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

ⵍⵉⵍⵢⴰⵏ ⴷⵢⴰⵏⴰ ⴳⵉⵛ (14 ⴽⵟⵓⴱⵕ, 1893 - 27 ⴱⵕⴰⵢⵕ, 1993) ⵜⴽⴰⵜⵜⵉⵏ ⵜⴳⴰ ⵜⴰⵙⵎⴷⴰⵢⵜ, ⴷ ⵜⴰⵎⵙⵙⵓⴼⵖⵜ ⴷ ⵜⴰⵏⴰⵙⵔⴰⵢⵜ ⵏ ⵓⵙⵉⵏⴰⵔⵢⵓ ⵜⴰⵎⵉⵔⵉⴽⴰⵏⵉⵜ.

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

ⴳⵉⵛ ⵜⴽⴽⴰⵜⵉⵏ ⵜⴳⴰ ⵜⵉⵜⵔⵉⵜ ⴱⴰⵀⵔⴰ ⵉⵎⵇⵇⵓⵔⵏ ⵙⴳ 1912 ⴰⵔ ⵉⵙⴳⴳⴰⵙⵏ ⵏ 1920, ⵍⵉⵖ ⵜⴽⴽⴰⵜⵉⵏ ⵜⵙⵙⵓⵔ ⴳ ⵍⴰⴼⵍⴰⵎ ⵏ ⵓⵙⴼⴼⵓⴳ ⴷ. ⵡ. ⴳⵔⵉⴼⵉⵜ.

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.

ⵜⵙⴽⵔ ⴷⴰⴳ ⵢⴰⵜ ⵍⵅⴷⵎⵜ ⵉⵙⵜⴰⵡⵀⵎⵎⴰⵏ ⴳ ⵙⵉⵣⵡⴰⵔ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1950 ⴰⵔ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1980, ⴷ ⵜⵇⵇⵏ ⵜⴰⵖⴰⵔⴰⵙⵜ ⵏⵏⵙ ⵍⵍⵉⵖ ⵜⵎⵜⵜⵍ ⴷ ⴱⵉⵜⵜⵉ ⴷⵉⵢⴼⵉⵙ ⴳ ⵍⴼⵉⵍⵎ ⴷⴰ ⵡⴰⵢⵍⵣ ⵓⴼ ⵓⴳⵓⵙⵜ ⵏ 1987.

The first several generations of Gishes were Dunkard ministers.

ⵎⵏⵏⴰⵡ ⵉⵖⵔⴼⵏ ⵣⵡⴰⵔⵏⵉⵏ ⵏ ⴰⵉⵜ ⴳⵉⵛ ⴽⴰⵏⵜⵜⵉⵏ ⴳⴰⵏ ⵉⵔⴳⴰⵣⵏ ⵏ ⴷⴷⵉⵏ ⴰⵎⴰⵙⵉⵃⵉ.

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.

ⵜⵔⵣⴻⵎ ⵉⵏⵏⴰⵙⵏⵜ ⵎⴰⵊⵉⵙⵜⵉⴽ ⴽⴰⵏⴷⵢ ⴽⵉⵜⵛⴻⵏ ⴷ ⵜⴼⵔⵅⵉⵏ ⵄⴰⵡⵏⵏⵜ ⵖⵓⵣⵣⵏⵣ ⵏ ⵜⵉⵔⵓⴼⵉⵏ ⴷ ⵍⴼⴰⵏⵉⴷ ⵉ ⵉⴷⴱⵓ ⵍⵎⵙⵔⴰⵃ ⵎⴰⵊⴻⵙⵜⵉⴽ, ⵜⴰⵎⴰ ⵏⵏⵙⵏ.

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

ⵍⵉⵖ ⴷⴰⵔⵙ ⵙⴰ ⴷ ⵎⵔⴰⵡ ⵍⵉⵍⵢⴰⵏ ⵜⵎⵎⵓⴷⴷⴰ ⵙ ⵛⴰⵡⵏⵉ ⵓⴽⵍⴰⵀoⵎⴰ ⵍⵍⵉⵖ ⵏ ⵉⵣⴷⵖ ⴳⵎⴰⵙ ⵏ ⵊⵉⵎⵙ ⴰⵍⴼⵔⵉⴷ ⴳⵔⴰⵏⵜ ⴳⵉⵛ ⴷ, ⵎⵓⴷ, ⵜⴰⵎⵖⴰⵔⵜ ⵏⵏⵙ.

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

ⵉⵎⵎⵓⵜ ⵉⴱⴱⴰⵙ ⴳ ⵏⵓⵔⵎⴰⵏ, ⵓⴽⵍⴰⵀoⵎⴰ, ⴳ 1912, ⵎⴰⵛ ⵜⵓⵔⵔⵉⴷ ⵙ ⵓⵀⴰⵢⵓ ⵎⵏⵏⴰⵡ ⵉⵢⵢⵓⵔⵏ ⵙⵉⵣⵡⴰⵔ.

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

ⵍⵍⵉⵖ ⵜⵎⵇⵇⵓⵔ ⵍⵉⵍⵢⴰⵏ ⴷ ⴷⵓⵔⵓⵜⵉ ⴽⵛⵎⵏⵜ ⵙ ⵓⵎⵣⴳⵓⵏ, ⵎⵎⵓⴷⴷⵓⵏⵜ ⵣⵍⵉⵏⵜ ⵃⵉⵏⴰ ⴳ ⵓⵙⴼⴼⵓⵖⵏ ⵣⵍⵉⵏⵉⵏ.

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

ⴳⵉⵛ ⵜⵎⴹⴼⴰⵔ ⵜⴰⵡⵡⵓⵔⵉ ⵏⵏⵙ ⴳ ⵓⵎⵣⴳⵓⵏ ⴰⵔ 1913, ⵍⵉⵖ ⵉⵍⵍⴰ ⴰ ⴳⵓⴷ ⵍⵉⵜⵜⵍ ⴷⵉⴼⵉⵍ, ⵜⵓⵙⵅⵉ ⵙ ⴼⴰⵇⵔ ⴷⴷⴰⵎ.

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

ⵜⴰⵡⵡⵓⵔⵏⵉⵙ ⵖ ⴷⴷⵓⵔⵓⴼ ⴰⴷ ⵀⵔⵛⵏⵉⵏ ⴼⴰⵏⴰⵙ ⴰⵇⵓⵛⵛⵃ ⵖ ⵉⴹⵓⴹⴰⵏ.

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

ⵉⵙⵙⵎⵔⵙ ⵍⵎⴰⵡⴰⵀⵉⴱ ⵏⵏⵙ ⴰⵔ ⵓⵣⵣⵓⵔ ⵏⵏⵙⵏ ⴷ ⵉⵙⴱⵓⵖⵍⴰⵜ ⵙ ⵢⴰⵜ ⵜⴰⴱⵃⵍⴻⵢⵜ ⵜⴰⵙⵃⵓⵙⵉⵜ ⵎⴰⵛ ⵜⴰⵎⴰⴽⴰⵢⵜ.

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

ⵜⵙⴽⵔ ⵓⵙⵓⴼⵖⴷ ⵓⵍⵜⵎⴰⵙ ⴷⵓⵔⵓⵜⵉ ⵖ ⵢⴰⵏ ⵍⴼⵉⵍⵎ, ⵔⴻⵎⵓⴷⵍⵉⵏ ⵀⵉⵔ ⵀⴰⵣⴱⴰⵏⴷ (1920), ⵍⵉⵖ ⵢⵓⵙⵉ ⴷ. ⵡ. ⴳⵔⵉⴼⵉⵜ ⵜⴰⴳⴳⴰⵢⵜⵏⵙ ⵙ ⵓⴷⵖⴰⵔ.

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.

ⵜⵓⴳⵉ ⵉⵇⴰⵔⵉⴹⵏ ⵎⴰⵛ ⵜⵙⵙⵓⵜⵔ ⵙ ⵢⴰⵏ ⵚⵚⴰⵍⵉⵔ ⵉⵜⵜⵏⴽⵛⵓⴼⵏ ⴷ ⵢⴰⵜ ⵜⵉⴳⵎⵉⴹⵉ ⵉ ⵙⵜⵓⴷⵢⵓ ⴱⴰⵛ ⴰⴷ ⵙⵙⵓⵖⵍⵉⵏ ⵜⴰⵖⴰⵔⴰ ⵏ ⵍⴰⴼⵍⴰⵎⵏⵙ — ⵉⵜⵙⵙⵅⴷⵎ ⴰⵎⴰⴼⴰⵢ ⵏ ⵉⵙⵎⴷⴰⵢⵏ ⴷ ⵉⵏⴰⵙⵔⴰⵢⵏ ⵏ ⵓⵙⵉⵏⴰⵔⵢⵓ.

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.

