ ⴷⴰⵗ ⴰⴼⴰⵍⴰ ⵂⴰⴷ ⵂⴰⵔⴰⵜ ⴰⵏ ⵜⴰⵂⴰⴶⵉⵜ ⵉⵣⴰⵔ ⴰⴷⴻⵔⵣⴰ ⴷⴰⵗ ⴰⴾⴰⵍ ⵓⴰⵏ ⵜⵉⴷⴰⵓⵜ

"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."

"ⵆⴻⴰⵜⵓⵏ ⵉⵍⴰ ⴼⵓⵜⵓⵜⴰⵏ ⴰⵏ ⵓⵉ ⵣⴰⴶⵔⵓⵜⵏⴻⵏ ⴰⴾⵓⵜⴰⵏ ⵟⵂⵔⴻⴻ ⴰⴶⴻⵙ, ⵙⵂⴻⵔⵍⵓⵛⴾ ⵋⵔ, ⵙⵜⴻⴰⵎⴱⵓⴰⵜ ⴱⵉⵍⵍ ⵋⵔ ⴰⴷ ⵛⵓⵍⵍⴻⴶⴻ (ⴰⵈⴰⵉⵎⵉⵏ ⴱⵓⴱⵉⵏⴻ), ⴰⴷ ⵓⴰ ⴶⵉⵣⵉⵍⴰⵏ ⴰⴾⵓⵜ ""ⵟⵂⴻ ⴱⵓⴰⵜ"" ⴰⴷ ""ⵎⵉ ⵓⵉⴼⴻ'ⵙ ⵔⴻⵍⴰⵜⵉⵓⵏⵙ"", ⵓⴰⵙ ⵆⴻⴰⵜⵓⵏ ⴰⴷ ⵔⵓⵂⴰⵓⴻⵔ ⵉⵍⴰ ⴷⴰⵔⴰⵜ ⴰⵙⴰⵓⴰⵉⴻⵏ ⴼⴰⵍ ⴰⵏⴷⵉⵔⴰⵏ ⴻⵍⴰⵎ ⴰⵏ ⴰⵛⴻⵜⴰⵜⴻ ⵓⴰⵏ ⵛⴻⵍⵍⵓⵍⵓⵙⴻ ⴼⴰⵍ ⴰⵏⴷⵉⵔⴰⵏ ⴻⵍⴰⵎ ⴰⵏ ⵏⵉⵜⵔⴰⵜⴻ ⵉⵂⴰⵏ ⵜⴰⴱⴰⵔⴰⵜ ⵏⴰ ⴷⴰⵛⵉⴷ.

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.

ⴻⴰⵗ ⴰⵙⴰⵙⴰⵜⴾⵉⵍ ⴰⵏⵉⵍⴾⴰⵎⴰⵏ ⴰⵏ ⵙⵓⴾⵏⵉⵜⴰⵏ ⴰⵎⵉⵜⴾⴰⵍⵏⴻⵏ ⴰⵙⵓⵙⴰⵎⴰⵏ ⵓⴰⵏ ⴰⵙⵎⵉⴷ ⵓⴰ ⵙⵉⵎⵓⵏ ⴱⵓⵔⴻ, ⵉⴶⴰⵏ ⴷⴰⵗ 1962 ⴰⵙ ⵋⵉⵎ ⵎⵓⵂⵔ ⴷⴰⵗ ⴱⵓⴼⴼⴰⵍⵓ, ⴷⴰⵗ ⴻⵜⴰⵜ ⵓⴰⵏ ⵏⴻⵓ ⵗⵓⵔⴾ, ⵆⴻⴰⵜⵓⵏ ⵓⵍⴰⵙ ⵜⴰⵙⴰⵓⵜ ⵏⴰⵉⴰⴷ ⵉⵎⵉⴷⴰⵓⴰⵏⴻⵙ ⵜⴰⴶⴰⵉⵜ ⵓⵉ ⵛⵉⵏⴻⵎⴰ ⴰⵙⵓⵙⴰⵎⴰⵏ.

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

"ⴻⴰⵗ ⴷⴻⵛⴻⵎⴱⵔⴻ 1958, ⵆⴻⴰⵜⵓⵏ ⴻⵈⴰⵍ ⴶⵓⴻⵙⵜ ⵙⵜⴰⵔ ⴷⴰⵗ ⵜⴰⵙⵓⵉⵍ "ⴰ ⵠⴻⵔⵉ ⵎⴻⵔⵔⵉ ⵛⵂⵔⵉⵙⵜⵎⴰⵙ"" ⵓⴰⵏ ⴻ ⵓⵏⵏⴰ ⵔⴻⴻⴷ ⵙⵂⵓⵓ ⴼⴰⵍ ⴰⴱⵛ."

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.

