Alice Terry

Alice Frances Taaffe (July 29, 1900 – December 22, 1987), known professionally as Alice Terry, was an American film actress and director. She began her career during the silent film era, appearing in thirty-nine films between 1916 and 1933. While Terry's trademark look was her blonde hair, she was actually a brunette, and put on her first blonde wig in Hearts Are Trumps (1920) to look different from Francelia Billington, the other actress in the film. Terry played several different characters in the 1916 anti-war film Civilization, co-directed by Thomas H. Ince and Reginald Barker. Alice wore the blonde wig again in her most acclaimed role as "Marguerite" in film The Four Horsemen of the Apocalypse (1921), and kept the wig for any future roles. In 1925 her husband Rex Ingram co-directed Ben-Hur, filming parts of it in Italy. The two decided to move to the French Riviera, where they set up a small studio in Nice and made several films on location in North Africa, Spain, and Italy for MGM and others. In 1933, Terry made her last film appearance in Baroud, which she also co-directed with her husband.

Alice Terry
Stars of the Photoplay, 1924
Born	Alice Frances Taaffe July 29, 1900 Vincennes, Indiana, U.S.
Died	December 22, 1987 (aged 87) Burbank, California, U.S.
Occupation	Actress
Years active	1916–1933
Spouse(s)	Rex Ingram ​ ​ (m. 1921; died 1950)​

Early years

Alice Frances Taaffe was born in Vincennes, Indiana, on July 29, 1900, the daughter of Matthew Taaffe and Ella Isadore Thorn. She had a sister, Edna and a brother, Robert.

Career

Terry made her film debut in 1916 in Not My Sister, opposite Bessie Barriscale and William Desmond Taylor.

Terry started in films as an extra during her mid-teens. For two years she worked in cutting rooms at Famous-Players-Lasky. This work helped her later when she worked with her husband.

Alice Terry was married to Rex Ingram, a prominent director.[1] One of her biggest problems in her career was being the leading lady in movies directed by her husband. Her roles in films directed by her husband left her passive and unmemorable.[2] Ingram also hired male stars who further outshone her in The Conquering Power (1921), The Prisoner of Zenda (1922) and other films.[2] One fan magazine writer described Terry as "pliant clay" or easily manipulated on screen.

This 1922 Vanity Fair caricature by Ralph Barton[3] shows the famous people who, he imagined, left work each day in Hollywood; use cursor to identify individual figures.

In 1924 and 1925 the marriage between Terry and Ingram was in jeopardy, and in that time period she worked under other directors. During this time period Terry worked on five movies, but her roles particularly in Any Woman (1925) and Sackcloth and Scarlet (1925), both by Paramount Pictures, proved that she was a legitimate star away from her husband.[2] When they got back together, Terry took on a more behind-the-scenes role.

Terry's work at Famous-Players-Lasky helped her in ways that were not known to the public. Ingram often became too moody to work while directing movies so Terry took over.[2] She was a competent film editor and learned how to direct from a master. When Ingram went to produce his last film, and only talkie, Baroud (1933), Terry helped so much that she was named co-director and she directed all the scenes Ingram appeared in.^[2] Baroud highlighted Alice's ability as an all-around filmmaker but she never took that further.

Terry worked with Ramón Novarro, a popular a film star from Mexico who drew in audiences as a "Latin lover", and became known as a sex symbol after the death of Rudolph Valentino. Many have said that Novarro outdid Terry in many films such as The Prisoner of Zenda (1922), The Arab (1924) and others; but this didn't hinder their friendship.

Personal life

In 1921, Terry married Ingram during production of The Prisoner of Zenda (1922), which he directed and in which she appeared as Princess Flavia. They sneaked away over one weekend, were married in Pasadena, and returned to work promptly the following Monday.

In 1923 Terry and Ingram decided to move to the French Riviera. They formed a small studio in Nice and made several films on location in North Africa, Spain, and Italy for MGM and others.

Terry with her husband, Rex Ingram. Photoplay, March 1922.

During the making of The Arab (1924) in Tunisia, they met a street child named Kada-Abd-el-Kader, whom they adopted upon learning that he was an orphan. Allegedly, he misrepresented his age to make himself seem younger to his adoptive parents.

Terry was known for being open minded and acted as a cover for Ramón Novarro's sexuality. In the 1930s she went with Novarro, Barry Norton, and other homosexual actors to Hollywood nightspots to act as a cover, which received backlash in the magazine The Hollywood Reporter.[2]

When Ingram decided to return to Los Angeles he asked Terry to find a home by a river. One night when Terry was drinking with friends she instructed the cab to pull over so she could throw up. When Terry was done, she looked up and saw a property in Studio City on the Los Angeles River and decided that this was the place where her new home with Rex would be.[4]

Once Terry and Ingram moved back to the United States they started having problems with their adopted son, Kada-Abd-el-Kader. He "began associating with fast women and fast cars throughout the San Fernando Valley." Terry and Ingram sent him back to Morocco "to finish school." /> Kada-Abd-el-Kader never went back to school, but he later became a tourist guide in Morocco and Algiers. El-Kader would always tell tourists that he was the adopted son of Ingram and Terry.