ⵜⵓⴳⴳⵜ ⵏ ⵜⵉⵍⴰⵍⵍⴰⵜⵉⵏ ⵏ ⵍⵃⵉⵇⴱⵜ ⵉⵃⵉⵙⵙⵉⵏ, ⵣⵓⵏⴷ ⴳⵉⵛ ⴷ ⴱⵉⴽⴼⵓⵔⴷ, ⴷⵓⵙⵏⵜ ⴷ ⴳⴰⵏⵜ ⵜⵉⵣⵣⵉⴷⴳⴰ, ⵎⴰⵛ ⵖ ⵓⵙⴳⴳⵯⴰⵙⵏ ⵣⵡⴰⵔⵏⵉⵏ ⵏ 1930 (ⴹⴰⵕⵜ ⴰⵙⵙⴳⵎ ⵏ ⵓⵎⵙⵍⵉ ⴷ ⴷⴰⵜ ⴰⵣⵣⴳⵉⵔ ⵏ ⵓⵣⵔⴼ ⵏ ⵜⴰⵙⵢⴰⴼⵓⵜ ⵏ ⵍⴰⴼⵍⴰⵎ) ⵜⵉⵍⴰⵍⴰⵜⵉⵏ ⴽⴰⵏⵜⵉⴽ ⴳⴰⵏⵜ ⵉⵡⵙⵙⴰⵔⵏ.

"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."

"ⵉⵔⴰ ⵍⵓⵉⵙ ⵎⴰⵢⵔ ⴰⵉⵙⵙⵓⴷⵙ ⵢⴰ ⵓⴷⴰⵛⴰⴼ (""ⵏⵓⴽ ⵀⴻⵔ ⵓⴼⴼ ⵀⴻⵔ ⴱⴻⴷⴻⵙⵜⵍⵍ"") ⴱⴰⵛ ⴰⵢⵙⵎⵓⵏ ⵜⴰⵖⵓⵙⵉ ⵉ ⴳⵉⵛ, ⵎⴰⵛ ⵍⵉⵍⵢⴰⵏ ⵜⵓⴳⵉ ⴰⵜⵍⵄⴱ ⵖ ⵙⵙⵉⵏⵉⵎⴰ ⴷ ⴱⵕⵕⴰⵏⵙ, ⴷ ⵜⵓⵔⵔⵉⴷ ⵙ ⵜⴰⵢⵔⵉⵏⵙ ⵉⵣⵡⴰⵔⵏ, ⴰⵎⵣⴳⵓⵏ.

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

ⵍⵍⵉⵖ ⵜⵓⵔⵔⵉⴷ ⵙ ⵍⴰⴼⵍⴰⵎ, ⵜⵙⵎⵎⴰ ⴳⵉⵛ ⵉ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏⵜⴽⴰⴷⵉⵎⵉⵜ ⵍ ⵜⴰⵙⵎⴷⴰⵢⵜ ⵜⴰⵎⴰⴼⴰⵢⵜ ⵖ 1946 ⵉ ⴷⵓⵍ ⵉⵏ ⴷⴰ ⵚⵚⴰⵏ.

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).

ⵜⵙⵡⵉⵏⴳⵎ ⵖ ⵎⵏⵏⴰⵡ ⵏ ⵜⵉⵍⴰⵍⵉⵏ ⵖ ⴳⵓⵏ ⵡⵉⴷ ⴷⴰ ⵡⵉⵏⴷ ⴳ ⵉⵍⵍⵉⵏ oⵀⴰⵔⴰ, ⵉⵏⵏⴰⵙ ⵏ ⵙⴽⴰⵔⵍⵉⵜ (ⵍⵍⵉ ⵉⴼⵜⴰⵏ ⵙ ⴱⴰⵔⴱⴰⵔⴰ oⵏⵉⵍ), ⴰⵔ ⵜⴰⵎⴳⴳⴰⵏⵜ ⴱⵉⵍⵍ ⵡⴰⵍⵜⵉⵏⴳ (ⵍⵍⵉ ⵉⴼⵜⴰⵏ ⵙ ⵓⵏⴰ ⵎⵓⵏⵙⵓⵏ).

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

ⵜⵓⴳⴳⵯⵉ ⴰⵎ ⵎⴰⵔⵉⴰ ⴼⵢⵓⴷⵓⵔⵓⴼⵏⴰ ⵜⴰⴳⵍⴷⵉⵜ ⵏ ⴷoⵡⴰⴳⴻⵔ ⵖ ⵜⴰⵎⵣⴳⵓⵍⵜ ⵏ ⵓⵣⴰⵡⴰⵏ ⵉⴷⵔⵓⵙⵏ ⵖ ⴱⵔⵓⴷⵡⴰⵢ ⵏ 1965 ⴰⵏⵢⴰ.

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

ⵜⵎⵙⵇⵙⴰ ⵖ ⵓⵙⴷⴷⵉ ⵓⵏⵜⵉⵎ ⵏ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵀⵓⵍⵉⵡⵓⴷ: ⴰ ⵙⵉⵍⵉⴱⵔⵉⵛⵏ ⵓⴼ ⴷⴰ ⴰⵎⵉⵔⵉⴽⴰⵏ ⵙⴰⵢⵍⵏⵜ ⴼⵉⵍⵎ (1980).

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

ⵜⴰⵔⵙ ⵢⴰⵜ ⵜⵉⵜⵔⵉⵜ ⵖ ⵡⴰⵍⴽ oⴼ ⴼⵉⵎ ⵖ ⵀⵓⵍⵉⵡⵓⴷ ⵖ 1720 ⴼⴰⵢⵏ ⵙⵜⵔⵉⵜ.

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

ⵖ ⵓⵍⵎⵓⴳⴳⴰⵔ ⵏ ⴽⴰⵏ, ⴳⵉⵛ ⵜⵔⴱⵃ ⴰⵙⴱⵉⴷ ⵏ 10-ⵏⵜⵓⵙⴷⵉⴷⵉⵏ ⴷⴰⵔ ⵓⴳⴷⵓⴷ.

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

"ⵜⵣⵓⵙⵙⵔ ⵜⵉⵏⴷⵔⵜ ""ⵎⴰⵔⵉ ⴼⵓⵔ ⵎⵓⵔⴷⵔ"" ⵖ 9 ⵛⵓⵜⴰⵏⴱⵉⵔ, 1943."

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

ⵓⵛⵛⵏⴰⵙ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵜⴰⵙⵍⵍⵓⵎⵎⵜ ⵏ ⵜⴽⴰⴷⵉⵎⵉⵜ ⵖ 1971, ⵖ 1984 ⵓⵛⵛⵏⴰⵙ ⵜⴰⵙⵎⵖⵓⵔⵜ ⵏ ⴰⴼⵉ ⵍⴰⵢⴼ ⴰⵜⵛⵉⴼⵎⵏⵜ.

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

ⵜⴰⵙⴷⴰⵡⵉⵜ ⵜⵓⵛ ⵉ ⴳⵉⵛ ⴷⴷⵓⴽⵜⵓⵔⴰ ⵜⴰⵙⵍⵍⵓⵎⵎⵜ ⵖ ⴰⵙⵙ ⴰⵡⴰⵔ.

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

ⵍⵍⵉⵖ ⵜⵎⵎⵓⵜ ⴳⵉⵛ ⵖ 1993, ⵜⵙⵎⵓⵏ ⵜⴰⵙⴷⴰⵡⵉⵜ ⵉⵇⴰⵕⵉⴹⵏ ⴱⴰⵛ ⴰⴷ ⵙⵅⴰⵜⴰⵔⵏ ⵜⴰⵙⵏⵏⵉⵖⵜ ⵏ ⵉⴽⵜⵜⴰⵢⵏ ⵏ ⴳⵉⵛ.

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.

ⴰⵛⵔⴰⴽ ⵏⴳⵔⴰⵙ ⴷ D. W. ⴳⵔⵉⴼⵉⵜ ⵉⵇⵕⴱ ⴱⴰⵀⵔⴰ ⴰⵢⵍⵉⵖ ⵏⵏⴰⵏ ⴽⵔⴰ ⵉⵙ ⴳⴰⵏ ⵉⵎⴰⵔⴰⵢⵏ, ⵖⴰⵢⴰⴷ ⵓⵔ ⵊⵊⵓ ⴳⵉⵙ ⵜⵙⴰⵡⵍ ⴳⵉⵛ, ⵎⴰⵛ ⵎⵏⵏⴰⵡ ⵍⵍⵉ ⴷⵉⵙ ⵉⵇⵇⵔⴱⵏ ⴰⵡⵔⵏ ⵉⵙ ⴳⴰⵏ ⴻⵎⴰⵔⴰⵢⵏ.

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.