ⴻⴰⵗ 1960, ⴻⵈⴰⵍ ⵉⴻ ⵂⴰⵏⴷⴰⴶ ⵓⴰ ⵙⴰⵎⴰⵏⴷⵓ ⵉⵓⵔ ⵎⵗⵎ, ⵏⴰⴷⴰⵍ ⴰⵏ ⵏⴰⵎⴰⵙⴰⴷⴻⵔⴶⵉⵏ ⴰⵏ ⵓⵉⵆⵙⴰⵏ ⴷⴰⵗ ⴰⵍⴰⵎⴰⴷ ⵓⴰ 1960 ⴰⵏ ⴰⴱⴻⵏⵜⵓⵔⴻⵙ ⵓⴰⵏ ⵂⵓⵛⴾⵍⴻⴱⴻⵔⵔⵉ ⴼⵉⵏⵏ ⵓⴰⵏ ⵎⴰⵔⴾ ⵟⵓⴰⵉⵏ

"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. """

"ⴰⵛⴰⵆⴰⵍ ⴷⴰⵔ ⵏⴰⴼⴻⵛⴰⵆ ⵓⴰⵏ ⴻⵔⵏⵉⴻ ⵆⵓⴱⴰⵛⵙ ⴼⴰⵍ ⴱⵉⵍⵓⵜⴻ ⵉⴻ ⵙⵉⵍⵎⴰ ⵜⵉⴶⴰⵜ ⴷⴰⵗ ⴰⵙⵉⴶⵉⴷ ⵙⵉⵜⴰⵓⴰⵏⴰ "ⵎⴻⴷⵉⵛⵉⵏⴻ ⵎⴰⵏ", ⴼⴰⵍ ⴻⵔⴾⴰⵏ ⵜⵉⴷⴰⵓⴻⵏ ⴷⴰⵗ 12 ⵋⴰⵏⴱⵉⴻⵔ 1962, ⴷⴰⵜ ⵜⴰⵎⴰⵜⴰⵏⵜ ⴰⵏ ⵆⵓⴱⴰⵛⵙ ⴷⴰⵗ ⵜⴰⵏⴰⵆⵍⴰ ⴰⵏ ⵜⵓⵔⴰⴼⵜ."

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.

"ⴰⵙⴻⴾⴰⵍ ⵙⴰ ⴼⴰⵉ ⵙⴰⴼⴰⵉ

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

ⵂⴰⵔⵓⴰ ⴷⴰⵗ 1965, ⵉⴾⴰ Iⵜⴰⵍⵉⴻ ⴼⴰⵍ ⴰⵔⴰⴶⵓ ⴰⵛⴰⵆⵉⵍ ⴷⴰⵗ ⴻⵓⴻ ⵎⴰⵔⵉⵏⴻⵙ ⵉⵣⴰⵔ ⵗⴻⵏⴻⵔⴰⵍⴻ, ⴷⴰⵔ ⴼⵔⴰⵏⵛⵓ ⴼⵔⴰⵏⵛⵂⵉ ⴰⴷ ⵛⵉⵛⵛⵉⵓIⵏⴶⵔⴰⵙⵙⵉⴰ

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).

ⵂⴰⵔⴰⵜ ⴷⴰⵗ ⵙⵓⴶⴱⵓⵔⴰⵏⴻⵙ ⵓⴰ ⵓⴶⴰⵔⴰⵏ ⴰⵙⵓⵂⵓ ⴻⵈⴰⵍ ⵟⵂⴻ ⴼⵔⵓⵣⴻⵏ ⵏⵓⵔⵜⵂ ( 1922), ⴰⵙⴰⵍⴰⵏ ⵏⴰⵙⵓⴶⴱⵓⵔ ⵓⴰⵏ ⵂⴰⵔⴰⵜⴰⵏ ⴰⵏ ⵓⴻⵙⵜⴻⵔⵏⵙ ⵜⴰⵏ ⵓⵉⵍⵍⵉⴰⵎ ⵙ. ⵂⴰⵔⵜ, ⵙⵓⵏⴷ ⵂⴻⵍⵍ'ⵙ ⵂⵉⵏⴶⴻⵙ (1916) ⴰⴷ ⵟⵂⴻ ⵏⴰⵔⵔⵓⵓ ⵟⵔⴰⵉⵍ ( 1917).

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

ⴰⴷⴰⵏⴰⵜ ⵓⵉ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1920 ⵉⵣⴰⵉⴰⵏ ⵜⵉⵙⵉⵏⴻ ⴰⴷ ⴷⴰⴶⴰⵔⴰⵓ ⴰⵏ ⵙⵉⵍⵎⴰ ⵏⴰⵓⵉⵏⴰⵏ ⵉⴾⵏⴰ ⴰⵙⵉⵙⵜⴰⵏ.

