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Novarro’s Rivalry with Rudolph Valentino

The rivalry between Ramón Navarro and Rudolph Valentino was based on publicity shrouded more in rumor than in fact. Both actors often portrayed “Latin lover” characters, stereotypically suave foreigners who appeared in many Hollywood films of the interwar period. Valentino came to epitomize this archetype. He and Novarro briefly worked together on the 1921 film The Four Horsemen of the Apocalypse—Valentino as the star and Novarro as an extra—however, they were deemed too handsome to share scenes, and Novarro’s part was considerably reduced. Valentino’s success in that film convinced him to leave Metro-Goldwyn-Mayer (MGM) for Paramount Studios. Novarro was subsequently promoted as MGM’s replacement for Valentino. When the film Ben-Hur: A Tale of the Christ (1925) was being cast, Valentino was rumored as a competitor with Novarro for the coveted lead role. In reality, Valentino had no interest in starring in the film and frequently expressed the fear that his career would decline if he took the part because no future film role could surpass that of Ben-Hur. That did not stop the press from casting the two men as rivals, however. Rumors also abounded in Hollywood that Valentino and Novarro were secretly lovers. If true, the relationship might have doomed both their careers. Friends and family of Valentino and Novarro never confirmed that the two men even knew each other, and there is no proof that the men had a sexual relationship. Modern scholarship indicates Valentino’s preference was for women and Novarro’s for men. In any case, speculation about the relationship between the two ended with Valentino’s sudden death in 1926.

Great Lives from History: Latinos

Ramón Novarro

by William A. Paquette

Mexican-born actor

Novarro achieved his greatest fame in the 1920’s during the silent era of Hollywood filmmaking. His classical good looks, sensuality, and natural talent led to his positioning as a rival to Rudolf Valentino for the “Latin lover” roles of the day. Novarro’s greatest film performance was the starring role in the 1925 film Ben-Hur: A Tale of the Christ.

Areas of achievement: Acting

Early Life

Ramón Novarro (noh-VAH-roh) was born José Ramón Gil Samaniego in Durango, Mexico, on February 6, 1899. His father was a wealthy dentist whose family origins may have been Spanish or even Greek. Novarro’s mother, Leonor Gavilan, was the daughter of a wealthy landowner who claimed descent from an Aztec prince. The Samaniego family was influential and well-respected with contacts in the presidential palace in Mexico City.

Ramón Novarro.

324_Novarro_Ramon.jpg

(Moviepix/Getty Images)

Novarro was the fourth child of thirteen born to his parents. The family was extremely religious, and three of Novarro’s sisters became cloistered nuns. Novarro even considered entering the priesthood. However, it was his interest in the theater, opera, and acting that convinced him to not take holy orders. Novarro was extremely artistic, with considerable talent in dance, singing, and playing the piano. His athletic ability earned him a track scholarship.

Civil war plagued Mexico from 1913 to the end of the decade as Pancho Villa repeatedly tried to overthrow the government. Durango was invaded by Villa’s forces, and the family’s economic well-being was threatened. Parents and children frequently were separated and feared for their lives.

Mexico’s political instability convinced Novarro that he could more safely establish a career in the United States. He and a younger brother moved to Los Angeles, where Novarro waited tables, worked as a movie theater usher, and posed nude for an art school to earn money to send to his family in Mexico. He achieved some success with bit parts in films and stage acting.

Life’s Work

Novarro’s sensuality, physicality, and exceptional good looks gained him the attention of Hollywood’s rising class of film stars and directors. He reportedly appeared in more than one hundred films between 1916 and 1921 as an extra. Novarro was featured in small parts in nine films for the same time period. His persistence and patience eventually earned rewards with a starring role in the 1922 film The Prisoner of Zenda. Both he and the film quickly became successful. Believing his unusual last name was a hindrance to future film success, he changed it to Novarro. It remains unclear why he chose Novarro. Navarro (with two a’s) is a common Spanish name; his name might have been rendered as Novarro because of a typographical error or because studio executives altered the spelling to make it unique.

During the 1920’s, Novarro was recruited for leading roles in silent film classics that included Scaramouche (1923), The Arab (1924), Lovers? (1927), The Student Prince in Old Heidelberg (1927), and The Pagan (1929). In 1929, he became bored with acting. His investment of time and money in singing as an alternative career led to a nervous breakdown. The stock market crash of 1929 wiped out his fortune, which had been poorly invested by the brother of a close friend. The death of his own younger brother drove Novarro to alcoholism. His personal life was complicated by his deep devotion to Catholicism, which conflicted with his homosexuality.

The film industry’s transition from silent to sound films caused Novarro concern because of his accent. His musical skills along with his considerable acting talent kept him a much sought-after actor, but Novarro typically was cast as a foreigner from an exotic country. He never was allowed to play a Mexican. Novarro’s most successful sound film was Mata Hari (1931), in which he costarred with Greta Garbo.

By 1932, the film industry’s use of “Latin lover” characters was in decline. Novarro’s contract with Metro-Goldwyn-Mayer (MGM) was not renewed in 1936. He split from the company by mutual agreement; Novarro had refused the request of the head of MGM, Louis B. Mayer, to get married to cover up his homosexuality. Novarro moved on to Republic Studios, but by this time, his career was in decline. Many of his later films failed to make a profit. During the decade of the 1940’s, Novarro made only six films, and his last starring role was the 1944 film The Saint That Forged a Country, which was in Spanish with English subtitles.

The advent of television gave Novarro’s career a temporary reprieve. From 1952 to 1968, he appeared in twelve different television series. He also occasionally acted in regional theater. Novarro’s life came to an abrupt end on October 30, 1968, when he invited the Ferguson brothers, Tom and Paul, into his home. The brothers were seeking money that allegedly was hidden in Novarro’s house. They pretended to be interested in Novarro sexually to gain entry, then tortured and beat him to death when no money could be found. Both men served prison time with each accusing the other of the brutal crime.

Significance

Novarro’s talent and looks helped him build a lucrative career; he had the featured role in forty-five films. Throughout his life, however, he was troubled by his inability to reconcile his Catholicism with his homosexuality. He became increasingly depressed and dependent on alcohol. Novarro was further conflicted by his belief that he was a better singer than actor, although he never had any great success in the former career. Regardless, he was a memorable actor whose portrayal of Ben-Hur has been called one of the great performances in film history.

Citation Types

Type

Format

MLA 9th

Paquette, William A. "Ramón Novarro." Great Lives from History: Latinos, edited by Carmen Tafolla & Martha P. Cotera, Salem Press, 2012. Salem Online, online.salempress.com/articleDetails.do?articleName=GLL_10013240042601001.

APA 7th

Paquette, W. A. (2012). Ramón Novarro. In C. Tafolla & M. P. Cotera (Eds.), Great Lives from History: Latinos. Salem Press. online.salempress.com.

CMOS 17th

Paquette, William A. "Ramón Novarro." Edited by Carmen Tafolla & Martha P. Cotera. Great Lives from History: Latinos. Hackensack: Salem Press, 2012. Accessed October 22, 2025. online.salempress.com.

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