ⵖⵓⵙⴳⴳⵯⴰⵙⵏ ⵏ 1920, ⴰⵛⵔⴰⴽ ⵏ ⴳⵉⵛ ⴷ ⴷⵓⵍⵍ ⵉⵏⵏⴼⵍ ⵙ ⵓⴽⴰⵛⴰⴼ ⵍⵉⵖ ⵜⵉⴹⴼⵕ ⵖ ⵜⴰⵙⵏⴱⴷⴰⵢⵜ ⴷ ⵉⵙⴼⴼⵓⵖ ⴻⴼⵔⵓⵔⵉⵜⵏ ⵏ ⵓⵛⵔⴰⴽⵏⵙⵏ ⵉ ⵡⴰⴳⴷⵓⴷ.

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

ⵉⵙⵙⵉⵎⵖⵓⵔ ⵊⵓⵔⵊ ⵊⵉⵏ ⵏⴰⵜⴰⵏ ⴱⴰⵀⵔⴰ ⵓⵔⴰⵔⵏⵙ —ⴷ ⵉⵙⵎⵢⴻⴼⵜ ⵙ ⵉⵍⵉoⵏoⵔⴰ ⴷⵓⵙ.

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.

ⵍⵍⵉⵖ ⵜⵍⵍⴰ ⵜⴰⵙⵙⴰⵙⵜ ⵜⴰⵙⵔⵜⴰⵏⵜ ⵖ ⵎⵉⵔⵉⴽⴰⵏ ⵍⵍⵉ ⵜⴽⴽⴰ ⵖ ⵍⵍⵉⵖ ⵉⴱⴷⴰ ⴰⵎⴳⴰⵔⵓ ⴰⵎⴰⴹⵍⴰⵏ ⵡⵉⵙⵙ ⵙⵉⵏ ⵖ ⵍⵓⵔⵓⵒ ⴰⵔ ⴰⵙⵓⴳⵉ ⵏ ⴱⴻⵔⵍ ⵀⴰⵔⴱⴻⵔ, ⵜⵖⴰⵎⴰ ⵖ ⵜⵉⵎⵙⵔⵉ ⵜⴰⵙⴼⵏⵥⴰⵢⵜ.

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.

ⵊⵓⵣⵉⴼ ⴼⵔⴰⵏⴽ ⴽⵉⵜⵓⵏ (4 ⴽⵟⵓⴱⵕ, 1895 – 1 ⴱⵕⴰⵢⵕ, 1966), ⵉⵜⵓⵙⵙⴰⵏ ⵙ ⴱⵓⵙⵜⵔ ⴽⵉⵜⵏ, ⵉⴽⴽⴰⵜⵉⵏ ⵉⴳⴰ ⴰⵙⵎⴷⵢ, ⴰⵎⵙⵓⴼⵖ ⵏ ⵍⴰⴼⵍⴰⵎ, ⴰⵎⵙⵢⴰⴼⵓ, ⴰⵏⴰⵙⵔⴰⵢ ⵍ ⵓⵙⵉⵏⴰⵔⵢⵓ ⴰⵎⵉⵔⵉⴽⴰⵏⵉ.

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

ⵜⴷⵔⵓⵙ ⵍⵅⴷⵎⵜⵏⵙ ⵍⵍⵉⵖ ⵉⵙⴳⵎⴹ ⴷ ⵎⵉⵜⵔⵓ-ⴳⵓⵍⴷⵡⵢⵏ-ⵎⴰⵢⴻⵔ ⴷ ⵉⵄⴷⴷⵎ ⵜⴰⵙⵉⵎⴰⵏⵜ ⵜⴰⵏⴰⵣⵓⵔⵜⵏⵙ.

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

ⵜⵓⴳⴳⵜ ⵏ ⵍⴰⴼⵍⴰⵎ ⵏ ⴽⵉⵜⵓⵏ ⵖ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1920 ⴷⴰⵔⵙⵏ ⴰⵀⴰⵎⵢⴰ ⵉⴳⴳⵓⵜⵏ, ⵣⵓⴳ ⵛⵉⵔⵍⵓⴽ ⵊⵔ. (1924), ⴷⴰ ⴷⵊⵉⵏⵉⵔⴰⵍ (1926), ⴷ ⴷⴰ ⴽⵉⴼⵎⴰⵏ (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."

"ⵉⴱⴱⴰⵙ ⵉⴳⴰ ⵊoⵣⵉⴼ ⵀⴰⵍⵍⵉ ""ⵊⵓ"" ⴽⴻⵜⵓⵏ, ⵍⵍⵉ ⵉⵎⵎⵓⴷⴷⴰⵏ ⴷ ⵀⴰⵔⵔⵉ ⵀⵓⴷⵉⵏⵉ ⵖ ⵓⴼⵕⵕⵊⵏⵙⵏ ⵉⵙⵎⴰⵙ ⴷⴰ ⵎⵓⵀⴰⴽ ⵉⵏⴷⵢⴰⵏ ⵎⵉⴷⵉⵙⵉⵏ ⴽⵓⵎⴱⴰⵏⵉ, ⵏⵖⴷ ⴷⴰ ⴽⴻⵜⵓⵏ ⵀⵓⴷⵉⵏⵉ ⵎⵉⴷⵉⵛⵉⵏ ⵛⵓ ⴽoⵎⴱⴰⵏⵉ, ⴳⴰⵏ ⴰⴼⵕⵕⵊ ⴷ ⴰⵔ ⵥⵏⵣⴰⵏ ⴰⵙⴰⴼⴰⵔ."

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

ⵙ ⵡⴰⵍⵍⴰⵙ ⵏ ⴽⵉⵜⵓⵏ, ⵉⴽⴽⴰⵜⵉⵏ ⴷⴰⵔⵙ ⵙⴷⵉⵙ ⵉⵢⵢⵓⵔⵏ ⵍⵉⵖ ⵉⴳⴳⵓⵔⵓ ⴰⵎⵣⵣⵓ, ⴷ ⵉⴼⴰⵢⴰⵙ ⵀⵓⴷⵉⵏⵉ ⵉⵙⵎⵏⵙ.

The act was mainly a comedy sketch.

ⵉⴽⴽⴰⵜⵉⵏ ⵉⴳⴰ ⵙⴽⵉⵜⵛ ⵏ ⵍⴽⵓⵎⵉⴷⵉⴰ.

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

ⴰⴽⴰⵔⴰⵎ ⵏ ⵜⴰⵙⵓⴼⵔⵜ ⵉⴳⵏⴰ ⵖ ⵉⵎⴽⵔⴰⴹ ⵏ ⴽⵉⵜⵓⵏ ⴱⴰⵛ ⴰⵜⵏ ⵉⵄⴰⵡⵏ ⵖ ⴰⴳⵯⵔ ⵏ ⵡⴰⵍⵍⴰⵙ.

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

ⵎⴰⵛ, ⴱⵓⵙⵜⵔ ⵉⵥⴹⴰⵔ ⴰⵢⵎⵍ ⵉ ⵜⵉⵏⴱⴰⴹⵉⵍ ⵎⴰⴼ ⴷⴰⵔⵙ ⵓⵔ ⵍⵍⴰⵏⵜ ⵉⴱⵔⴰⵢⵏ.

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

ⵎⵏⵏⴰⵡⵜ ⵜⵡⴰⵍ ⴰⴷ ⵏⵏⵉⵖ ⵉⵙ ⵔⴰⴷ ⵎⵎⵓⵜⵖ ⵍⵉⵖ ⵓⵔ ⴳⴳⵯⵉⵣⵖ ⵣⵓⴷ ⴰⵎⵓⵛ.

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

ⵍⵍⵉⵖ ⵉⵣⵔⴰ ⵉⴳⴷⵓⴷⵏ ⵓⵔ ⴰⵙⵓⵍ ⴱⴰⵀⵔⴰ ⴷⵚⵚⴰⵏ, ⵉⵙⵙⴳⵎ ⴰⵄⵔⵉⵏⵙ ⵍⵍⵉⵖ ⴰⵢⵜⵜⵍⵄⴰⴱ.

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

ⵡⴰⵅⵅⴰ ⴷⴰⵔⵙ ⵜⵉⵎⵓⴽⵔⵉⵙⵉⵏ ⴷ ⵉⵣⵔⴼ ⴷ ⵍⵊⴰⵡⵍⴰ ⵜⴰⵄⴷⵔⵉⵇ ⵏ ⵜⴰⴷⴰⵍⴰ ⵏ ⵓⵣⴰⵡⴰⵏ ⵖ ⴱⵔⵉⵟⴰⵏⵢⴰ, ⴽⵉⵜⵓⵏ ⵉⴳⴰ ⵉⵜⵔⵉ ⵖ ⵓⵎⵣⴳⵓⵏ.

"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."