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

ⵉⵏⵜⴰⴷⴰⵗ ⴰⵙⵓⴶⴱⵓⴱⵔ ⴰⵏ ⵍⴰo ⵏⴰⵎⵓⵙⴰⵏ, ⴰⵏⵉⵂⴰⴶⴰⵏ ⴰⴷⵉⴶⵎⴰⴷ ⵏⵓⵎⴻⵔⵓ ⵓⴰⵏ ⵛⵓ-ⴱⵉⵍⵍⴻⵔ ( ⴰⵆⵔⴰⵜⵉ ⵙⴰⵙ ⴱⴻⵜⴻⵔ ⵜⵂⴻ ⵗⵔⴻⴰⵜ).

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

"ⵙⴰⵈⴰⵉⵎ : ⴰⵛⴰⵛⵉⵍ ⵓⴰⵔ ⵉⴾⵏⴰ ⴰⴾⴰⵜⴰⴱ ⵜⴻⵆⴰⵔⴻ ⵜⴰ ⵜⴰⵜⵉⵍⴰⵜ ⴰⵏ ⵆⴻⴰⵜⵓⵏ, ⵙⴰⵍⴰⵎⴰⴷ ""ⵗⵔⴻⴰⵜ ⵙⵜⵓⵏⴻⴼⴰⵛⴻ

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

ⵆⴻⴰⵜⵓⵏ ⴻⵆⵔⴰ ⵜⴰⵎⴰⴶⵉⵜ ⴻⵓⵔⵓⵜⵂⵉ ⵙⴻⴱⴰⵙⵜⵉⴰⵏ ⴷⴰⵗ ⵓⵉⵜⵉⴰⵏ ⵓⵉ 1920 ⴰⴷ ⵆⴰⵜⵂⵍⴻⴻⵏ ⵆⴻⵉ ⵉⵓⵔ ⵙⴰⵏⵜⵓ ⵏⴻⵍⴰⵏ ⵓⵉ 1930

He escaped a straitjacket with tricks learned from Harry Houdini.

ⴰⴶⵎⴰⴷⵉⴷ ⴷⴰⵗ ⵜⴻⵎⴰⵍⵙⵉⵜ ⵏⴰⵙⴰⵂⴰⵜ ⴷⴰⵗ ⵎⵓⴷⵓⵆⵓⵍⴰⵏ ⵉⵍⵎⴰⴷ ⵉⵓⵔ ⵂⴰⵔⵔⵉ ⵂⵓⵓⴷⵉⵏⵉ.

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.

ⵜⴰⵙⵉⵙⵜⴰⵏ ⴷⵉⵎⵉⵣⵉⵉ ⴷⴰⵗ 1935 ⴷⴰⵔⴰⵜ ⴰⴶⴰⵔⴰⵓ ⴰⵏ ⵆⴻⴰⵜⵓⵏ ⴷⴰⵔ ⵍⴻⴰⵂ ⵛⵍⴰⵎⴱⵉⵜⵜ ⵙⴻⵓⴻⵍ, ⵜⴰⵎⴰⵜ ⵜⴰⵏ ⴰⵏⴰⵙⴱⴰⴶⵓⵔ ⴱⴰⵔⵜⵓⵏ ⵙⴻⵓⴻⵍⵍ, ⴷⴰⵗ ⵂⵓⵜⴻⵍ ⵜⴰⵏ ⵙⴰⵏⵜⴰ ⴱⴰⵔⴱⴰⵔⴰ.

He stopped drinking for five years.

ⵓⵉⴰ ⵜⴻⵙⴰⵙⴻ ⴰⵓⴰⴷⴰⵏ ⵙⴰⵎⵓⵙ ⴻⵍⴰⵏ

The marriage lasted until his death.

ⴰⴷⵓⴱⴰⵏ ⴰⵂⵓⴶⴰ ⵂⴰⵓⴻⵏⴷⴰⵗ ⵂⴰⵔ ⵉⴱⴰⵏⴻⵙ.

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

ⴰⵜⵉⵓⴰⵙⴰⵆⵍⴰⵎ ⴷⴰⵗ ⵍⴰⵛⵜⵓⵔ ⴷⴰⵗ ⵂⴰⴷⴰⵏ ⵓⵉⵍⴾⴰⵎⵏⴻⵏ, ⵆⴻⴰⵜⵓⵏ ⴻⵈⴰⵍ ⴰⴷⵉⵓⴻⵏ ⴰⴷ ⴷⴰⵣⴰⵍ ⵓⵉⵏⴰⵏ ⵉⵜⵓⵎⵓⴷⵓ ⴷⴰⵗ ⴻⵂⴰⵏ, ⵉⴶⵔⴰⵣⴰⵙ ⴰⵔⵉⵈⵉⵍ ⵆⵓⵔⵉⵙ.

