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he was giving public performances, adapting novels into puppet pantomime and speaking for characters in eight or nine different voices.
When he played at the Hollywood Commun Theater, prior to entering pictures, Mari Morgan, who directed the plays, used to hav him rehearse all the parts for the benefit of the other players. She said of him, "Ramon is like a slot machine — put a nickel in and any character will come out."
In the same belief Ingram has tested him with a protean range of parts : as the impertinent Rupert of "Zenda," the romantic young French officer of "Trifling Women," the lyric and pagan Moutauri of "Where the Pavement Ends," and as the debonair and dashing Scaramouch'e.
No player ever sprang so rapidly into close-ups. Others have seemed to arrive overnight, but behind them lay months or years of playing parts ; Novarro passed instantly from extra to leading roles. Now with only five pictures on his list he commands serious consideration, not merely as a personality, but as an artist of real gift.
When I met him two years ago, my chief impression was that of youth, a debonair, Bacchic youth, sensitive, high-mettled, intuitive, of unmistakable breeding and a satiric wit, yet strangely artless and idealistic fpr this sophisticated age. Since then I have come to know him well and have seen him develop amazingly from the immaturity of those two years ago. (Continued on page 83)
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In the nature of Novarro you find a combination of shrewdness and idealism. Not a business man, but wise* enough to realize the force of commercialism. He is also judicious enough to learn practically by' advice and observation. These are three additional glimpses of him in "The Arab," on the right, again with Alice Terry
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