"ⵖ ⴱⵔⴰⵢⵔ ⵏ 1917, ⵉⵎⵎⴰⵇⵇⴰⵕ ⴷ ⵔⵓⵙⴽⵓ ""ⴼⴰⵜⵜⵉ"" ⴰⵔⴱⵓⴽⵍ ⵖ ⵙⵜⵓⴷⵉⵓ ⵏ ⵜⴰⵍⵎⴰⵊ ⵖ ⵜⴰⵎⴷⵉⵏⵜ ⵏ ⵏⵢⵓ ⵢⵓⵔⴽ, ⵍⵉⵖ ⵜⵍⵍⴰ ⴰⵔⴱⵓⴽⵍ ⵖ ⵜⴰⵎⵅⵓⵏⵜ ⴷ ⵊⵓⵣⵉⴼ ⵎ. ⵛⵉⵏⴽ."

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

ⴱⴰⵙⵜⵔ ⵉⴽⴽⴰⵜⵉⵏ ⵉⴳⴰ ⴰⴳⴰⵎⴰⵏ ⴳ ⵍⴼⵉⵍⵎⵏⵙ ⵉⵣⵡⴰⵔⵏ, ⴷⴰ ⴱⵉⵜⵛⵔ ⴱⵓⵢ, ⵉⵅⴷⵎ ⵏⵉⵛⴰⵏ.

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

ⴰⵡⵔⵉⵏⵏ ⴽⵉⵜⵓⵏ ⵉⵏⵏⴰ ⵉⵙ ⵔⴰⵢⴳⴰ ⴰⵏⵎⵀⴰⵍ ⵡⵉⵙⵙⵉⵏ ⵏ ⴰⵔⴱⵓⴽⵍ ⴷ ⴽⵓⵍⵍⵓ ⵜⴰⵣⵓⵏⵉⵏⵙ.

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.

ⵉⵜⵓⴽⵙⵙⴰ ⴳ ⵢⴰⵜ ⵜⴰⵎⵣⴳⵓⵏⵜ ⵢⵜⵜⵓⵙⵙⴰⵏ, ⴷⴰ ⵏⵢⵓ ⵀⵉⵏⵔⵉⵢⵉⵜⵜⴰ, ⵍⵍⵉ ⵉⵜⵜⴰⴷⵢⴰⴼⵓⵙⵏ ⵢⴰⴷ ⵢⴰⵜ ⵜⵡⴰⵍ, ⵙ ⵓⵣⵡⵍ ⵏ ⴷⴰ ⵍⴰⵎⴱ, ⴷ ⴷⵓⴳⵍⴰⵙ ⴼⵉⵔⴱⴰⵏⴽⵙ ⵉⵄⵢⵢⵔⵏ ⴰⵏⴰⴹ.

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

ⵉⵙⴽⵔ ⵙⵏⴰⵜ ⵜⴰⴽⵓⵎⵉⴷⵉⵢⵉⵏ, ⴳⵉⵙⵏ ⵡⴰⵏ ⵡⵉⴽ (1920), ⴷⴰ ⵒⵍⵉⵀⴰⵡⵙ (1921), ⴽⵓⴱⵙ (1922), ⴷ ⴷⴰ ⵉⵍⵉⴽⵜⵔⵉⴽ ⵀⴰⵡⵙ (1922).

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

"ⴰⵎⵙⵙⵓⴼⵖ ⵏ ⵜⴽⵓⵎⵉⴷⵉⵜ ⵍⵢⵓ ⵎⴽⴽⴰⵔⵉ, ⵍⵍⵉ ⵉⴽⵜⵜⵉⵏ ⵓⵙⵙⴰⵏ ⵏ ⵓⵎⵙⵙⵓⴼⵖ ⵏ ⵙⵢⵢⵉⵃⵏ ⵏ ⵜⴰⴽⵓⵎⵉⴷⵉⵢⵉⵏ, ⵉⵏⵏⴰ, ""ⴽⵓⵍ ⵢⴰⵏ ⴷⵉⴷⵏⵖ ⵉⵔⴰ ⴰⵢⵢⴰⴽⵯⵔ ⵉⵡⴰⵢⵢⴰⴷ ⴰⵣⴼⴼⴰⵍⵙ."

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.

ⵖ ⵍⵓⵇⵜ ⵏ ⵜⴰⵎⵓⵖⵍⵉⵜ ⵏ ⵓⵖⴰⵔⴰⵙ ⵏ ⴰⵍⴰⵡⴰⵢ ⴷ ⵛⵛⴰⵔⵉⵊ ⵖ ⵛⵉⵔⵍⵓⴽ, ⵉⵔⵣⴰ ⵓⵎⴳⴳⵔⴷ ⵏ ⴽⵉⵜⵓⵏ ⵍⵍⵉⵖ ⴼⵍⵍⴰⵙ ⵉⴷⵔ ⴰⵎⵓⴷⵡⵓ, ⵎⴰⵛ ⵓⵔ ⴰⵙ ⵉⵜⵜⴰⴽⴰ ⴰⵔⴽⵉⵖ ⵣⵔⵉⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ.

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

ⴰⵡⵔⵉⴽ ⵏ ⴽⵉⵜⵓⵏ ⵉⴼⴼⵓⵖⴷ ⵉⴷⵓⵙ ⵙ ⵢⴰ ⵓⴱⵄⵉⵊ ⵉⵔⵣⵎⵏ.

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).

ⵉⵍⵎⵎ ⵙ ⵙⵜⵉⵎⴱⵓⵜ ⴱⵉⵍⵍ ⵊⵔ. (1928), ⵍⴰⴼⵍⴰⵎ ⵍⵍⵉ ⴽⵓⵍⵍⵓ ⵉⵙⵓⵍⴰⵏⵏ ⵖ ⵍⴰⴼⵍⴰⵎ ⵏ ⴽⵉⵜⵓⵏ ⴳⵉⵙⵏ ⴰⵡⵔ ⵀⵓⵙⴱⵉⵜⴰⵍⵉⵜⵉ (1923), ⴷⴰ ⵏⴰⴼⵉⴳⴰⵜⵓⵔ (1924), ⵛⵉⵔⵍⵓⴽ ⵊⵔ. (1924), ⵙⵉⴼⵉⵏ ⵜⵛⴰⵏⵙⵉⵣ (1925), ⴷⴰ ⴽⵉⴼⵎⴰⵏ (1928), ⴷ ⴷⴰ ⵊⵉⵏⵉⵔⴰⵍ (1926).

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

ⵍⴼⵉⵍⵎ ⵢⵓⵎⵣ ⵉⵎⴰⵣⴰⵎ ⵓⵎⵙⵉⵏ, ⵎⴰⵛ ⵉⴳⴰ ⴰⵎⴰⴼⴰⵢ ⵖ ⵉⵏⵉⴹⵉ ⵏ ⴽⵉⵜⵓⵏ.

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

ⴰⵏⴱⴹⵓⵏⵙ, ⵢⵓⵏⴰⵢⵜⵉⴷ ⴰⵔⵜⵉⵙⵜⵙ, ⵉⵙⴷⴷⵉⴷ ⴼ ⵢⴰ ⵓⵏⵎⵀⴰⵍ ⵏ ⵜⴰⵙⵢⴰⴼⵓⵜ ⵍⵍⵉ ⵉⴳⴰⴱⵍⵏ ⴰⵇⵇⴰⵔⵕⵉⴹ ⴷ ⵉⵎⵛⴽⵛⵓⵎ ⵖ ⴽⴰⵔⵏ ⵢⴼⵔⴷⴰⵙ ⵏ ⵜⴰⵃⴰⵊⵉⵜ.

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

ⵉⵙⵎⴷⴰⵢⵏ ⵓⵟⵟⴼⵏ ⵉⵎⵙⵉⵙⵍⵉ ⵏ ⵜⵓⵜⵍⴰⵢⵜ ⵜⴰⵎⵣⵣⵉⵜ ⵉⵎⵉⴽ ⵙⵉⵎⵉⴽ ⴷⴰⵜ ⴰⴷ ⵙⵙⵓⵍⴼⵏ.

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

ⵉⵏⵙⵉ ⵊⵓⵍⵙ ⵡⴰⵢⵜ ⴰⵢⴳ ⵓⵎⵙⵙⵓⴼⵖ, ⵜⵓⴼⴼⴰⵢⵜⵏⵙ ⵖ ⵙⵢⵢⵃ ⵖⴰⵢⴰⴷ ⵎⴰⴼⴳⴰⵏ ⵜⵓⴳⵜ ⵏ ⵍⴰⴼⵍⴰⵎⵏⵙ ⵣⵓⴷ ⵜⵔⵉ ⵙⵜⵓⵊⴻⵣ ⵏ ⵡⴰⵉⵜ.

