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

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200	The world premiere was held in London, the first American sound production to do so.	Eke enim akpa world premiere ke London, adeghe akpa American sound production s'inam nteɾe.
201	Perfect Understanding, a 1933 sound production comedy, was the only film produced by this company.	"Perfect Understanding" adeghe sound production comedy ake 1933 ake de ukweñe film ufọkutom amọ eke enama.
202	She began appearing in stage productions and starred in The Gloria Swanson Hour on WPIX-TV in 1948.	Anye ama atọọñọ idụk mme stage production anụñ agwọ ada ke "The Gloria Swanson Hour" ke WPIX-TV ke efia1948.
203	The storyline of the film follows a faded silent movie actress Norma Desmond (Swanson), in love with a failed screenwriter Joe Gillis (William Holden).	Mmụk a film ade akeene silent movie actress eli ikobo ujo aba, Norma Desmond (Swanson) k'ima mme screenwriter ali igwọghọ iwuo, Joe Gillis (William Holden).
204	Norma plays a card game of bridge with a group of actors also known as "the Waxworks".	Norman ase awhile card game ake bridge eliọñọke ñkoo nte "the Waxworks" mme ulim actor amọ.
205	Norma dreams of a comeback are subverted, and when Gillis tries to break up with her, she threatens to kill herself, but instead kills him.	Ema ekana dap Norma ake anyieghe itime nli, ñko idagha Gillis ajeme igwọñọ Ufan mme anye, anye anyeñe igwod anye, ade a time akana agwod idem amọ.
206	Although Swanson had objected to enduring a screen test for the film, she had been glad to be making much more money than she had been in television and on stage.	Akpesụk ade a Swanson akeli imagha ime screen test nnọọ film ade, anye ama anem echid inam akpogho ñkan idagha anye ake abagha ke ke akewenniche ke abodmmile.
207	Swanson later hosted Crown Theatre with Gloria Swanson, a television anthology series in which she occasionally acted.	Swanson ama ali ikood Crown Theatre mme Gloria Swanson, adeghe television anthology series anye akeseke asio mmile akañ keed- akañ keed.
208	She was the "mystery guest" on What's My Line.	Anye ake de "mystery guest" ke "What's My Line".
209	She made a notable appearance in a 1966 episode of The Beverly Hillbillies, in which she plays herself.	Anye ama anyie asaña-saña ñgwọnda ke episode a 1966 ake "The Beverly Hillbillies", adeghe anye wile k'idem amọ.
210	Actor and playwright Harold J. Kennedy, who had learned the ropes at Yale and with Orson Wells' Mercury Theatre, suggested Swanson do a road tour of "Reflected Glory", a comedy that had run on the Broadway stage with Tallulah Bankhead as its star.	Actor mme playwright 'Harold J. Kennedy' ekema ekpeep the ropes ke Yale mme Orson Wells' ke Mercury Theatre, ema ewo ke Swanson akpa anam road tour ake "Reflected Glory", adeghe comedy eke enama ke Broadway stage mme Tallulah Bankhead nte star amọ.
211	After her success with Sunset Boulevard, she starred on Broadway in a revival of Twentieth Century with José Ferrer, and in Nina with David Niven.	Sa anye ake gwọ iwuo mme Sunset Boulevard, anye ama agwọ ida ke Broadway ke elidemele ake Twentieth Century ne José Ferrer, ñko ke Nina mme David Niven.
212	As a Republican she supported the 1940 and 1944 campaigns for president of Wendell Willkie and the 1964 presidential campaign of Barry Goldwater.	Nte republican, anye ake da campaigns ake president Wendell Willkie ke 1940 ne 1944 mme presidential campaign Barry Goldwater. ake 1964.
213	Taking medication given to her by Beery, purported to be for morning sickness, she aborted the fetus and was taken unconscious to the hospital.	Anye ama asoño fetus k'iñwọñ ibọk a Beery ake anọghọ anye ake adeghe anọ udọñọ ubakasen, ema enuy iben anye ika ufọkibọk k'ini anye ali iliọñọke idem.
214	In 1923, she adopted 1-year-old Sonny Smith, whom she renamed Joseph Patrick Swanson after her father.	Ke 1923, anye ama adep ajen agwodeen efia keed 'Sonny Smith', anye akeli ikpụghọke anyiñ akood anọ ete amọ, Joseph Patrick Swanson.
215	She had conceived a child with him before her divorce from Somborn was final, a situation that would have led to a public scandal and possible end of her film career.	Anye ama ajomo ilip inọ anye nte ugwọñọ -ndọ amọ tọọñọ ke Somborn ali igwọ utud, mkpọ akpe ke adeghe mkpọ nnọk, akpema akeme inụñ ñwiad isañ utom amọ ke film.
216	Following a four-month recuperation from her abortion, they returned to the United States as European nobility.	Sa idem ake ama chiọñ anye ke afiọñ inaañ ito nsoño ilip amọ, ammọ ema etime inyọñọ United States nte European nobility.
217	He became a film executive representing Pathé (USA) in France.	Anye ama akaba ide ekamba agwo ke film, anụñ ada anọ Pathé (USA) ke France.
218	Swanson described herself as a "mental vampire", someone with a searching curiosity about how things worked, and who pursued the possibilities of turning those ideas into reality.	Swanson ake tañ abaña idem amọ nte "mental vampire", agwo ajeme-jem iliọñọ naña afud mkpọ ake siaña, mme anniki ijiile ijem usụñ naña akaana mme ifiọk ade asin ke alinam.
219	They met by chance in Paris when Swanson was being fitted by Coco Chanel for her 1931 film Tonight or Never.	Ammọ eke jo-joko ekudo ke Paris ini Coco Chanel eke ebene Swanson ke ntak a film ammọ ake 1931 "Tonight or Never".
220	Her friends, some of whom openly disliked him, thought she was making a mistake.	Mme ufan amọ, itụñ mbon eke esuagha anye añwa-añwa, eke kele ke anye anam ndudue.
221	Swanson had initially thought she was going to be able to retire from acting, but the marriage was troubled by Davey's alcoholism from the start.	Swanson ke akpa ake kele k'imọ ila ikala ibọ nduọkalulu k'utom nsio mmile, ade ntime ama asine ke ndọ ade tọọñọ ke ntọọñọ ke ntak inaam ukọd Davey.
222	He was the co-author (ghostwriter) of Billie Holiday's autobiography Lady Sings the Blues, the author of Sugar Blues, a 1975 best-selling health book still in print, and the author of the English version of Georges Ohsawa's You Are All Sanpaku.	Anye ake de co-author (ghostwriter) a autobiography Billie Holiday "Lady Sings the Blues", ade anni iki igwed Sugar Blues, ñgwed s'ibaña ñchọñidem ake anyamake akana ke 1975 asụkọ aba-ba, amaana ade anni iki ikaba ñgwed a Georges Ohsawa "You Are All Sanpaku" nsin k'ikọ mbakala.
223	Swanson and her husband first got to know John Lennon and Yoko Ono because they were fans of Dufty's work.	Swanson mme ebe amọ eke to eliọñọ John Lennon mme Yoko Ono ke ntak ammọ eke edeghe mbon s'ima utom Dufty.
224	She was cremated and her ashes interred at the Episcopal Church of the Heavenly Rest on Fifth Avenue in New York City, attended by only a small circle of family.	Eke efọp anye enụñ ewuọk ntọñ amọ ke Episcopal Church ake Heavenly Rest ke Fifth Avenue ke New York City, adeghe etok idagha-idagha mbon ufọk amọ eke edụk.
225	In 1974, Swanson was one of the honorees of the first Telluride Film Festival.	Ke 1974, Swanson ake de keed ke atu mbon se ekpono ke akpa Telluride Film Festival.
226	Due to the erotic nature of her performances, Nielsen's films were censored in the United States, and her work remained relatively obscure to American audiences.	Ke ntak naña nsio mmile amọ ake ba ina-ina, ema esiụk anyen iche Nelsen films ke United States, utom amọ ñko anụñ asuk aba ndidiwe-ndidiwe anọ mbon ano mbon nniche America.
