Rex Ingram

Rex Ingram

Highest Rated: 100% Moonrise (1948)

Lowest Rated: 22% Hurry Sundown (1967)

Birthday: Jan 15, 1892

Birthplace: Not Available

Not to be confused with the African American actor of the same name, Irish-born actor/director Rex Ingram was a set designer and painter before entering films as a performer in 1914's Necklace of Rameses. Handsome enough to thrive as a film star, Ingram was more attracted to directing, making his debut in this capacity with the 1916 feature The Great Problem. A consummate artist, Ingram disliked the crass business haggling of Hollywood, and was particularly disenchanted with the level of American writing. He was drawn to the mystical, tragic novels of Spanish author Vicente Blasco Ibanez; many of these were unfilmable, but one Ibanez adaptation, Four Horsemen of the Apocalypse (1922), was not only a hit for Ingram but secured the stardom of Rudolph Valentino. Unwilling to submit to rushed production schedules and tight budgets, Ingram was not well loved in Hollywood, though he found a kindred spirit in fellow director Erich Von Stroheim, who like Ingram was meticulous in detail but careless in spending studio money. When Von Stroheim completed the eight-hour film drama McTeague, Ingram volunteered out of friendship to cut the film down to a more playable length. When Ingram's cut was whittled down further by MGM and released as Greed (1924), Ingram decided that he was sick of the so-called "butchers" of Hollywood and retreated to France, where he set up his own studios in Nice to direct films of his own choosing with his wife Alice Terry as star. Visually exquisite, with richly toned photography and beautifully tinted film stock, Ingram's features were artistic successes but box-office disappointments. Seen today, such Ingram films as Mare Nostrum (1926) and The Magician (1927) are feasts for the eye, but rather stodgy and slow; moreover, though he fancied himself a writer, Ingram's screenplays are often confusing and disorganized. Still, he was a staunch individualist in a world of cookie-cutter studio directors, and Ingram had a loyal following, even if his films lost money for his Anerican distributors. Utterly opposed to the introduction of talking pictures, Ingram made one sound film, Baroud (1931), which was filmed in Morocco. Thereafter, Ingram abandoned filmmaking for the tenets of Islam, devoting the last two decades of his life to introspective worship, writing, and sculpting.

Highest Rated Movies



No Score Yet The Flower Of Doom Director Screenwriter 2012
No Score Yet The Chalice Of Sorrow Director Screenwriter 2011
No Score Yet Journey to Shiloh Jacob 1968
22% Hurry Sundown Prof. Thurlow 1967
No Score Yet Your Cheatin' Heart Teetot 1964
No Score Yet Desire in the Dust Burt Crane 1960
94% Elmer Gantry Preacher 1960
No Score Yet Escort West Nelson 1959
No Score Yet Anna Lucasta Joe Lucasta 1959
No Score Yet Watusi Actor 1959
No Score Yet God's Little Acre Uncle Felix 1958
100% Moonrise Mose 1948
No Score Yet Adventure Black Preacher 1945
No Score Yet A Thousand and One Nights Giant 1945
No Score Yet Dark Waters Pearson Jackson 1944
100% Sahara Sgt. Tambul 1943
85% Cabin in the Sky Lucius/Lucifer Jr. 1943
93% The Talk of the Town Tilney 1942
100% The Thief of Bagdad Djinni 1940
No Score Yet The Adventures Of Huckleberry Finn Jim 1939
81% The Green Pastures De Lawd 1936
71% The Emperor Jones Court Crier 1933
No Score Yet The Magician Director 1926
No Score Yet Mare Nostrum Producer Director 1926
No Score Yet The Arab Screenwriter Director 1924
No Score Yet Scaramouche Producer Director 1923
No Score Yet The Conquering Power Producer Director 1921
80% The Four Horsemen of the Apocalypse Producer Director 1921
83% Tarzan of the Apes Actor 1918


No Score Yet Gunsmoke
Juba Freeman 1969


Abu says: How can you be so ungrateful?

Djinni says: Grateful? Slaves are not grateful. Not for their freedom!

Djinni says: You're a clever little man little master of the universe, but mortals are weak and frail. If their stomach speaks, they forget their brain. If their brain speaks, they forget their heart. And if their heart speaks [laughter] ... they forget everything.