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

ⵎⴰⵛ ⴰⵖⴰⵏⴻⵏ ⵏ ⵡⴰⵉⵜ ⵙ ⵜⴰⴽⵓⵎⵉⴷⵉⵜ ⵉⵙⵢⵢⵃⵏ, ⴷ ⵓⴽⵕⵉⴹⵏ ⵢⵓⵊⵊⴰ ⵍⴰⴼⵍⴰⵎ ⵉⴽⵓⴹⴰⴹⵏ ⵏ ⴽⵓⵍⵓⵎⴱⵢⴰ ⴳⵯⵉⵍⵍⵉ ⴽⵓⵍⵍⵓ ⵉⵙⵏⵓⵍⴼⵓⵏ ⵖ ⵍⴰⴼⵍⴰⵎⵏⵙ.

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.

ⵉⵙⵙⵓⴼⵖ ⵍⴼⵉⵍⵎⵏⵙ ⵍⵍⵉ ⴽⵓⵍⵍⵓ ⵉⴳⴳⵓⵕⴰⵏ ⵉⵍ ⵎⵓⴷⵉⵔⵏⵓ ⴱⴰⵔⴱⴰ ⴰⵣⵓⵍ (1946) ⵖ ⵜⴰⵎⴰⵣⵉⵔⵜ ⵏ ⵎⵉⴽⵙⵉⴽ, ⵍⴼⵉⵍⵎ ⴷⴰⵔⵙ ⵜⴰⵙⴰⵢⴰⴼⵓⵜ ⵏ ⵜⴰⵎⵙⴰⵙⵜⵏⵜ ⵉⴷⵔⵓⵙⵏ, ⴷ ⵓⵔ ⵉⵜⵜⵎⵣⵔⴰ ⵖ ⵜⴰⵎⴰⵣⵉⵔⵜ ⵏ ⵎⴰⵔⵉⴽⴰⵏ ⴰⵢⵍⵍⵉⵖ ⴼⴼⵓⵖⵏⵜ ⵜⵉⵙⴼⵉⴼⵉⵏ ⵖ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ1980, ⵙ ⵓⵣⵡⵍ ⵏ ⴱⵓⵎ ⵉⵏ ⴷⴰ ⵎⵓⵏ.

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.

ⵖ ⵍⴼⵉⵍⵎ ⵏ ⴳⵓⴷ ⵓⵍⴷ ⵙⴰⵎⵔⵜⴰⵢⵎ, ⴻⵙⵙⵓⴳⵓⵔ ⴽⵉⵜⵓⵏ ⵉⵜⵔⴰⵏ ⵊⵓⴷⵉ ⴳⴰⵔⵍⴰⵏⴷ ⴷ ⴼⴰⵏ ⵊⵓⵏⵙⵓⵏ ⵖ ⵜⴰⵎⵓⵖⵍⵉⵜⵏⵙⵏ ⴻⵣⵡⴰⵔⵏ, ⵍⵍⵉⵖ ⵎⵎⵉⴳⴳⵉⵕⵏ ⵖ ⵓⵖⴰⵔⴰⵙ.

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

ⵉⵃⵎⵍⵜ ⵓⴳⴷⵓⴷ ⴰⵢⵍⵍⵉⵖ ⵜⵙⵙⵎⵏⵉⴷ ⵢⴰⵜ ⵜⴰⵏⵣⵡⴰⵢⵜ ⵖ ⵍⵓⵙ ⴰⵏⵊⵍⵉⵙ ⵉ ⴽⵉⵜⵓⵏ ⴰⵙⴰⵢⵙⵏⵙ, ⵉⵙⵔⴰⴷⵏ, ⵖ 1950.

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

ⵜⵜⵎⵣⵔⴰ ⵉⵍⴰⵏⵓⵔ ⵍⵍⵉ ⵉⴳⴰⵏ ⵜⴰⵎⵖⴰⵔⵜ ⵏ ⴱⴰⵙⵜⵔ ⴽⵉⵜⵓⵏ ⵖ ⵓⵎⵙⴷⴷⵉ (ⵜⴳⴰ ⵊⵓⵍⵢⵉⵜ ⵏ ⵔⵓⵎⵢⵓ ⵏ ⴱⴰⵙⵜⵔ ⵖ ⵢⴰⵜ ⵜⴰⵡⵔⵎⵜ ⵎⵥⵥⵉⵏ ⵏ ⵓⵎⵣⴳⵓⵏ).

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

ⵉⵍⵡⵉ ⵉⵣⵎⵣⴰⵏ ⵏ ⴽⵉⵜⵓⵏ ⵖ ⵜⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⵖ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1950 ⴷ 1960 ⴰⵡⵙⵏⵜ ⴰⵢⵢⴰⵎⵣ ⵓⵏⴼⵔⴰⵔ ⵉ ⵍⴰⴼⵍⴰⵎⵏⵙ ⵉⵃⵉⵙⵙⵉⵏ.

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.

ⵍⵍⵉⵖ ⵉⴽⵯⵛⵎ ⵙ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ ⵙⵉⵏ ⵡⴰⴳⵏⴰⵔⵏ ⴷ ⵎⵔⴰⵡ, ⵉⵙⵅⵅⵔ ⴽⵉⵜⵓⵏ ⵙ ⵓⵍⵙ ⵏ ⵉⵚⵏⵉⵄⵏⵙ ⵉⵇⴱⵓⵔⵏ, ⴳⵉⵙⵏ ⵢⴰⵜ ⵙⵢⵢⵃ ⵉⵙⵔⵙ ⴳⵉⵙ ⵢⴰⵡ ⴰⴹⴰⵕ ⵖ ⵉⴳⴳⵉ ⵏ ⵜⴷⴰⴱⵓⵜ, ⴷ ⵉⵥⵕⵕⴹ ⴰⴹⴰⵕ ⵢⴰⴹⵏⵉ ⵜⴰⵎⴰⵏⵙ ⴷ ⵉⴱⵉⴷ ⵖⵉⴽⴰⵏ ⵖ ⵓⴹⵓ ⴷⴰⵜ ⴰⵏⵏⵉⴳⵏⵓⴳⵉ ⵖ ⵜⵙⴼⵔⵉ ⵏ ⵓⵎⵣⴳⵓⵏ.

"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."

ⴽⴰⵏⵜⵉⵏ ⴷⴰⵔ ⴽⵉⵜⵓⵏ ⵉⵏⵣⴰⵖⵏ ⵏ ⵍⴰⴼⵍⴰⵎ ⵜⵔⵉ ⵉⵊⵉⵣ, ⵛⵉⵔⵍⵓⴽ ⵊⵔ., ⵙⵜⵉⵎⴱⵓⵜⴱⵉⵍⵍ, ⵊⵔ. ⴰⵏⴷ ⴽⵓⵍⵍⵉⵊ (ⵜⵃⵔⵎⵜ ⵢⴰⵜ ⵜⴰⵊⵕⵕⴰⵕⵜ), ⴷ ⵍⴰⴼⵍⴰⵎ ⵉⴽⵓⴹⴰⴹⵏ ""ⴷⴰ ⴱⵓⵜ"" ⴷ ""ⵎⴰⵢ ⵡⴰⵢⴼⵙ ⵔⵉⵍⴰⵢⵛⵏⵣ"", ⵙⵎⴰⵜⵜⵉⵏⵜ ⴽⵉⵜⵓⵏ ⴷ ⵔⵓⵀⴰⵡⵔ ⵙ ⵙⵉⵍⵍⵓⵍⵓⵣ ⴰⵙⵉⵜⴰⵜ ⵣⵖ ⴰⵙⴰⵜⵉⵎ ⵏ ⵍⴼⵉⵍⵎ ⵏ ⵏⵉⵜⵔⴰⵜ ⵉⵄⴷⵎⵏ.

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.

ⵖ ⵓⵙⴷⴷⵉ ⵏ ⵓⵙⵓⵙⵙⵏ ⵏ ⵜⵉⵏⵉⴼⵉⵣⵢⵓⵏ ⵉ ⵍⴱⵉⵕⵕⴰ ⵏ ⵙⴰⵢⵎⵓⵏ ⴱⵢⵓⵔ ⵍⵍⵉ ⵉⵙⵙoⴼⵖ ⵊⵉⵎ ⵎⵓⵀⵔ ⵖ ⴱⵓⴼⴰⵍⵓ, ⵏⵢⵓ ⵢⵓⵔⵏ, ⵖ 1962, ⵢⵓⵍⵙ ⴽⵉⵜⵓⵏ ⵢⵓⵍⵙ ⴽⵔⴰ ⵏ ⵙⵢⵢⵃⵏⵙ ⵍⵍⵉ ⵉⴽⴽⴰⵜⵜⵉⵏ ⴰⵢⵙⴽⴰⵔ ⵖ ⵍⴰⴼⵍⴰⵎ ⵉⵃⵉⵙⵙⵉⵏⵙ.

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

"ⵖ ⴷⵓⵊⴰⵏⴱⵉⵔ 1958, ⵉⴳⴰ ⴽⵉⵜⵓⵏ ⴰⵏⵓⵊⵉ ⵖ ⵜⴰⵏⴷⵔⵜ ""ⴰ ⴼⵉⵔⵉ ⵎⵉⵔⵉ ⴽⵔⵉⵙⵎⴰⵙ"" ⵏ ⵓⵙⴰⵢⵙ ⵏ ⴷⵓⵏⴰ ⵔⵉⴷ ⵖ 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.