227	Nielsen's family moved several times during her childhood while her father sought employment.	Ufọk Nelsen ema edaka ikpoñ itie akañ ñgwak-ñgwak k'ini ujen amọ, idagha ete amọ ake ajeme utom.
228	Nielsen's father died when she was fourteen years old.	Ete Nelsen ake kpa idagha anye ake adeghe efia fourteen.
229	In 1901, 21-year-old Nielsen became pregnant and gave birth to a daughter, Jesta.	Ke 1901, Nelsen ake adeghe ajen efia 21 ama ajomo ilip anụñ aman ajen agwoññwuan akeleke Jesta.
230	Nielsen graduated from the Theater school in 1902.	Nelsen ama ama ñgwed ke Theater school ke 1902.
231	Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life.	Minimalist style nsio mmile Nielsen ama agwọ ida mfọn-mfọn ke anye ijem igwọd igwaad agwoññwuan eke elụdọ esin k'uwem ntak eled.
232	Nielsen and Gad married, then made four more films together.	Nielsen mme Gad ema edọyọ, ema ñjen enam film inaañ mfen keed.
233	I realised that the age of short film was past.	Ami mma aliọñọ ke ejo mmuk-mmuk a film ama afụlọ.
234	It was international film sales that provided Union with eight Nielsen films per year.	International film sales ake nọọ Union film a Nielsen itiaita kwa efia.
235	I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world."	Mma akama ufud usụñ s'iki iba- nnụñ njiem usụñ mfen- na ato de ñkaɾa mben "Asta Nielsen films" nli alolobod".
236	In a Russian popularity poll of 1911, Nielsen was voted the world's top female movie star, behind Linder and ahead of her Danish compatriot Valdemar Psilander.	Ke Russian popularity poll ake 1911, ema effik ubọk inọ Nielsen nte agwoññwuan s'inyie ukwụ ke movie ñkana, adeghe akeene Linder anụñ alọọk itie akan agwo ukañ ammọ, Valdemar Psilander.
237	In 1921, Nielsen, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet.	Ke 1921, Nielsen ama asaña ke elem a film distribution company amọ ake Asta Film idụk Svend Gade mme Heinz Schall a Hamlet ake alada usụñ.
238	However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film.	Naña ade-de, mme utom ugwed ñgwed nte authoritative filmography eke esiaka ke Filmarchiv Austria ke 2010 isiaka utọ a film ade.
239	She worked in German films until the start of sound movies.	Anye ake anam utom ke German films tutu etọọñọ sound movie
240	Thereafter, Nielsen acted only on stage.	Akema de, Nielsen asio mmile ke abodmmile ikpọọñ.
241	Understanding the implications, Nielsen declined and left Germany in 1936.	Sa Nielsen akema aliọñọ se agwọñọ, anye ama achin anụñ akpọñ Germany ke 1936.
242	They were divorced by 1919 when Nielsen married the Swedish shipbuilder Freddy Windgårdh.	Ammọ eke egwọñọ ndọ ke 1919, ini Nielsen ake adọghọ Swedish shipbuilder, Freddy Windgårdh.
243	They began a long-term common-law marriage that lasted from 1923 until the late 1930s.	Ammọ ema etọọñọ ndọ etok mbed ke anyan ini ake akpeeneke tọọñọ ke 1923 gwọ utud ejo 1930.
244	Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American dancer, actor, singer, choreographer, and television presenter.	Fred Astaire (ake amanake ke Frederick Austerlitz; May 10, 1899 – June 22, 1987) ake de American dancer, actor, singer, choreographer, mme television presenter.
245	He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and numerous recordings.	Anye ama anam afọn ke s'igwak ñkan Broadway 10 mme West End Musicals, Anam musical film 31, television specials inaañ, mme ñgwak-ñgwak a recording.
246	Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace.	Eka Astaire ake amana ke US anọ mme Lutheran German immigrant etoghoke East Prussia mme Alsace.
247	Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company.	Fritz ake jem utom ke brewing trade, ama adaka Omaha ke Nebraska, itie Storz Brewing Company ekeke ebene anye k'utom.
248	Johanna planned a "brother and sister act", common in vaudeville at the time, for her two children.	Johanna ama akọọk iwuo ibaña "brother mme sister act" ake abañake anọ ntọ amọ ke vaudeville idagha ini ade
249	They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts.	Ammọ eke etọọñọ ukpeep ke Alviene Master School of the Theatre mme Academy of Cultural Arts.
250	They were taught dance, speaking, and singing in preparation for developing an act.	Ema ekpeep ammọ unek, ntañikọ, mme ñkwọikwọ k'ibeeñe idem nnọọ nnam act.
251	In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller.	Ke interview, Ajen Astaire, Ava Astaire McKenzie ama akud ke ese ema isin Fred ke top hat na anam na anye amaana anyiọñ.
252	As a result of their father's salesmanship, Fred and Adele landed a major contract and played the Orpheum Circuit in the Midwest, Western and some Southern cities in the US.	Nte ibọọlọ ete ammọ ake adeghe akwa anam mbubeghe, Fred ne Adele ema enyie ekamba contract enụñ ewile nte Orpheum Circuit ke Midwest, Western mme usụghọ Southern city ke US.
253	In 1912, Fred became an Episcopalian.	Ke 1912, Fred ama akaba ide Episcopalian.
254	From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle.	Tọọñọ ke agwo unek vaudeville, Aurelio Coccia, ammọ ema ekpeep tango, waltz, ne mme unek a ballroom mfen a Vernon mme Irene Castle eke enama na agwọ etop.
255	He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916.	Anye ake to akud George Gershwin ake anama utom nte song plugger anọ music publishing company a Jerome H. Remick ke 1916.
256	Of their work in The Passing Show of 1918, Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."	K'utom ammọ ke "The Passing Show" ake 1918, Heywood Broun ama agwed iwo: "Ke nnuwi eti unek ake ama aneke iba, Fred Astaire ake gwọ ada... Anye ne partner amọ, Adele Astaire, ema enam show ade asọbọ atuɾo ke nnuwi mme njaya-ñjaya a loose-limbed dance."
257	But by this time, Astaire's dancing skill was beginning to outshine his sister's.	Ade k'idagha ini ami, enọ unek Astaire ama atọọñọ igwọ nda ñkan ake ejaka amọ agwoññwuan.
258	Astaire's tap dancing was recognized by then as among the best.	Ema eliọñọ 'tap dance' Astaire idagha ade nte keed ke atu mme unek s'ijaya ñkana.
259	After the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but Paramount deemed them unsuitable for films.	Sa eke ekwụk Funny Face, Astaires ema ekaya screen test ke Hollywood (ama achop idagha ami) ke Paramount Pictures, ade Paramount eke ewo ke ammọ ijọkọ inam film.
260	The end of the partnership was traumatic for Astaire but stimulated him to expand his range.	Utud a partnership ade ama adụk Astaire k'idem, ade ama anam na anye amaana achana ndagha amọ.
261	They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady.	MGM ema ewọọd anye ke etok usen ifañ ke 1933, iwo na ake tọọñọ ñgwọnda isañutom amọ ke Hollywood ke musical film "Dancing Lady" akema agwọ iwuo.
262	He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!'	Anye ama agwed inọ agent amọ iwo, "Ami mkpi ifanake k'inam nniche mfen mme anye, ade ke abaña ifiọk ebogho ami enyieghe, idụkọ ili.
263	The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical.	Partnership mme choreography Astaire mme Hermes Pan ake ñwam na unek ade akpan mkpọ ke Hollywood film musical.
264	Six out of the nine Astaire–Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time.	Musical itiekeed ake Astaire–Rogers ke atu usụkkeed ama akaba ide ekamba mkpọ nnam akpogho inọ RKO; afud a film ama akama ukpono mme ifiọk mmile se afud studio eke ema enụñ ejem k'idagha ini ade.