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.

ⵜⵉⴷⴰⵓⵜ, ⴰⴾⵜⴰⴱ ⵙⴷⵏⴻⵉ ⵙⵂⴻⵍⴷⵓⵏ, ⵓⴰ ⵉⴶⴰⵏ ⵉⵏⵜⴰⴷⴰⵗ ⵙⵉⵍⵎⴰ, ⴻⵈⴰⵍ ⴰⵂⵓⵔⵓⵓⴰⵏ ⵉⵂⴰⵏ ⵜⴰⵎⵓⴷⵔⴻ ⵜⴰⵏ ⵆⴻⴰⵜⵓⵏ ⵎⴰⵛⴰⵏ ⵉⵜⵉⵔⵉⵎ ⴰⵋⴻⵏ ⴷⴰⵗ ⴰⵓⴻⵏⴻⵏ ⵉⴾⵏⴰ ⴰⵎⵉⴾ ⴰⴷ ⵉⵙⵉⵔⵜⴰⵉ ⴷⴻⴷⴻⵏⴻⵙ ⵛⴰⵔⴰⴷⴰⵜ ⴷⴰⵗ ⴰⵓⴰⴷⴰⵎ ⵉⵉⴰⴷⴰⵗ

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.

ⵜⴰⵏⵎⵉⵏⴰⴾ, ⵂⴰⵔⵏⴰⵏ ⴰⴷⵉⴾⵉⵙ ⴰⵏⴰⵉⴰⵜ ⵏⴰⴷⵉⵏⴰⵜ ⴼⴰⵍ ⵜⴰⵎⵓⴷⵔⴻ ⴰⴷ ⴰⵍⴾⵉⵜⴰⴱ ⵓⴰⵏ ⵆⴻⴰⵜⵓⵏ, ⴰⴷⵉⵏ ⴷⴰⵗ ⵎⴰⵂⴰⵣⴰⵏ ⴰⵏⴻⵙ ⴰⵋⵓⵜⵏⴻⵏ ⴷⴰⴷⵉⵏⴰⵜ ⴰⵋⵓⵜⵏⴻⵏ ⴷⴰⴷⵉⵏⴰⵜ ⴰⴷ ⴷⵉⵣⴶⴰⵔⵏⴻⵏ ⴻⵂⴰⵏ ⵓⴰⵏ ⵛⵉⵏⴻⵎⴰ ⴰⴷ ⵙⵉⵍⵎⴰⵜⴰⵏ : ⴰⵎⴰⴶⴰⵏ, ⵓⵉⵜⴰⴶⴰⵏⴻⵏ, ⵓⵉⵂⴰⵏⴻⵏⴻ, ⵉⵎⴰⵣⴰⵔⴰⵏ, ⵓⵉⵏⵛⵉⴾⴻⵍⴰⵏ, ⵉⵎⴰⵣⴰⵔⴰⵏ ⴰⴷ ⵓⵉⵜⴰⴾⴰⵙⵏⴻⵏ, ⴷⴰⴷ ⴷⵉⵏⴰⵜ ⵓⵉ ⴰⵔⵂⴰⵏⴻⵏ ⵆⴰⵙ ⴰⵙⵓⵆⵙⵉⴷ ⵓⴰⵏ ⴱⵓⵙⵜⴻⵔ ⵆⴻⴰⵜⵓⵏ.

"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""."

"ⵂⵉⵔⵙⵛⵂⴼⴻⵍⴷ ⴰⵍⴰⵆⴰⵜ ⴰⵙ ⴰⵏⵉⵎⵆⴰⵔⴰⵏ ⴰⵏ ⵛⵉⵏⴰⵎⴰ ⵓⴰ ⴷⵉⵛⵔⴰⵉⴰⵏ ⴰⵈⴰⵍⴰⵏ ⴰ ⵓⴶⴰⵔⴰⵏ ⴰⵙⵓⵂⵓ ⵏⴰ ⵎⵓⴾⵉⵙ ⵏⵉⵏⵉ, ⵓⵉⵙ ⴰⵏⵓⴼⵓⵛⴰⵆ ⴰⵏ ⵛⵉⵏⴻⵎⴰ ⴰⵙⵓⵙⴰⵎⴰⵏ ⵙⵓⵏⴷ ⵍⴰⵓⵔⴻⵍ ⴰⴷ ⵂⴰⵔⴷⵉ ⴰⴷ ⵆⴻⴰⵜⵓⵏ ""ⴰⵍⴰⵂⵏⴻⵏ ⴰⵏ ⵜⴰⵎⵜⴰⵔ ⵏⴰⵙⴰⵏ""

"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."