ⵖ 1960, ⵢⵓⵔⵔⵉⴷ ⵙ ⵎⴳⵎ ⵙ ⵜⵉⴽⵍⵉⵜ ⵉⴳⴳⵓⵔⴰⵏ, ⵢⵓⵔⴰⵔ ⴰⵃⵕⵕⴱ ⵏ ⵓⴳⵔⵣⴰⵎ ⵖ ⵢⴰⵜ ⵜⴰⴽⵙⵙⵓⵢⵜ ⵖ 1960 ⵏ ⵓⴷⵍⵉⵙ ⵏ ⵎⴰⵔⴽ ⵜⵡⴰⵢⵏ ⴷⴰ ⴰⴷⴼⵏⵜⵓⵔⵣ ⵓⴼ ⵀⴰⴽⵍⴱⵉⵔⵉⴼⵉⵏ.

"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. """

ⵉⵙⵡⵓⵔⵉ ⴷ ⵓⵙⴼⴼⴰⵏ ⴻⵔⵏⵉ ⴽⵓⴼⴰⴽⵙ ⵖ ⵢⴰⵜ ⵜⵉⵏⴷⵔⵜ ⵉⵣⵡⴰⵔⵏ ⵜⵎⵣⵡⵍ ""ⵎⵉⴷⵉⵙⵉⵏ ⵎⴰⵏ"", ⵙⵓⵍⴼⵏ ⵜⵉⵎⵓⵖⵍⵉⵢⵉⵏⵏⵙ ⵖ 12 ⵉⵏⵏⴰⵢⵔ, 1962—ⵢⴰⵡ ⴰⵙⵙ ⴷⴰⵜ ⴰⵢⵎⵎⵓⵜ ⴽⵓⴼⴰⴽⵙ ⵖ ⵓⵏⴳⴰⵙ.

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.

ⵉⵎⵎⵓⴷⴷⴰ ⵖ ⴽⵓⵍⵍⵓ ⵜⴰⵎⴰⵣⵉⵕⵜ ⵏ ⴽⴰⵏⴰⴷⴰ ⵖ ⵢⴰⵜ ⵜⴰⵙⵏⵙⵖⴰⵍⵜ, ⵉⵍⵙⴰ ⴰⵛⵎⵔⵉⵔ ⵎⵥⵥⵉⵏ ⴷ ⵉⵔⴰⵔ ⵙⵢⵢⵃ ⵣⵓⴷ ⵖⵯⵉⵍⵍⵉ ⵖ ⵍⴰⴼⵍⴰⵎ ⵍⵍⵉ ⵉⵎⵙⵙⵓⴼⵖ 50 ⵉⵙⴳⴳⵯⴰⵙⵏ ⴰⵢⴰ.

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

ⴷⴰⵖ ⵖ 1965, ⵉⵎⵎⵓⴷⴰ ⵙ ⵜⴰⵎⴰⵣⵉⵕⵜ ⵏ ⵟⴰⵍⵢⴰⵏ ⴱⴰⵛ ⴰⵢ ⵉⵔⴰⵔ ⵢⴰⵜ ⵜⵉⵍⴰⵍⵜ ⵖ ⴷⵓ ⵎⴰⵔⵉⵏⵉⵙ ⵉ ⵓⵏ ⵊⵉⵏⵉⵔⴰⵍⵉ, ⵏⵜⵜⴰⵏ ⴷ ⴼⵔⴰⵏⴽⵓ ⴼⵔⴰⵏⵛⵉ ⴷ ⵜⵛⵉⵛⵓ ⵉⵏⴳⵔⴰⵙⵙⵢⴰ.

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).

ⵢⴰⵜ ⵖ ⵉⵖⵔⵙⵉⵙⵏ ⵉⵀⵔⵛⵏ ⵜⴳⴰ ⴷⴰ ⴼⵔⵓⵣⴻⵏ ⵏⵓⵔⵜ (1922), ⵙⵢⵢⵃ ⵏ ⴹⴹⵔⴰⵎⴰ ⵜⴰⴳⴳⵔⵡⵜ ⵏ ⵡⵉⵍⵉⴰⵎ ⵙ. ⵀⴰⵔⵜ, ⵣⵓⴷ ⵀⵉⵍⵍⵣ ⵀⵉⵏⴳⴻⵣ (1916) ⴷ ⴷⴰ ⵏⴰⵕⵕⵓ ⵜⵔⴰⵢⵍ 1917).

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

ⵉⵙⵙⵏ ⵡⴰⴳⴷⵓⴷ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1920 ⵙⵢⵢⵃⴰⵏ ⴷ ⵉⴷⵚⵚⴰ ⴱⴰⵀⵔⴰ ⴷ ⵍⴼⵉⵍⵎ.

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

ⵍⴼⵉⵍⵎ ⴰⴽⵓⴹⴰⴹ ⴳⵉⵙ ⴷⴰⵖ ⵜⴰⵙⵢⴰⴼⵜ ⵏ ⵢⴰⵡ ⵣⵄⴹⵓⴹ ⵉⵜⵜⵀⴹⴰⵕⵏ ⵍⵍⵉ ⵉⵏⵏⵓⴼⵖⵏ ⵖ ⵓⵔⴰⵔ (ⵉⵙⵎⴰⵙ ⴱⵉⵜⴻⵔ ⴷⴰ ⴳⵔⵉⵜ).

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

"ⴰⵎQⵢⵢⴷ: ⴰⵙⴰⴳⵎ ⴰⵔ ⵉⵙⴽⴰⵔ ⴰⵣⵏⵣⵔⵉ ⵖ ⵜⵉⵔⵔⴰ ⵏ ⵓⵣⵡⵍ ⵏ ⴽⵉⵜⵓⵏ ""ⴷⵔⵉⵜ ⵙⵜⵓⵏⴼⴰⵢⵙ""."

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

ⵉⴷⴷⵓⴽⵍ ⴽⵉⵜⵓⵏ ⴷ ⵜⴰⵙⵎⴷⴰⵢⵜ ⴷⵓⵔⵓⵜⵉ ⵙⵉⴱⴰⵙⵜⵢⴰⵏ ⵖ ⵓⵎⵣⵡⴰⵔⵓ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1920 ⴷ ⴽⴰⵜⵍⵉⵏ ⴽⵉ ⵖ ⵓⵎⵣⵡⴰⵔⵓ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1930.

He escaped a straitjacket with tricks learned from Harry Houdini.

ⵉⵏⵊⵎ ⵖ ⵢⴰⵜ ⵜⵉⴽⴱⵔⵜ ⵉⵇⵇⵏⵏ ⵙ ⵜⵉⵏⴰⵏⵏⴰⵙⵉⵏ ⵍⵍⵉ ⵉⵙⵙⵍⵎⴷ ⵖ ⴷⴰⵔ ⵀⴰⵔⵉ ⵀⵓⴷⵉⵏⵉ.

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.

ⵜⴹⴰⵍⴱ ⵜⴰⴱⵔⴰⵜⵜⵏⵙ ⵖ 1935 ⵍⵍⵉⵖ ⵜⵓⴼⴰ ⴽⵉⵜⵓⵏ ⴷ ⵍⵉⵢⴰ ⴽⵍⴰⵎⴱⵉⵜ ⵙⵉⵡⴻⵍ, ⵜⴰⵎⵖⴰⵔⵜ ⵏ ⵓⵎⵉⵍⵍⵢⵓⵏⵉⵔ ⴱⴰⵔⵜⵓⵏ ⵙⵉⵡⴻⵍ, ⵖ ⵢⴰ ⵡⴰⵙⵏⵙⵓ ⵖ ⵙⴰⵏⵜⴰ ⴱⴰⵔⴱⴰⵔⴰ.

He stopped drinking for five years.

ⵉⴱⴱⵉ ⵛⵛⵔⴰⴱ ⵙⵎⵎⵓⵙ ⵉⵙⴳⴳⵯⴰⵙⵏ.

The marriage lasted until his death.

ⵉⵖⴰⵎⴰ ⵉⵜⵉⵀⴰⵍⵏⵙ ⴰⵢⵍⵍⵉⵖ ⵉⵎⵎⵓⵜ.

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

ⵉⵏⵏⵓⵎⵥ ⵖ ⵓⵙⵏⴳⴰⴼ ⵖ ⵓⵙⵙⴰⵏⵏⵙ ⴳⴳⵓⵔⴰⵏⵉⵏ, ⴽⵉⵜⵓⵏ ⵓⵔ ⵉⴳⵉⵡⵔ ⴷ ⴰⵔ ⴱⴷⴷⴰ ⵉⴼⵜⵜⵓ ⴷ ⴰⵔ ⵉⴷⵜⵜⴰⵛⵀⴽⴰ ⵖ ⵓⵃⴰⵏⵓ, ⵉⵔⴰ ⴰⵙ ⵢⵓⵔⵔⵉ ⵙ ⵜⵉⴳⵎⵎⵉⵏⵙ.