265	This gave the illusion of an almost stationary camera filming an entire dance in a single shot.	Ami ama anọ ñjiañ ibaña camera ake abagha nte asio afud mmile unek ade ukeed ke ñkebe keed.
266	Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety.	Naña unek Astaire akese akaya ama ajak na agwo s'iche akeene mbon s'inek unek ade mme choreography ade ukeed.
267	Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film.	Ajọghọ innovation Astaire iba ake baña unek, anye ama ajiile na afud ikwọ mme unek ade keed mme naña film ade asaña.
268	One would be a solo performance by Astaire, which he termed his "sock solo."	Ke akpe dey solo performance Astaire anama, adeghe anye akood "sock solo."
269	I think Ginger Rogers was.	Ami ñkele ke Ginger Rogers ake de.
270	She faked it an awful lot.	Anye ama ajiañ agwo tutu
271	In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson.	Ke 1976, British talk-show host, Sir Michael Parkinson ama awib Astaire, partner unek se anye ama akana ke Parkinson.
272	Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership.	Akpesụk ade ammọ ekema egwọ iwuo, Astaire iki inyimeke ijak afud isañutom amọ nnọọ ufọkutom keed.
273	Throughout this period, Astaire continued to value the input of choreographic collaborators.	Ke afud ufọọd ini ami, Astaire akesụk akaa-ka iso amọm mme mkpọ se mme choreographic collaborator eke gw ọọd anye.
274	They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine."	Ammọ ema enam na afọn ke Broadway Melody ake 1940, adeghe ammọ ema esio mmile enụñ edaala extended dance routine enọ "Begin the Beguine" a Cole Porter.
275	He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946).	Anye ama awile mme Bing Crosby ke Holiday Inn (1942), ake ka ko, anye de Blue Skies (1946).
276	The latter film featured "Puttin' On the Ritz", an innovative song-and-dance routine indelibly associated with him.	Puttin ama asini ke film s'iki igwọ iliana "On the Ritz", ake innovative song-and-dance routine ali imeme agwo isio anye nsio.
277	The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom.	Akpa a film "You'll Never Get Rich" (1941), ama abene Hayworth igwọd unalod ke eti.
278	It featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire.	Duet eke enama enọ Kern "I'm Old Fashioned," ama asine, adeghe akeli kaba ade etubom inụụk anọ "New York City Ballet" Jerome Robbins ake anama anọ Astaire ke 1983.
279	Astaire choreographed this film alone and achieved modest box office success.	Astaire ake nam choreography ade ikpọọñ anụñ abọ modest box office success.
280	The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet.	Avant-garde surrealistic ballet ama asine ke "Fantasy Yolanda" mme "Thief" (1945).
281	Always insecure and believing his career was beginning to falter, Astaire surprised his audiences by announcing his retirement during the production of his next film Blue Skies (1946).	Anye iki isi ifiọyọke, ñko ake anụñ ase akele k'isañ utom amọ atọọñọ iluọ, Astaire ama anọ mbon nniche mkpọ mkpadidem naña anye ake asiana awo k'isañ utom emọ atuɾo k'ini ake anama production a film amọ mfen "Blue Skies" ke 1946.
282	Both of these films revived Astaire's popularity and in 1950 he starred in two musicals.	Naña a film iba ami ama ademe isañutom Astaire, ñko ake ade ke 1950, anye asio mmile mfọn-mfọn ke musical iba.
283	While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.	K'ini "Three Little Words" akema anam na afọn ke box office, "Let's Dance" ama akpụ agwo ke akpogho.
284	But because of its high cost, it failed to make a profit on its first release.	Ade ke ntak naña ake chọñ ulua, anye isiogho udụk ke akpa eke esiogho anye.
285	Then, his wife Phyllis became ill and suddenly died of lung cancer.	Akema, ññwuan amọ 'Phyllis' aluọ udọñọ anụñ ajoko akpa ato lung cancer.
286	Daddy Long Legs only did moderately well at the box office.	Daddy Long Legs" ake nam na afọn ikpọọñ ke box office.
287	Similarly, Astaire's next project – his final musical at MGM, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office.	Ukem ade ñko, project Astaire s'iki ikeene, ake de akpaturo musical ke MGM, "Silk Stockings" (1957), adeghe anye ama asine mme Cyd Charisse, ekema etip akpogho ñko ke box office.
288	The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year."	Akpa ke mme program ami ake adeghe "An Evening with Fred Astaire" ke 1958 ake bọ Emmy Awards usụkkeed, "Best Single Performance by an Actor" mme "Most Outstanding Single Program of the Year." alọñọ de.
289	The choice had a controversial backlash because many believed his dancing in the special was not the type of "acting" for which the award was designed.	Unyime amọ ama aben mfana ili, sa ñgwak-ñgwak agwo eke nim k'unek amọ ke special iki ideghe utọ "acting" eke enama award ade enọ.
290	They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage.	Ammọ ema etime inyie videotape ade, esoño mkpọ s'iki ilọñọ elọñ ke modern format enụñ ekama kinescope footage eneeñe mme
291	Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969.	Astaire ama anyie k'iso utom akeli ideghe unek ke film ita mfen mme nsio-nsio television series tọọñọ ke 1957 gwọ 1969.
292	Astaire's dance partner was Petula Clark, who played his character's skeptical daughter.	Partner unek Astaire ake de Petula Clark, ake awileke nte skeptical daughter amọ.
293	Astaire continued to act in the 1970s.	Astaire ama akaa iso ise isio mmile ke ejo 1970
294	In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film.	Ke compilation ajọghọ iba adeghe efia seventy-six, anye ama anek etok unek ake ajideke mme Kelly, akpaturo mmile unek amọ ke musical film.
295	In 1978, he co-starred with Helen Hayes in a well received television film A Family Upside Down in which they played an elderly couple coping with failing health.	Ke 1978 anye ama asio mmile mme Helen Hayes ke television film "A Family Upside Down" adeghe ammọ eke ewile nte mkpoonagwo ke ndọ eke eñwanke mme una ñchọñidem.
296	Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series and the producers were delighted at the opportunity to create an entire episode to feature him.	Astaire ama awo agent amọ abọ uwiọñutom inọ ke Galactica ke ntak naña ntọajejen eke enyie ineme ke series ade, mme producer ema enụñ inem echid inam episode se anye sine.
297	Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature The Belle of New York, it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was reshot.	Ke mkpeen-mkpeene sa eke ma nsio nniche solo dance number "I Want to Be a Dancin' Man" ke ntak a feature "The Belle of New York" ema ewiile ke humble costume mme threadbare stage set Astaire iki ijọkọ, ema enụñ imaana isio afud nnutụm ade.
298	Frame for frame, the two performances are identical, down to the subtlest gesture.	K'iso mme iso, mme performance iba ade inyieghe uliaña, gwọ-gwọ ntok ndidiwe alinam.
299	His was a uniquely recognizable dance style that greatly influenced the American Smooth style of ballroom dance and set standards against which subsequent film dance musicals would be judged.	Akemọ ake de utọ asaña-saña njaya-ñjaya unek akema asio mmọñyọ amọ iduọk American Smooth style of ballroom dance anụñ abon ndagha nnaña mkpọ naña eli isi ikpe iwiile inọ dance musical film s'ili k'iso.