Terry and Ingram retired in the 1930s and took up painting. When Ingram died in 1950, Terry invited four of his mistresses to his funeral.[2] When she was asked how she could invite four of his mistresses to the post-funeral party said: "Who cares, I'm the only one that can call herself Mrs. Rex Ingram."[2]

After Ingram's death Terry's sister Edna moved into the property on Kelsey Street and controlled Alice's life. Alice had a lover, Gerald Fielding, who wanted to move in with her, but Edna forbade it.[2] It is speculated that Edna was jealous of Alice, Edna started as an extra as movies just like her sister, but then married a financial advisor and she stopped acting altogether.[2]

Terry was still active in the 1970s. She loved hosting Sunday afternoon parties and going out to dinner in extravagant, floor length mink coats.[2] She was proud of her appearance and wanted to make sure all other women were envious.

Death

Alzheimer's put a stop to Terry's parties and fun and she eventually died in a Burbank, California, hospital on December 22, 1987. Her grave is located in the Valhalla Memorial Park Cemetery in North Hollywood, Los Angeles, California. For her contribution to the motion picture industry, Alice Terry has a star on the Hollywood Walk of Fame at 6628 Hollywood Boulevard.

Filmography

Terry in Picture-Play, May 1921

Year	Title	Role	Notes
1916	Not My Sister	Ruth Tyler	Credited as Alice Taafe Lost film
	Civilization	Extra (Various, from a peasant to a German Soldier)	Uncredited
	A Corner in Colleens	Daisy	Credited as Alice Taafe Lost film
1917	Wild Winship's Widow	Marjory Howe	Credited as Alice Taafe Lost film
	Strictly Business		Lost film
	The Bottom of the Well	Anita Thomas
	Alimony	Extra	Uncredited Lost film
1918	The Clarion Call		Lost film
	A Bachelor's Children	Penelope Winthrop	Lost film
	Old Wives for New	Saleslady	Credited as Alice Taafe Lost film
	The Song and the Sergeant		Lost film
	Sisters of the Golden Circle	Mrs. Pinkey McGuire	Lost film
	The Brief Debut of Tildy	Tildy	Lost film
	Love Watches	Charlotte Bernier	Lost film
	The Trimmed Lamp		Lost film
1919	Thin Ice	Jocelyn Miller
	The Love Burglar	Elsie Strong	Credited as Alice Taafe Lost film
	The Valley of the Giants	Mrs. Cardigan	Credited as Alice Taafe Alternative title: In the Valley of the Giants
	The Day She Paid		Credited as Alice Taafe Alternative title: Oats and the Woman
1920	Shore Acres	Extra	Uncredited Lost film
	The Devil's Pass Key	Extra	Uncredited Lost film
	Hearts Are Trumps	Dora Woodberry
1921	The Four Horsemen of the Apocalypse	Marguerite Laurier
	The Conquering Power	Eugenie Grandet	Alternative title: Eugenie Grandet
1922	Turn To The Right	Elsie Tillinger
	The Prisoner of Zenda	Princess Flavia
1923	Where the Pavement Ends	Matilda Spener	Lost film
	Scaramouche	Aline de Kercadiou, Quintin's Niece
1924	The Arab	Mary Hilbert
1925	The Great Divide	Ruth Jordan
	Sackcloth and Scarlet	Joan Freeman	Lost film
	Confessions of a Queen	Frederika/The Queen	Incomplete
	Any Woman	Ellen Linden	Lost film
1926	Mare Nostrum	Freya Talberg	Alternative title: Our Sea
	The Magician	Margaret Dauncey
1927	Lovers	Felicia	Lost film
	The Garden of Allah	Domini Enfilden	Incomplete
1928	The Three Passions	Lady Victoria Burlington
1933	Baroud		Co-director Alternative title: Love in Morocco

References

1. "Rex Ingram". www.tcd.ie. Retrieved December 11, 2015.
2. Slide, Anthony; Silent Topics: Essays on Undocumented Areas of Silent Film; p. 48
3. "When the Five O'Clock Whistle Blows in Hollywood". Vanity Fair. September 1922. Retrieved June 27, 2017.
4. Slide, Anthony (February 1, 2010). Silent Players: A Biographical and Autobiographical Study of 100 Silent Film Actors and Actresses. University Press of Kentucky. ISBN 0813137454.

External links

• Alice Terry at IMDb
• Alice Terry at the Women Film Pioneers Project
• Photographs and bibliography