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.

ⵉⵜⵜⵓⴼⵔⴰ ⵍⴼⵉⵍⵎ ⵉⵎⵉⴽ, ⵏ ⵙⵉⴷⵏⵉ ⵛⵉⵍⴷⵓⵏ, ⵍⵍⵉ ⵜⵉⵎⵙⵙⵓⴼⵖⵏ, ⵖ ⵜⵓⴷⵔⵜ ⵏ ⴽⵉⵜⵓⵏ ⵎⴰⵛ ⴳⵉⵙ ⵜⵓⴳⴳⵜ ⵏ ⵜⵉⵣⴳⵍⵉⵏ ⴷ ⵉⵙⵙⵔⵄⴰ ⵜⵉⵎⵖⴰⵔⵉⵏⵏⵙ ⵙ ⴽⵔⴰⴹ ⵖ ⵢⴰ ⵓⵡⵔⵉⴽ.

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.

ⵉⵍⵜⴰⵖ, ⵍⵍⵉ ⵉⵍⵍⴰⵏ ⴱⴰⵛ ⴰⵜⵙⵎⵓⵏ ⵜⵓⴳⴳⵜ ⵏ ⵉⴳⴷⵓⴷⵏ ⵙ ⵜⵓⴷⵔⵜ ⴷ ⵜⴰⵡⵡⵓⵔⵉ ⵏ ⴽⵉⵜⵓⵏ, ⴳⵉⵙ ⵜⵓⴳⴳⵜ ⵏ ⵎⵉⴷⴷⵏ ⵉⵙⵡⵡⵓⵔⵉⵏ ⵖ ⵜⵉⵍⵉⴼⵉⵣⵢⵓⵏ ⴷ ⵍⴰⴼⵍⴰⵎ: ⵉⵙⵎⴷⴰⵢⵏ, ⵉⵎⵙⴰⵢⵓⴼⴰ, ⵉⵎⴰⵔⴰⵏ, ⵉⵏⴰⵥⵓⵕⵏ, ⵉⵎⴰⵔⴰⵏ ⵏ ⵜⵉⵙⵉⵙⴽⵍⵜ, ⵉⵎⵥⴰⵡⴰⵏⵏ, ⴷ ⵉⵎⴰⵎⴽⵏ, ⴷ ⴽⵓⵍⵍⵓ ⵡⴰⵏⵏⴰ ⵜⵉⵜⵄⵊⴰⴱⵏ ⴱⴰⵙⵜⵔ ⴽⵉⵜⵓⵏ.

"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""."

“ⵉⵏⵏⴰ ⵀⵓⵔⵛⴼⵉⵍⴷ ⵎⴰⴼ ⵉⵙⵎⴷⴰⵢⵏ ⵏ ⵖⴰⵚⵚⴰⴷ ⵛⵇⵇⴰⵏ ⴰⴷ ⵜⴳⵣⵣⵓⵏ, ⴷ ⵉⵣⴼⴼⴰⵏ ⵏ ⵍⴰⴼⵍⴰⵎ ⵉⵃⵉⵙⵙⵉⵢⵉⵏ ⵣⵓⴷ ⵍⵓⵔⵉⵍ ⴷ ⵀⴰⵔⴷⵉ ⴷ ⴽⵉⵜⵓⵏ “”ⵔⵡⴰⵙⵏ ⵉⵙⴼⵔⵖⵏⵙⵏ””.”

"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."

"ⴰⵎⴰⵥⴰⵎ ⵏ ⵍⴰⴼⵍⴰⵎ ⵔⴻⵊⵉ ⵉⴱⵉⵔⵜ ⵉⵏⵏⴰ, ""ⴰⵎⵙⵢⵢⵃ ⴰⵃⵉⵙⵙⵉ ⵓⵎⴰⴼⴰⵢⵏ ⵉⴳⴰ ⴱⴰⵙⵜⵔ ⴽⵉⵜⵏ, ⵓⵔⴷ ⵎⴰⵢⵙⴽⴰⵔ, ⵎⴰⵛ ⵎⴰⵏⵉ ⵙ ⵜⵉⵙⴽⵔ."

"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."

“ⴰⵎⵙⵙⵄⴼⵖ ⵏ ⵍⴰⴼⵍⴰⵎ ⵎⵉⵍ ⴱⵔⵓⴽⵙ ⵉⵏⵏⴰ ⵎⴰⴼ ⵉⴳⴰ ⴱⴰⵙⵜⵔ ⴽⵉⵜⵓⵏ ⵉⴹⵉⵚ ⵉⵎⵇⵇⵓⵔⵏ, “”ⴷⴼⴰⵔⵖ (ⴱⴰⵙⵜⵔ) ⵎⵏⵛⴽ ⵖ ⵙⵉⵏ ⵉⵙⵡⵉⵔⵏ: ⵢⴰⵏ ⵍⵍⵉⵖ ⵉⴳⴰ ⴰⵙⵍⵎⴰⴷ ⴰⵎⴰⴼⴰⵢⵏ ⵉ ⵓⵎⵙⵙⵓⴼⵖ ⵣⵓⴷ ⵏⴽⴽⵉ, ⴷ ⵡⴰⵢⵢⴰⴷ ⵍⵍⵉⵖ ⵉⴳⴰ ⵢⴰⵏ ⵍⵍⵉ ⴷⴷⴰⵔ ⵍⵎⴰⵡⵀⵉⴱⴰ ⴷ ⵉⵣⴷⴰⵔ ⴰⵢⵙⴽⵔ ⵜⵓⴳⴳⵜ ⵏ ⵉⵙⴽⴽⵉⵏⵏ ⵄⴷⵍⵏⵉⵏ.”

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

ⴰⵙⵎⴷⴰⵢ ⴷ ⴰⵙⵢⵢⵃ ⵊⵓⵏⵢ ⵏⵓⴽⵙⴼⵉⵍ ⴼ ⴽⵉⵜⵓⵏ ⵉⵇ ⵉⴳⴰ tufrayt ⵉ ⵜⵡⴰⵏⴳⵉⵎⵉⵏ ⵏ ⵉⵏⵙⵜⴰⵢⵏ ⵏ ⵊⴰⴽⴰⵙⵙ.

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

ⵉⵃⵎⵍ ⵍⵡⵉⵙ ⵍⵍⵉⵖ ⴰⵙ ⵜⵏⵏⴰ ⵉⵍⴰⵏⵓⵔ ⵎⴰⴼ ⵜⵉⵡⴰⵍⵍⵉⵏⵏⵙ ⵔⵡⴰⵙⵏⵜ ⵅⵜⵉⵏ ⵏⴽⵉⵜⵓⵏ.

"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."

“ⵖ 1964, ⵉⵏⵏⴰ ⵉ ⵢⴰⵏ ⵓⵎⵙⵇⵙⵉ ⵉⵙ ⵍⵉⵉⵖ ⴰⵔ ⵙⵙⵓⴼⵓⵖⵏ “”ⴰⵛⵎⵔⵉⵔⴰⴷ””, ‘’’ⵉⴱⴷⴰ ⵙ ⵢⴰ ⵓⵛⵎⵔⵉⵔ ⵏ ⵙⵜⵉⵜⵙⵓⵏ ⵉⴼⵓⵍⴽⵉⵏ ⵉⴱⴱⵉⵜ””, ⵉⵙⵙⴷⵓⵙ ⵜⴰⵎⴰⵏⵙ ⵙ ⵡⴰⵎⴰⵏ ⵃⵍⴰⵏⵉⵏ.”

His paternal great-grandparents were Welsh.

ⴰⵢⴷⴷⴰⵔⵙ ⵏ ⵉⴱⴱⴰⵙ ⴳⴰⵏ ⵖ ⵜⴰⵎⴰⵣⵉⵔⵜ ⵏ ⵡⵉⵍⵣ.

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

ⵉⵅⴷⵎ ⵍⵓⵢⴷ ⴷ ⵔⵓⵜⵛ ⵍⵍⵉ ⵉⵏⵏⵓⵔⵣⵎⵏ ⵙⵙⵜⵓⴷⵢⵓⵏⵙ ⵖ 1913.

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

ⵖ 1919, ⵜⴼⵍ ⵍⵓⵢⴷ ⴱⴰⵛ ⴰⵜⵜⴹⴼⵔ ⵉⵎⴰⴳⴳⵓⵎⵏⵙ ⵖ ⴹⴹⵕⴰⵎⴰ.