ⵜⵉⵣⵎⵉⵜⴻⵏ ⴰⵏ ⵛⵉⵏⴻⵎⴰ ⵔⵓⴶⴻⵔ ⴻⴱⴻⵔⵜ ⴰⵍⴰⵆⴰⵜ : "ⵓⴰ ⵓⴶⴰⵔⴰⵏ ⵛⵍⵓⵓⵏ ⴷⴰⵗ ⵛⵉⵏⴻⵎⴰ ⵓⴰ ⴰⵙⵓⵙⴰⵎⴰⵏ ⴻⵈⴰⵍ ⴱⵓⵙⵜⴻⵔ ⵆⴻⴰⵜⵓⵏ, ⴷⴰⵗ ⴰⵓⴻⵏ ⵉⴻ ⴰⵓⴰ ⵉⴶⴰ, ⵎⴰⵛⴰⵏ ⴷⴰⵗ ⵉⴻ ⴰⵎⵉⴾ ⵓⴰⵙ ⵜⵉⴶⴰ "

"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."

"ⴰⵓ ⵛⵉⵏⴻⵎⴰ ⵎⴻⵍ ⴱⵔⵓⵓⴾⵙ ⵉⵏⵂⴰⵉ ⴰⴷⴰⴶⴰⵍ ⵓⴰ ⵎⴰⵈⴰⵔⴰⵏ ⴰⵏ ⴱⵓⵙⵜⴻⵔ ⵆⴻⴰⵜⵓⵏ, ⵉⵏⴰ : ""ⴰⵔⵂⴻⵆ ⴰⵋⴻⵏ ⵉⴻ (ⴱⵓⵙⵜⴻⵔ)ⴷⴰⵗ ⴰⵙⵉⵏ ⵂⴰⴷⴰⴶⴰⵏ : ⴰⴶⵓⴷⵉⵉⴰⵏ, ⴼⴰⵔ ⴰⵜⵉⴶⵔⵉⵓⴰⴷ ⵓⵆⵉⵍ ⴰⵏ ⵏⴰⵎⴰⵆⴰⵔ ⵎⴰⴾⴰⵔⴰⵏ ⵉⴻ ⵂⴰⵂⵉ ⴷⴰⵗ ⴰⵙⴻⵈⴰⵍ ⵛⵉⵏⴻⴰⵙⵜⴻ, ⴰⴷ ⴷⴰⵔⴰⵜ ⴰⵓⴻⵏ, ⴰⵔⵉⵈⵉⵙⴰⵏ ⴷⴰⵗ ⴰⴶⵓⴷⵓⵏⵉⵉⴰ ⵉⴾⵉⴰⴷⴰⵏ ⴰⵓⴰⴷⵉⵎ ⵉⵙⴰⵏⴰⵏ ⵉⵜⴰⴶ ⵂⴰⵔⴰⵜⴰⵏⴻⵙ ⴰⵙⵉⵔⵎⴰⵆⵏⴻⵏ.

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

ⴻⵎⴰⴶ ⴰⴷ ⴷⴰⵎⴰⵆⵛⴰⴷ ⵋⵓⵂⵏⵏⵉ ⵆⵏⵓⵆⴱⵉⵍⵍⴻ ⵉⵏⴰ ⵆⴻⴰⵜⵓⵏ ⵙⵓⵏⴷ ⴰⵛⴰⵛⵉⵍ ⵏⵓⴼⴰⵙ ⵓⴰ ⴷⴰⵗ ⵉⴶⴰⵔⴰⵓ ⴰⵏⴰⵉⴰⵜ ⵉⴻ ⴷⴰⵓⵍⴰⵜⴰⵏ ⵜⵉⵏ ⵋⴰⵛⴾⴰⵙⵙ

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

ⵍⴻⵓⵉⵙ ⴻⵈⴰⵍ ⵉⵏⵜⴰⴷⴰⵗ ⴰⵣⵉⵏⵓⵣⴶⵓⵎⴰⵏ ⴼⴰⵍ ⵉⴶⵉ ⴰⵏ ⴻⵍⴻⴰⵏⵓⵔ ⵓⴰ ⵉⵏⴰⵏ ⵜⵉⵜⴰⵓⴻⵏⴻⵙ ⵓⵍⴰⵂⵏⴰⵜ ⴰⵜ ⵜⴰⵏ ⵆⴻⴰⵜⵓⵏ

"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."

"ⴻⴰⵗ 1964, ⵉⵍⵉⵆⴰⵜ ⴷⴰⵗ ⵙⴰⵍⴰⵏ ⴰⵙ ⵉⴶⵉ "ⵏⴰⵎⵉⵏⵙⵉ ⵏⴰ ⵆⵓⵔⵆⵓⵔⵔⵓ ⵉⴱⴷⴰⵏ", ⴰⵏⵜⴰ "ⴰⵙⵉⵏⵜⴰ ⴷⵉⵂⵓⵙⴾⴻⵏ ⵙⵜⴻⵜⵙⵓⵏ ⴰⴷ ⵉⵣⴰⵔ ⵉⴼⵏⴰⵣⵜⵉ", ⵓⵆⴰⴷ ⴻⴼⴰⵉ ⴰⵙ ⵙⴰⵎⴰⵏ ⵉⵂⴰ ⴰⵙⵓⴾⴰⵔ

His paternal great-grandparents were Welsh.

