Editing Rex Ingram (director) (section)

==Career==
Ingram studied sculpture at the [[Yale University]] School of Art, where he contributed to campus humour magazine ''[[The Yale Record]]''.<ref>Gmur, Leonhard (14 November 2013). ''Rex Ingram: Hollywood Rebel of the Silver Screen''. Germany: epubli GmbH. p. 473.</ref> He soon moved into film, first taking acting work in 1913 and then writing, producing and directing. His first work as producer-director was in 1916 on the romantic drama ''[[The Great Problem]]''. He worked for [[Edison Studios]], [[Fox Film Corporation]], [[Vitagraph Studios]], and then [[MGM]], directing mainly action or supernatural films.<ref name="Soares"/>

He moved to Metro in 1920, where he was under the supervision of executive [[June Mathis]]. Mathis and Ingram would go on to make four films together: ''[[Hearts Are Trumps (1920 American film)|Hearts Are Trumps]]'', ''[[The Four Horsemen of the Apocalypse (film)|The Four Horsemen of the Apocalypse]]'', ''[[The Conquering Power]]'', and ''[[Turn to the Right]]''. It is believed the two were romantically involved. Ingram and Mathis had begun to grow distant when her new find, [[Rudolph Valentino]], began to overshadow Ingram's own fame. Their relationship ended when Ingram eloped with [[Alice Terry]] in 1921.

[[File:The Conquering Power (1921) - 10.jpg|thumb|Ingram at work with [[Ralph Lewis (actor)|Ralph Lewis]], [[Rudolph Valentino]], and his wife, [[Alice Terry]], on the set of ''[[The Conquering Power]]'']]

Ingram married twice, first to actress [[Doris Pawn]] in 1917; this ended in divorce in 1920.<ref name="Soares"/> He then married Alice Terry in 1921, with whom he remained for the rest of his life. Both marriages were childless. He and Terry relocated to the [[French Riviera]] in 1923. They formed a [[Victorine Studios|small studio]] in [[Nice]] and made several films on location in North Africa, Spain, and Italy, for MGM and others.<ref>"New British Film Company; Alastair Mackintosh Leads London Firm – Rex Ingram Is Director", ''The New York Times'', 8 May 1928.</ref>

Among those who worked for Ingram at MGM on the Riviera during this period was the young [[Michael Powell]], who later directed (with [[Emeric Pressburger]]) ''[[The Red Shoes (1948 film)|The Red Shoes]]'' and other classics, and technician [[Leonti Planskoy]]. By Powell's own account, Ingram was a major influence on him, especially in regard to the themes of illusion, dreaming, magic and the surreal. [[David Lean]] said he was indebted to Ingram. MGM studio chief [[Dore Schary]] listed the top creative people in Hollywood as [[D. W. Griffith]], Ingram, [[Cecil B. DeMille]] and [[Erich von Stroheim]] (in declining order of importance).<ref name="Soares"/>

[[File:The Four Horsemen of the Apocalypse (1921) - Ingram.jpg|thumb|Ingram working on the set of [[The Four Horsemen of the Apocalypse (film)|''The Four Horsemen of the Apocalypse'']]]]

[[Carlos Clarens]] writes: "As Rex Ingram's films became more esoteric, his career declined. The coming of sound forced him to relinquish his studios in Nice. Rather than equip them for talking pictures, he chose instead to travel and pursue a writing career."<ref name="autogenerated73">Carlos Clarens. ''Horror Movies: An Illustrated Survey''. London: [[Secker & Warburg]], 1968 (revised and enlarged from the 1967 Putnam's edition published under the title ''An Illustrated History of the Horror Film''), p. 73.</ref>

Ingram made only one sound film: ''[[Baroud]]'', filmed for [[Gaumont British]] Pictures in Morocco. The film was not a commercial success; he then left the movie business, returning to Los Angeles to work as a sculptor and writer.

Ingram converted to Islam in 1933, having held an interested in the religion as early as 1927.<ref>"Rex Ingram Embracing Mohammedan Faith; Announces Abandoning Motion-Picture Field", ''The New York Times'', 2 July 1933. Retrieved 13 March 2015.</ref>

For his contribution to the motion picture industry, he has a star on the [[Hollywood Walk of Fame]] at 1651 Vine Street.