200

The world premiere was held in London, the first American sound production to do so.

Eke enim akpa world premiere ke London, adeghe akpa American sound production s'inam nteɾe.

201

Perfect Understanding, a 1933 sound production comedy, was the only film produced by this company.

"Perfect Understanding" adeghe sound production comedy ake 1933 ake de ukweñe film ufọkutom amọ eke enama.

202

She began appearing in stage productions and starred in The Gloria Swanson Hour on WPIX-TV in 1948.

Anye ama atọọñọ idụk mme stage production anụñ agwọ ada ke "The Gloria Swanson Hour" ke WPIX-TV ke efia1948.

203

The storyline of the film follows a faded silent movie actress Norma Desmond (Swanson), in love with a failed screenwriter Joe Gillis (William Holden).

Mmụk a film ade akeene silent movie actress eli ikobo ujo aba, Norma Desmond (Swanson) k'ima mme screenwriter ali igwọghọ iwuo, Joe Gillis (William Holden).

204

Norma plays a card game of bridge with a group of actors also known as "the Waxworks".

Norman ase awhile card game ake bridge eliọñọke ñkoo nte "the Waxworks" mme ulim actor amọ.

205

Norma dreams of a comeback are subverted, and when Gillis tries to break up with her, she threatens to kill herself, but instead kills him.