ⵉⵎⴰⵔⴰⵓⴰⵏ ⵏⴻⵙ ⵓⵉ ⵂⵉⵏ ⵉⵍⴰⵏⴻⵏ ⵉⴱⵔⴻⵜ ⴰⵏ ⵜⵉⵙ ⴰⵈⴰⵍⴰⵏ ⵗⴰⵍⵍⵜⴰⵏ

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

ⵍⵍⵓⵉⴷ ⴰⵙⵉⵏⵜⴰ ⴰⵙⵉⵔⵜⴰⵉ ⴰⴷ ⵔ ⵓⴰⵛⵂ ⵓⴰ ⵉⴶⴰⵏ ⵉⵎⴰⵏⴻⵙ ⵙⵜⵓⴷⵉⵓ ⴷⴰⵗ 1913

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

ⴻⴰⵗ 1919, ⵜⴰⴼⴰⵍ ⵍⵍⵓⵉⴷ ⴼⴰⵍ ⴰⵜⵉⵍⴾⵉⵎ ⵉⴻ ⵜⴰⵔⵂⴰⵏⴻⵙ ⵏⴰⴼⵓⵛⴰⵆ

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

ⴰⵜⵓⴰⵏⴰ ⴰⴼⴰⵍ ⵍⵍⵓⵉⴷ ⵉⴾⵉⴰⴷ ⴻⴰⴱⵉⵙ, ⴰ ⵜⴰⵜ ⴰⵜⵉⵎⵉⵍ

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

ⵂⴰⵔⵓⵍⴷ ⵍⵍⵓⵉⴷ ⴰⵏⴾⴰⵛⵉⵏ ⴼⴰⵍ ⵉⴷⵉⵏⴰⵜ ⵓⵉ ⵏⵓⴼⵓⵛⴰⵆ ⴰⴷ ⵉⵣⴰⵔ ⵉⴶⴰ ⵜⴰⵜⵉⵎⴰⵍ ⵏⴰⵂⴰⵍⵉⵙ ⵉⵎⴷⴰⵏ ⴷⴰⵔ ⴰⴼⴰⵍⴰⵙⴰⵜ ⴰⴷ ⴰⵎⴰⵏⵂⴰⵉ ⵓⴰⵏ ⵉⵜⵉⵓⵉⴷⵉⵙ

"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"". """

"ⴼⴰⵍ ⴰⵔⵉⵙⵓⵎⵓⵜⵉⵉ ⵉⵎⴰⵏⴻⵙ, ⵍⵍⵓⵉⴷ ⴰⵙⵉⵓⴰⵔ ⵜⵉⵎⴰⵏⵂⴰⵉⴻⵏ ⵙⵓⵏⴷ ⵉⵙⴾⴰⵓⴰⵏ ⵓⵉⵏⴰⵏ ⵉⵍⴰ ⵍⴻⵏⵜⵉⵍⵍⴻ, ⵎⴰⵛⴰⵏ ⵉⵍⴰⵙⵓ ⴾⴰⵔⵛⴰⵉⴰⵏ ⵓⵆⴰⴷⵏⴻⵏ ; ⴷⴰⵜⴰⵓⴻⵏ, ⵉⴶⴰ ⵉⵣⴰⵎⵣⴰⵎ ⴰⵏ ⴱⴰⵂⵓ ⴰⴷ ⴾⴰⵍⵛⴰⵉⴰⵏ ⵉⵛⵍⴰⵉⵏⴻⵏ ⴰⵏ ⵙⵓⵏⴷ ⵛⵂⴰⴱⵍⵉⵏⴻⵙⵈⵓⴻ ""ⵍⵓⵏⴻⵙⵓⵎⴻ ⵍⵓⴾⴻ"".

"They were natural and the romance could be believable."""

"ⴻⵈⴰⵍ ⵉⵏⵜⴰ ⵆⴰⵙ ⴰⴷ ⵜⵉⵎⴰⵍ ⴰⵏ ⵜⴰⵔⵂⴰ ⴻⵈⴰⵍⴰⵏ ⵎⵓⵔⴷⴰ."

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.