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

ⴰⵔ ⵜⵜⵉⵏⵉⵏ, ⵖⵓⵏⵛⴽ ⵍⵍⵉ ⵙ ⴰⵢⵜⵥⵕⵕⴰ ⵍⵓⵢⴷ ⴷⴰⴼⵉⵙ ⵖⵓⵏⵛⴽ ⵍⵍⵉ ⵙ ⴰⵔⵜⵉⵜⵜⵉⵕⵉ.

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

ⵉⴳⴳⵯⵊ ⵍⵓⵢⴷ ⵖ ⵉⵡⵔⵉⴽⵏ ⵍⵍⵉ ⵉⵙⵎⵓⵏⴰⵏ ⵜⵔⴰⵊⵉⴷⵢⴰ ⴷ ⵜⴰⴽⵓⵎⵉⴷⵉⵜ, ⴷ ⵉⵔⴰⵔ ⴰⵡⵔⵉⴽ ⵙ ⵜⴰⵎⵢⴰⵎⴰⵏⵜ ⵉⴳⴳⵓⵜⵏ.

"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"". """

“ⴱⴰⵛ ⴰⵢⵙⴽⵔ ⴰⵡⵔⵉⴽⴰⴷ ⵉⵙⵙⵏⵉ ⵍⵓⵢⴷ ⴰⵏⴰ ⵏ ⵜⵉⵙⵎⵎⴰⵇⵇⴰⵍⵉⵏ ⵎⴰⵛ ⵉⵍⵙⴰ ⵉⵎⴽⵕⴰⴹ ⵏ ⴱⴷⴷⴰ; ⵜⵉⵣⵡⵉⵔⴰ, ⵉⵍⵙⴰ ⴰⵛⵍⵖⵓⵎ ⵏ ⵉⵎⵍⵥⵢⵏ ⴷ ⵉⵎⴽⵕⴰⴹ ⵓⵔ ⴷⵉⵙ ⴳⴰⴷⴷⴰⵏ ⵍⵍⵉⵖ ⵉⴳⴰ ⴷⴰ ⵛⴰⴱⵍⵉⵏⵉⵙⴽ “”ⵍⵓⵏⵙⵓⵎ ⵍⵓⴽ””.””

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

""ⴳⴰⵏ ⵉⴳⴰⵎⴰⵏⵏ ⴷ ⵜⴰⵢⵔⵉⵏⵙⵏ ⵜⵜⵢⵓⵎⴰⵏ.""

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.

ⵖ ⵓⵙⴰⵎⴰⵙ, ⵡⵓⵙⵙ 24 ⵖⵓⵛⵜ, 1919, ⵍⵍⵉⵖ ⵉⴽⴽⴰⵜⵉⵏ ⴰⵔ ⵉⵙⴽⴰⵔ ⵜⵉⵡⵍⴰⴼⵉⵏ ⵖ ⵙⵜⵓⴷⵢⵓ ⵏ ⵍⵓⵙ ⴰⵏⵊⵍⵉⵙ ⵡⵉⵜⵣⵍ ⵏ ⵜⴰⵡⵍⴰⴼⵜ, ⵢⵓⵙⵉ ⵎⴰⵙ ⵉⵏⵏⴰ ⵜⴳⴰ ⵢⴰⵜ ⵜⴰⵙⴱⵓⵇⵇⵉⵜ ⵏ ⵓⵔⵎⵉⴷⵉ ⵉⵙⵙⵔⵖⴰⵜⵜⵉⵏ ⵙ ⵍⴳⴰⵕⵕⵓ.

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.

ⵉⴽⴽⴰⵜⵉⵏ ⵍⵓⵢⴷ ⴰⵔ ⵉⵙⵙⴰⴷⴷ ⵍⴳⴰⵔⵔⵓ ⵖ ⵉⵎⵉⵛⵛ ⵏ ⵜⴰⵍⵇⵇⵏⴱⵓⵍⵜ ⵍⵍⵉⵖ ⴼⵍⵍⴰⵙ ⵜⴱⴱⴰⵇⵇⵉ, ⵜⵙⴽⵔⴰⵙ ⵍⵄⴼⵉⵜ ⵉⵍⵖⵓⵖⵙⵏ ⵖ ⵓⴷⵎⵏⵙ ⴷ ⵉⴷⵎⴰⵔⵏⵙ ⴷ ⵜⵓⴳⴳⵙⴷⴰⵙ ⴰⵍⵍⵏⵙ.

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

ⵍⵓⵢⴷ ⴷ ⵔⵓⵛ ⵎⵔⵔⵓⵣⵣⴳⵏ ⵖ 1924, ⴷ ⵉⵙⵢⵓⴼⵖ ⵍⵓⵢⴷ ⵍⴰⴼⵍⴰⵎⵏⵙ ⵡⴰⵃⴷⵓⵜ.

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

ⵍⴰⴼⵍⴰⵎ ⴰⴷ ⴽⵓⵍⵍⵓⵜⵏ ⵎⵎⵓⵔⵙⵏ ⴷ ⵉⵎⵕⵡⵉⵏⵜ ⴱⴰⵀⵔⴰ, ⵔⴰⴷ ⵉⴳ ⵍⵓⵢⴷ ⴰⵙⵎⴷⴰⵢ ⵍⵍⵉ ⴽⵓⵍⵍⵓ ⵉⵣⵣⵍⵏ ⴳ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 1920.

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

ⵎⴰⵛ, ⴰⵡⵔⵉⴽⵏⵙ ⵉⴷⵔⵔⴰⵎⵏ ⵓⵕ ⵉⵜⵜⵓⵃⵎⴰⵍ ⴷⴰⵔ ⵉⴳⴷⵓⴷⵏ ⵏ ⵍⴽⴰⵙⴰⴷ ⴰⵎⵇⵇⵔⴰⵏ ⵏ ⵉⵙⴳⴳⵯⴰⵙⵏ ⵏ 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.

ⵖ ⵡⵓⵙⵙ 23 ⵎⴰⵕⵚ, 1937, ⵉⵣⵣⵏⵣⴰ ⵍⵓⵢⴷ ⴰⴽⴰⵍ ⵏ ⵓⵙⵜⵓⴷⵢⵓⵏⵙ, ⵀⴰⵔⵓⵍⴷ ⵍⵓⵢⴷ ⵎⵓⵛⵏ ⴱⵉⴽⵜⵛⵔ, ⵉ ⵜⴰⵎⵥⵥⴶⵍⵓⵜ ⵏ ⵉⵕⵓⵎⵉⵢⵏ ⵊⵉⵙⵓⵙ ⴽⵔⴰⵢⵙⵜ ⵓⴼ ⵍⴰⵜⵜⵔ ⴷⴰⵢ ⵙⴰⵢⵏⵜⵙ.

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.

ⵢⵓⵔⵔⵉⴷ ⵖ ⵢⴰⵜ ⵜⵉⵜⵍⴰⵜ ⵢⴰⴹⵏⵉⵏ ⵖ ⴷⴰ ⵙⵉⵏ ⵓⴼ ⵀⴰⵔⵓⵍⴷ ⴷⵉⴷⵍⴱⵓⴽ, ⴰⵙⵎⵖⵔ ⵉⵎⵅⵍⵉⵏ ⵏ ⵜⴰⵖⴰⵔⴰⵙⵜ ⵜⴰⵣⵓⵍⴰⵏⵜⵏⵙ, ⵉⵙⵙⵓⴼⵖⵜ ⴱⵉⵜⵔⵙⴻⵏ ⵙⵜⵓⵔⵊⴻⵙ ⴷ ⵉⵅⵍⵍⵚⵜ ⵀⵓⴰⵔⴷ ⵀⵢⵓⵣ.

"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""."

“ⵍⵓⵢⴷ ⴷ ⵙⵜⵓⵔⴳⴻⵙ ⵎⵎⴰⵖⵏ ⴱⴷⴷⴰ ⴼ ⵜⵡⵡⵓⵕⵉ ⵍⵍⵉⵖ ⴰⵜⵜⵚⵡⵡⴰⵕⵏ; ⵉⵅⵎⵎⵉⵎ ⵍⵓⵢⴷ ⴱⴰⵀⵕⴰ ⴼ ⵎⴰⴼ ⵙⵜⵓⵔⴳⵉⵙ ⵉⴽⴽⴰⵏ ⴽⵕⴰⴹ ⵏⵖⴷ ⴽⴽⵓⵥ ⵉⵢⵢⵓⵕⵏ ⵖ ⵓⵙⴽⵔⵉⴱ ⵏ ⵜⵓⵍⵓⵜ ⴰⵎⵣⵡⴰⵔⵓ ⵏ ⵍⴼⵉⵍⵎ, “”ⵢⵓⵔⴰ ⵜⵓⵍⵓⵜⴰⵢⵍ ⵉⵎⴳⴳⵓⵔⴰ ⵖ ⵢⴰⵏ ⵉⵎⴰⵍⴰⵙⵙ””.”