Ema ekana dap Norma ake anyieghe itime nli, ñko idagha Gillis ajeme igwọñọ Ufan mme anye, anye anyeñe igwod anye, ade a time akana agwod idem amọ.

206

Although Swanson had objected to enduring a screen test for the film, she had been glad to be making much more money than she had been in television and on stage.

Akpesụk ade a Swanson akeli imagha ime screen test nnọọ film ade, anye ama anem echid inam akpogho ñkan idagha anye ake abagha ke ke akewenniche ke abodmmile.

207

Swanson later hosted Crown Theatre with Gloria Swanson, a television anthology series in which she occasionally acted.

Swanson ama ali ikood Crown Theatre mme Gloria Swanson, adeghe television anthology series anye akeseke asio mmile akañ keed- akañ keed.

208

She was the "mystery guest" on What's My Line.

Anye ake de "mystery guest" ke "What's My Line".

209

She made a notable appearance in a 1966 episode of The Beverly Hillbillies, in which she plays herself.

Anye ama anyie asaña-saña ñgwọnda ke episode a 1966 ake "The Beverly Hillbillies", adeghe anye wile k'idem amọ.

210

Actor and playwright Harold J. Kennedy, who had learned the ropes at Yale and with Orson Wells' Mercury Theatre, suggested Swanson do a road tour of "Reflected Glory", a comedy that had run on the Broadway stage with Tallulah Bankhead as its star.

Actor mme playwright 'Harold J. Kennedy' ekema ekpeep the ropes ke Yale mme Orson Wells' ke Mercury Theatre, ema ewo ke Swanson akpa anam road tour ake "Reflected Glory", adeghe comedy eke enama ke Broadway stage mme Tallulah Bankhead nte star amọ.

211

After her success with Sunset Boulevard, she starred on Broadway in a revival of Twentieth Century with José Ferrer, and in Nina with David Niven.

Sa anye ake gwọ iwuo mme Sunset Boulevard, anye ama agwọ ida ke Broadway ke elidemele ake Twentieth Century ne José Ferrer, ñko ke Nina mme David Niven.

212

As a Republican she supported the 1940 and 1944 campaigns for president of Wendell Willkie and the 1964 presidential campaign of Barry Goldwater.

Nte republican, anye ake da campaigns ake president Wendell Willkie ke 1940 ne 1944 mme presidential campaign Barry Goldwater. ake 1964.

213

Taking medication given to her by Beery, purported to be for morning sickness, she aborted the fetus and was taken unconscious to the hospital.

Anye ama asoño fetus k'iñwọñ ibọk a Beery ake anọghọ anye ake adeghe anọ udọñọ ubakasen, ema enuy iben anye ika ufọkibọk k'ini anye ali iliọñọke idem.

214

In 1923, she adopted 1-year-old Sonny Smith, whom she renamed Joseph Patrick Swanson after her father.

Ke 1923, anye ama adep ajen agwodeen efia keed 'Sonny Smith', anye akeli ikpụghọke anyiñ akood anọ ete amọ, Joseph Patrick Swanson.

215

She had conceived a child with him before her divorce from Somborn was final, a situation that would have led to a public scandal and possible end of her film career.

Anye ama ajomo ilip inọ anye nte ugwọñọ -ndọ amọ tọọñọ ke Somborn ali igwọ utud, mkpọ akpe ke adeghe mkpọ nnọk, akpema akeme inụñ ñwiad isañ utom amọ ke film.

216

Following a four-month recuperation from her abortion, they returned to the United States as European nobility.

Sa idem ake ama chiọñ anye ke afiọñ inaañ ito nsoño ilip amọ, ammọ ema etime inyọñọ United States nte European nobility.

217

He became a film executive representing Pathé (USA) in France.

Anye ama akaba ide ekamba agwo ke film, anụñ ada anọ Pathé (USA) ke France.

218

Swanson described herself as a "mental vampire", someone with a searching curiosity about how things worked, and who pursued the possibilities of turning those ideas into reality.

Swanson ake tañ abaña idem amọ nte "mental vampire", agwo ajeme-jem iliọñọ naña afud mkpọ ake siaña, mme anniki ijiile ijem usụñ naña akaana mme ifiọk ade asin ke alinam.

219

They met by chance in Paris when Swanson was being fitted by Coco Chanel for her 1931 film Tonight or Never.

Ammọ eke jo-joko ekudo ke Paris ini Coco Chanel eke ebene Swanson ke ntak a film ammọ ake 1931 "Tonight or Never".

220

Her friends, some of whom openly disliked him, thought she was making a mistake.

Mme ufan amọ, itụñ mbon eke esuagha anye añwa-añwa, eke kele ke anye anam ndudue.

221

Swanson had initially thought she was going to be able to retire from acting, but the marriage was troubled by Davey's alcoholism from the start.

Swanson ke akpa ake kele k'imọ ila ikala ibọ nduọkalulu k'utom nsio mmile, ade ntime ama asine ke ndọ ade tọọñọ ke ntọọñọ ke ntak inaam ukọd Davey.

222

He was the co-author (ghostwriter) of Billie Holiday's autobiography Lady Sings the Blues, the author of Sugar Blues, a 1975 best-selling health book still in print, and the author of the English version of Georges Ohsawa's You Are All Sanpaku.

Anye ake de co-author (ghostwriter) a autobiography Billie Holiday "Lady Sings the Blues", ade anni iki igwed Sugar Blues, ñgwed s'ibaña ñchọñidem ake anyamake akana ke 1975 asụkọ aba-ba, amaana ade anni iki ikaba ñgwed a Georges Ohsawa "You Are All Sanpaku" nsin k'ikọ mbakala.

223

Swanson and her husband first got to know John Lennon and Yoko Ono because they were fans of Dufty's work.

Swanson mme ebe amọ eke to eliọñọ John Lennon mme Yoko Ono ke ntak ammọ eke edeghe mbon s'ima utom Dufty.

224

She was cremated and her ashes interred at the Episcopal Church of the Heavenly Rest on Fifth Avenue in New York City, attended by only a small circle of family.