ⴰⵛⵂⴰⵍ ⵓⴰⵏ ⴰⵍⵆⴰⴷ 24 ⴰⵓⵓⵜ 1919 ⵉⵈⴰⵍ ⴰ ⵉⴷⴾⴰⵍⴰⵏ ⴼⴰⵍ ⵙⴰⵍⴰⵏ ⵓⵉⵏ ⵜⵓⵓⵣⴰⵏⴻⵏ ⵉⵏ ⴼⵓⵜⵓⵜⴰⵏ ⴼⴰⵍ ⵙⴰⵍⴰⵏ ⵓⵉⵏ ⴰⵙⵙⵉⵂⵔⴰⵓ ⵏⴰⵜⵓⵉⵙⵙⵉⵏ ⴷⴰⵆ ⴰⴷⴰⴶ ⵓⴰ ⴷⴰⵆ ⵜⵉⵜ ⵓⵉⴶⵉⵏ ⵙⵓⵂⴰⵆ ⵉⴷ ⵜⴰⵍⵉⵓⴻⵏ(ⴼⵓⵜⵓⵜⴰⵏ) ⵓⵉⵜⵣⴻⵍ ⵓⴰⵏ ⵍⵓⵙ ⴰⵏⴶⴻⵍⴻⵙ,ⵉⴾⴾⴰⵍ ⴰⵓⴰ ⵙⵓⵔⴷⴰ ⴰⵙ ⴰⴷⴷⵓⴱⴰⵜ ⴰⴷ ⵉⵈⵉⵍ ⵉⵍⴰⵍⴰⵏ ⵉⵏ ⵜⴰⵙⵉⵍⴼⴰⵈ ⵜⵉⵣⴰⵔ ⵉⵙⵙⵉⵔⵆⴻⵜ ⵙⴰⴱⴻⵏ

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.

ⵍIⵓⵉⴷ ⴰⵎⵓⵙ ⴰ ⵉⵙⵂⵍⴰ ⴰⵙⵙⵉⵔⵆ ⵏⴰⴱⴻⵏ ⵉⵙ ⵜⴰⵏⴰⵍⵍⴻ ⵉⵏ ⵜⴰⵙⵉⵍⴼⴰⵈ ⴻⵏⴷⴰⵆ ⴰⵙ ⵜⵉⴱⴱⵓⵈⴰⵜ ⵜⵉ ⵜⵉⴾⵏⴰⵜ ⴰⵙⵙⵉⵔⵆ ⵂⵓⵍⵍⴻⵏ ⴷⴰⵆ ⵉⴷⵉⵎ ⴷ’ⵉⴷⵎⴰⵔⴰⵏ ⵉⵂⵉⴰⴶ ⴷⴰⵆ ⵜⵉⵜ ⵏⴻ

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

ⵍⵍⵓⵉⴷ ⵉⴷ ⵔⵓⴰⵛⵂ ⵉⴱⴷⴰⵏ ⵗⵓⵔ 1924, ⵗⴰⵙ ⵍIⵓⵉⴷ ⴰⵎⵓⵙ ⴻⵎⴰⵛⴰⵆⴰⵍ ⵉⵏ ⵎⴰⵏ ⵏⴻⵙ ⵏⵉⵎⵎⵉⴾ ⵓⴰ ⴷⴰⵗ ⵏⴰⴷⴰⴾⴰⵍ ⵉⵏ ⵜⴰⵍⵉⵓⴻⵏ ⵏⵉⴷⴷⵉⵏⴰⵜ ⵉⴷ ⵂⴰⵔⴰⵜⴰⵏ ⵙⴰⵎⴰⵜⵉⴾⵓⴰⵉ ⵏⴰⵙⴰⵏ ⵉⵏⴻⵙ ⴼⴰⵍ ⵎⴰⵏ ⵏⴻⵙ

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

ⴼⵉⵍⵎⵜⴰⵏ ⵓⵉⵏ ⴼⵓⴾ ⵉⴾⵔⴰⵛⴰⵏ ⵓⴶⵔⴻⵂ ⴷⵉⵜⵓⴰⵔⵂ ⵙⵉⵔⵙⴰⵏ ⴷⵓⵔⴰⵓⴰⵏ ⵜⵉⵓⴰⵜ ⴰⴷ ⴾⴰⵏⴰⵏ ⴷⴻⵆ ⴰⵛⵓⴶⵉⵛ ⵏ ⴰⵣⵔⵉⴼ, ⵍIⵓⵉⴷ ⵉⵈⴰⵍ ⵂⴰⵔ ⵓⴰ ⴻⵎⴰⵛⴰⴶⴰⵍ ⵓⴰ ⵓⵋⴰⵔⴰⵏ ⵜⵉⵎⵣⴰⵍ ⵉⵏ ⵓⵉⵜⵉⴰⵏ ⵓⵉⵏ 1920.