Eke efọp anye enụñ ewuọk ntọñ amọ ke Episcopal Church ake Heavenly Rest ke Fifth Avenue ke New York City, adeghe etok idagha-idagha mbon ufọk amọ eke edụk.

225

In 1974, Swanson was one of the honorees of the first Telluride Film Festival.

Ke 1974, Swanson ake de keed ke atu mbon se ekpono ke akpa Telluride Film Festival.

226

Due to the erotic nature of her performances, Nielsen's films were censored in the United States, and her work remained relatively obscure to American audiences.

Ke ntak naña nsio mmile amọ ake ba ina-ina, ema esiụk anyen iche Nelsen films ke United States, utom amọ ñko anụñ asuk aba ndidiwe-ndidiwe anọ mbon ano mbon nniche America.

227

Nielsen's family moved several times during her childhood while her father sought employment.

Ufọk Nelsen ema edaka ikpoñ itie akañ ñgwak-ñgwak k'ini ujen amọ, idagha ete amọ ake ajeme utom.

228

Nielsen's father died when she was fourteen years old.

Ete Nelsen ake kpa idagha anye ake adeghe efia fourteen.

229

In 1901, 21-year-old Nielsen became pregnant and gave birth to a daughter, Jesta.

Ke 1901, Nelsen ake adeghe ajen efia 21 ama ajomo ilip anụñ aman ajen agwoññwuan akeleke Jesta.

230

Nielsen graduated from the Theater school in 1902.

Nelsen ama ama ñgwed ke Theater school ke 1902.

231

Nielsen's minimalist acting style was evidenced in her successful portrayal of a naive young woman lured into a tragic life.

Minimalist style nsio mmile Nielsen ama agwọ ida mfọn-mfọn ke anye ijem igwọd igwaad agwoññwuan eke elụdọ esin k'uwem ntak eled.

232

Nielsen and Gad married, then made four more films together.

Nielsen mme Gad ema edọyọ, ema ñjen enam film inaañ mfen keed.

233

I realised that the age of short film was past.

Ami mma aliọñọ ke ejo mmuk-mmuk a film ama afụlọ.

234

It was international film sales that provided Union with eight Nielsen films per year.

International film sales ake nọọ Union film a Nielsen itiaita kwa efia.

235

I used every available means – and devised many new ones – in order to bring the Asta Nielsen films to the world."

Mma akama ufud usụñ s'iki iba- nnụñ njiem usụñ mfen- na ato de ñkaɾa mben "Asta Nielsen films" nli alolobod".

236

In a Russian popularity poll of 1911, Nielsen was voted the world's top female movie star, behind Linder and ahead of her Danish compatriot Valdemar Psilander.

Ke Russian popularity poll ake 1911, ema effik ubọk inọ Nielsen nte agwoññwuan s'inyie ukwụ ke movie ñkana, adeghe akeene Linder anụñ alọọk itie akan agwo ukañ ammọ, Valdemar Psilander.

237

In 1921, Nielsen, through her own film distribution company of Asta Films, appeared in the Svend Gade and Heinz Schall directed Hamlet.

Ke 1921, Nielsen ama asaña ke elem a film distribution company amọ ake Asta Film idụk Svend Gade mme Heinz Schall a Hamlet ake alada usụñ.

238

However, scholarly works such as the authoritative filmography published by Filmarchiv Austria in 2010 make no mention of such a film.

Naña ade-de, mme utom ugwed ñgwed nte authoritative filmography eke esiaka ke Filmarchiv Austria ke 2010 isiaka utọ a film ade.

239

She worked in German films until the start of sound movies.

Anye ake anam utom ke German films tutu etọọñọ sound movie

240

Thereafter, Nielsen acted only on stage.

Akema de, Nielsen asio mmile ke abodmmile ikpọọñ.

241

Understanding the implications, Nielsen declined and left Germany in 1936.

Sa Nielsen akema aliọñọ se agwọñọ, anye ama achin anụñ akpọñ Germany ke 1936.

242

They were divorced by 1919 when Nielsen married the Swedish shipbuilder Freddy Windgårdh.

Ammọ eke egwọñọ ndọ ke 1919, ini Nielsen ake adọghọ Swedish shipbuilder, Freddy Windgårdh.

243

They began a long-term common-law marriage that lasted from 1923 until the late 1930s.

Ammọ ema etọọñọ ndọ etok mbed ke anyan ini ake akpeeneke tọọñọ ke 1923 gwọ utud ejo 1930.

244

Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American dancer, actor, singer, choreographer, and television presenter.

Fred Astaire (ake amanake ke Frederick Austerlitz; May 10, 1899 – June 22, 1987) ake de American dancer, actor, singer, choreographer, mme television presenter.

245

He starred in more than 10 Broadway and West End musicals, made 31 musical films, four television specials, and numerous recordings.

Anye ama anam afọn ke s'igwak ñkan Broadway 10 mme West End Musicals, Anam musical film 31, television specials inaañ, mme ñgwak-ñgwak a recording.

246

Astaire's mother was born in the US to Lutheran German immigrants from East Prussia and Alsace.

Eka Astaire ake amana ke US anọ mme Lutheran German immigrant etoghoke East Prussia mme Alsace.

247

Fritz was seeking work in the brewing trade and moved to Omaha, Nebraska, where he was employed by the Storz Brewing Company.

Fritz ake jem utom ke brewing trade, ama adaka Omaha ke Nebraska, itie Storz Brewing Company ekeke ebene anye k'utom.

248

Johanna planned a "brother and sister act", common in vaudeville at the time, for her two children.

Johanna ama akọọk iwuo ibaña "brother mme sister act" ake abañake anọ ntọ amọ ke vaudeville idagha ini ade

249

They began training at the Alviene Master School of the Theatre and Academy of Cultural Arts.

Ammọ eke etọọñọ ukpeep ke Alviene Master School of the Theatre mme Academy of Cultural Arts.

250

They were taught dance, speaking, and singing in preparation for developing an act.

Ema ekpeep ammọ unek, ntañikọ, mme ñkwọikwọ k'ibeeñe idem nnọọ nnam act.

251

In an interview, Astaire's daughter, Ava Astaire McKenzie, observed that they often put Fred in a top hat to make him look taller.

Ke interview, Ajen Astaire, Ava Astaire McKenzie ama akud ke ese ema isin Fred ke top hat na anam na anye amaana anyiọñ.

252

As a result of their father's salesmanship, Fred and Adele landed a major contract and played the Orpheum Circuit in the Midwest, Western and some Southern cities in the US.

Nte ibọọlọ ete ammọ ake adeghe akwa anam mbubeghe, Fred ne Adele ema enyie ekamba contract enụñ ewile nte Orpheum Circuit ke Midwest, Western mme usụghọ Southern city ke US.

253

In 1912, Fred became an Episcopalian.

Ke 1912, Fred ama akaba ide Episcopalian.

254

From vaudeville dancer Aurelio Coccia, they learned the tango, waltz, and other ballroom dances popularized by Vernon and Irene Castle.

Tọọñọ ke agwo unek vaudeville, Aurelio Coccia, ammọ ema ekpeep tango, waltz, ne mme unek a ballroom mfen a Vernon mme Irene Castle eke enama na agwọ etop.

255

He first met George Gershwin, who was working as a song plugger for Jerome H. Remick's music publishing company, in 1916.

Anye ake to akud George Gershwin ake anama utom nte song plugger anọ music publishing company a Jerome H. Remick ke 1916.

256

Of their work in The Passing Show of 1918, Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."

K'utom ammọ ke "The Passing Show" ake 1918, Heywood Broun ama agwed iwo: "Ke nnuwi eti unek ake ama aneke iba, Fred Astaire ake gwọ ada... Anye ne partner amọ, Adele Astaire, ema enam show ade asọbọ atuɾo ke nnuwi mme njaya-ñjaya a loose-limbed dance."

257

But by this time, Astaire's dancing skill was beginning to outshine his sister's.

Ade k'idagha ini ami, enọ unek Astaire ama atọọñọ igwọ nda ñkan ake ejaka amọ agwoññwuan.

258

Astaire's tap dancing was recognized by then as among the best.

Ema eliọñọ 'tap dance' Astaire idagha ade nte keed ke atu mme unek s'ijaya ñkana.

259

After the close of Funny Face, the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but Paramount deemed them unsuitable for films.

Sa eke ekwụk Funny Face, Astaires ema ekaya screen test ke Hollywood (ama achop idagha ami) ke Paramount Pictures, ade Paramount eke ewo ke ammọ ijọkọ inam film.

260

The end of the partnership was traumatic for Astaire but stimulated him to expand his range.

Utud a partnership ade ama adụk Astaire k'idem, ade ama anam na anye amaana achana ndagha amọ.

261

They lent him for a few days to MGM in 1933 for his significant Hollywood debut in the successful musical film Dancing Lady.

MGM ema ewọọd anye ke etok usen ifañ ke 1933, iwo na ake tọọñọ ñgwọnda isañutom amọ ke Hollywood ke musical film "Dancing Lady" akema agwọ iwuo.

262

He wrote his agent, "I don't mind making another picture with her, but as for this 'team' idea, it's 'out!'

Anye ama agwed inọ agent amọ iwo, "Ami mkpi ifanake k'inam nniche mfen mme anye, ade ke abaña ifiọk ebogho ami enyieghe, idụkọ ili.

263

The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical.

Partnership mme choreography Astaire mme Hermes Pan ake ñwam na unek ade akpan mkpọ ke Hollywood film musical.

264

Six out of the nine Astaire–Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time.

Musical itiekeed ake Astaire–Rogers ke atu usụkkeed ama akaba ide ekamba mkpọ nnam akpogho inọ RKO; afud a film ama akama ukpono mme ifiọk mmile se afud studio eke ema enụñ ejem k'idagha ini ade.

265

This gave the illusion of an almost stationary camera filming an entire dance in a single shot.

Ami ama anọ ñjiañ ibaña camera ake abagha nte asio afud mmile unek ade ukeed ke ñkebe keed.

266

Astaire's style of dance sequences allowed the viewer to follow the dancers and choreography in their entirety.

Naña unek Astaire akese akaya ama ajak na agwo s'iche akeene mbon s'inek unek ade mme choreography ade ukeed.

267

Astaire's second innovation involved the context of the dance; he was adamant that all song and dance routines be integral to the plotlines of the film.

Ajọghọ innovation Astaire iba ake baña unek, anye ama ajiile na afud ikwọ mme unek ade keed mme naña film ade asaña.

268

One would be a solo performance by Astaire, which he termed his "sock solo."

Ke akpe dey solo performance Astaire anama, adeghe anye akood "sock solo."

269

I think Ginger Rogers was.

Ami ñkele ke Ginger Rogers ake de.

270

She faked it an awful lot.

Anye ama ajiañ agwo tutu

271

In 1976, British talk-show host Sir Michael Parkinson asked Astaire who his favorite dancing partner was on Parkinson.

Ke 1976, British talk-show host, Sir Michael Parkinson ama awib Astaire, partner unek se anye ama akana ke Parkinson.

272

Despite their success, Astaire was unwilling to have his career tied exclusively to any partnership.

Akpesụk ade ammọ ekema egwọ iwuo, Astaire iki inyimeke ijak afud isañutom amọ nnọọ ufọkutom keed.

273

Throughout this period, Astaire continued to value the input of choreographic collaborators.

Ke afud ufọọd ini ami, Astaire akesụk akaa-ka iso amọm mme mkpọ se mme choreographic collaborator eke gw ọọd anye.

274

They starred in Broadway Melody of 1940, in which they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine."

Ammọ ema enam na afọn ke Broadway Melody ake 1940, adeghe ammọ ema esio mmile enụñ edaala extended dance routine enọ "Begin the Beguine" a Cole Porter.

275

He played alongside Bing Crosby in Holiday Inn (1942) and later Blue Skies (1946).

Anye ama awile mme Bing Crosby ke Holiday Inn (1942), ake ka ko, anye de Blue Skies (1946).

276

The latter film featured "Puttin' On the Ritz", an innovative song-and-dance routine indelibly associated with him.