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

ⵆⵓⵔ ⴰⵍⵓⴰⵈ ⵓⴰⴷ ⵉⵛⵓⵂⵉⵛⵓⵍ ⵉⵎⵉⴾⴰⵏ ⵏⴻⵙ ⴷⴰⵗ ⵜⵉⵙⵙⴻⵜ ⵓⴰⵔ ⵓⵂⴻⵔ ⵉⴷ ⵎⴰⵋⴰⵉⵂⴰⵏ ⵉⵏ ⴼⵉⵍⵉⵎⵜⴰⵏ ⵏⵉⴱⵉⵉⵜⵉⵍ ⵏⴻⵙ ⵗⵓⵔ ⵓⵉⵜⵉⴰⵏ ⵓⵉⵏ 1930

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.

ⵆⵓⵔ 23 ⵎⴰⵔⵙ 1937, ⵍIⵓⵉⴷ ⵉⵛⵉⵏⵛⵉⵏ ⴻⴷⴰⴶ ⵏⴻⵙ ⵓⴰⵏ ⴷⴰⵗ ⵉⵜⴰⴶ ⴼⵉⵍⵉⵎⵜⴰⵏ ⵉⴷ ⵙⵓⵂⴰⵆ, ⵆⴰⵙ ⵂⴰⵔⵓⵍⴷ ⵍIⵓⵉⴷ ⵎⵓⵜⵉⵓⵏ ⴱⵉⵛⵜⵓⵔⴻ ⵛⵓⵎⴱⴰⵏⵉ ,ⵉⴻ ⵍ’ⴻⴶⵍⵉⵙⴻ ⵜⴰⵏ ⵋⴻⵙⵓ-ⵛⵔⵉⵙⵜ ⵙⴰⵉⵏⵜⵙ ⵉⵏ ⵛⵉⵍⴰⵏ ⵓⵉ ⵉⵛⵔⴰⵉⵏⴻⵏ

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.

Iⵈⴰⵍⵉⴷ ⵉⴰⴷ ⴰⵋ ⴰⴼⵓⴾⵉⵔ ⵉⵛⵔⴰⵉⴰⵏ ⴷⴰⵗ ⵟⵂⴻ ⵙⵉⵏ ⵓⴼ ⵓⴰⵔⵓⵍⴷ ⴻⵉⴷⴷⵍⴻⴱⵓⵛⴾ, ⵉⴾⴼⴰ ⵓⴶⵔⴻⵂ ⵓⵗⵛⴰⴷ ⴻⵏ ⵜⴰⵎⴰⵛⴰⵆⴰⵍⵜ ⵉⵏ ⵍIⵓⵉⴷ, ⵉⴷ ⵉⵙⵏⴰⵎⴰⵏⴰⴾ ⴱⵔⴻⵙⵜⵓⵏ ⵙⵜⵓⵔⴶⴻⵙ ⵉⴷⵂⴰⵍ ⵂⵓⵓⴰⵔⴷ ⵂⵓⴶⵂⴻⵙ.

"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""."

"ⵍⵍⵓⵉⴷ ⴰⴷ ⵙⵜⵓⵔⴶⴻⵙ ⴰⵍⴰⵏ ⵉⵏⵓⵣⴶⵓⵎⴰⵏ ⴰⴱⴷⴰⵏⴻⵏ ⵉⵓⵔ ⵍⴰⵍⴰⵏ ⴰⴷ ⵜⴰⵎⴰⴷⴰⵛⴰⵏ ⵂⴰⵔⴾⵓⴾ ⴷⴰⵗ ⴰⵙⵉⴾⵉⵍ ⵏⴰⵙⴰⵏ ; ⵍⵍⵓⵉⴷ ⴻⵈⴰⵍ ⵉⵏⵜⴰⴷⴰⵗ ⴰⵉⵛⵍⴰⵍⴰⵏ ⴼⴰⵍ ⴰⵓⴰⵙ ⵙⵜⵓⵔⴶⴻⵙ ⵓⴾⴰⵉ ⴾⴰⵔⴰⴷ ⵂⴰⵔ ⴰⴾⵓⵣ ⵓⵔⴰⵏ ⴷⴰⵗ ⵙⵛⵔⵉⴱⵜ ⵓⴰⵣⴰⵔⴰⵏ ⴰⵏ ⵜⴰⵣⵓⵏⴻ ⴰⵏ ⵙⵉⵍⵎⴰ ""ⵓⵉⵏⵉⵙⵉⵏ ⴰⵍⴾⴰⵎⵏⴻⵏ ⴷⴰⵗ ⴾⴰⵔⴰⴷ ⴰⵈⴰⵍⴰⵏ ⴰⵉⴾⵜⴰⴱⴰⵏ ⴷⴰⵗ ⴰⵙⴰ ⵂⴰⴷⴰⵏ ⵎⴻⵆ ⴰⵉⵓⵔ"