Puttin ama asini ke film s'iki igwọ iliana "On the Ritz", ake innovative song-and-dance routine ali imeme agwo isio anye nsio.

277

The first film, You'll Never Get Rich (1941), catapulted Hayworth to stardom.

Akpa a film "You'll Never Get Rich" (1941), ama abene Hayworth igwọd unalod ke eti.

278

It featured a duet to Kern's "I'm Old Fashioned," which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire.

Duet eke enama enọ Kern "I'm Old Fashioned," ama asine, adeghe akeli kaba ade etubom inụụk anọ "New York City Ballet" Jerome Robbins ake anama anọ Astaire ke 1983.

279

Astaire choreographed this film alone and achieved modest box office success.

Astaire ake nam choreography ade ikpọọñ anụñ abọ modest box office success.

280

The fantasy Yolanda and the Thief (1945) featured an avant-garde surrealistic ballet.

Avant-garde surrealistic ballet ama asine ke "Fantasy Yolanda" mme "Thief" (1945).

281

Always insecure and believing his career was beginning to falter, Astaire surprised his audiences by announcing his retirement during the production of his next film Blue Skies (1946).

Anye iki isi ifiọyọke, ñko ake anụñ ase akele k'isañ utom amọ atọọñọ iluọ, Astaire ama anọ mbon nniche mkpọ mkpadidem naña anye ake asiana awo k'isañ utom emọ atuɾo k'ini ake anama production a film amọ mfen "Blue Skies" ke 1946.

282

Both of these films revived Astaire's popularity and in 1950 he starred in two musicals.

Naña a film iba ami ama ademe isañutom Astaire, ñko ake ade ke 1950, anye asio mmile mfọn-mfọn ke musical iba.

283

While Three Little Words did quite well at the box office, Let's Dance was a financial disappointment.

K'ini "Three Little Words" akema anam na afọn ke box office, "Let's Dance" ama akpụ agwo ke akpogho.

284

But because of its high cost, it failed to make a profit on its first release.

Ade ke ntak naña ake chọñ ulua, anye isiogho udụk ke akpa eke esiogho anye.

285

Then, his wife Phyllis became ill and suddenly died of lung cancer.

Akema, ññwuan amọ 'Phyllis' aluọ udọñọ anụñ ajoko akpa ato lung cancer.

286

Daddy Long Legs only did moderately well at the box office.

Daddy Long Legs" ake nam na afọn ikpọọñ ke box office.

287

Similarly, Astaire's next project – his final musical at MGM, Silk Stockings (1957), in which he co-starred with Cyd Charisse, also lost money at the box office.

Ukem ade ñko, project Astaire s'iki ikeene, ake de akpaturo musical ke MGM, "Silk Stockings" (1957), adeghe anye ama asine mme Cyd Charisse, ekema etip akpogho ñko ke box office.

288

The first of these programs, 1958's An Evening with Fred Astaire, won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year."

Akpa ke mme program ami ake adeghe "An Evening with Fred Astaire" ke 1958 ake bọ Emmy Awards usụkkeed, "Best Single Performance by an Actor" mme "Most Outstanding Single Program of the Year." alọñọ de.

289

The choice had a controversial backlash because many believed his dancing in the special was not the type of "acting" for which the award was designed.

Unyime amọ ama aben mfana ili, sa ñgwak-ñgwak agwo eke nim k'unek amọ ke special iki ideghe utọ "acting" eke enama award ade enọ.

290

They restored the original videotape, transferring its contents to a modern format and filling in gaps where the tape had deteriorated with kinescope footage.

Ammọ ema etime inyie videotape ade, esoño mkpọ s'iki ilọñọ elọñ ke modern format enụñ ekama kinescope footage eneeñe mme

291

Astaire appeared in non-dancing roles in three other films and several television series from 1957 to 1969.

Astaire ama anyie k'iso utom akeli ideghe unek ke film ita mfen mme nsio-nsio television series tọọñọ ke 1957 gwọ 1969.

292

Astaire's dance partner was Petula Clark, who played his character's skeptical daughter.

Partner unek Astaire ake de Petula Clark, ake awileke nte skeptical daughter amọ.

293

Astaire continued to act in the 1970s.

Astaire ama akaa iso ise isio mmile ke ejo 1970

294

In the second compilation, aged seventy-six, he performed brief dance linking sequences with Kelly, his last dance performances in a musical film.

Ke compilation ajọghọ iba adeghe efia seventy-six, anye ama anek etok unek ake ajideke mme Kelly, akpaturo mmile unek amọ ke musical film.

295

In 1978, he co-starred with Helen Hayes in a well received television film A Family Upside Down in which they played an elderly couple coping with failing health.

Ke 1978 anye ama asio mmile mme Helen Hayes ke television film "A Family Upside Down" adeghe ammọ eke ewile nte mkpoonagwo ke ndọ eke eñwanke mme una ñchọñidem.

296

Astaire asked his agent to obtain a role for him on Galactica because of his grandchildren's interest in the series and the producers were delighted at the opportunity to create an entire episode to feature him.

Astaire ama awo agent amọ abọ uwiọñutom inọ ke Galactica ke ntak naña ntọajejen eke enyie ineme ke series ade, mme producer ema enụñ inem echid inam episode se anye sine.

297

Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature The Belle of New York, it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was reshot.

Ke mkpeen-mkpeene sa eke ma nsio nniche solo dance number "I Want to Be a Dancin' Man" ke ntak a feature "The Belle of New York" ema ewiile ke humble costume mme threadbare stage set Astaire iki ijọkọ, ema enụñ imaana isio afud nnutụm ade.

298

Frame for frame, the two performances are identical, down to the subtlest gesture.

K'iso mme iso, mme performance iba ade inyieghe uliaña, gwọ-gwọ ntok ndidiwe alinam.

299

His was a uniquely recognizable dance style that greatly influenced the American Smooth style of ballroom dance and set standards against which subsequent film dance musicals would be judged.

Akemọ ake de utọ asaña-saña njaya-ñjaya unek akema asio mmọñyọ amọ iduọk American Smooth style of ballroom dance anụñ abon ndagha nnaña mkpọ naña eli isi ikpe iwiile inọ dance musical film s'ili k'iso.