Silver Screen (Nov 1930-Oct 1931)

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Write for FREE BOOKLET. ANITA INSTITUTE, F-96 Anita Bids. Newark, N. J. Ramon Novarro Today [Continued from page 19] the man, that he has discovered a method of expression which satisfies him — that he has found himself. For life, in spite of the great success that has been his, has not always been kind to Ramon Novarro. Few people know of the struggles he has had, the battles he has fought within his own soul. His quality of youthfulness has prevented people from ever taking him very seriously. This, in spite of his unmistakable intelligence and artistic sensibility. You see, his sense of the dramatic is extraordinarily keen — and in the past he has not always limited it to the screen. Ramon is prone to take things big — to dramatize his own moods and problems. It is a tendency which he will probably never completely overcome. Not that Ramon isn't sincere in these intense moods of his. He is — desperately so. When he plays he plays with the complete reckless abandon of a child. When he flies into a tantrum it is a good thorough tantrum. When he talks of religion, of art, or of his love for his family — the three things closest to his heart — he talks with a vital glowing forcefulness that sweeps you off your feet. I have heard Ramon talk about his two sisters who are nuns. There was pure beauty in his face — a beauty of expression which put to shame any mere regularity of feature. One story in particular I have never forgotten. He was speaking of the sister whose tragic duty it is to care for the insane in an institution in the Canary Isles. A patient in the home, a woman, addressed her one day. "Sister, have you a home of your own?" "Yes." "Have you a family?" "Yes." "Do you love them very much?" "Yes — very much." "Have they money and are they kind to you?" "Yes." "And yet you stay here?" "Yes." "Ah, Sister — it is you who are mad — not I." Several years ago when Ramon was making ' ' Ben Hur , ' ' he spent many months in Rome. During that period his dramatic flourishes, his devout and intensely sincere piety, his small boy sulks, and his utter grace, charm and intelligence, were the alternate joy and despair of the rest of the company. No one ever knew what Ramon was going to do next. One can't be too sure even now. He was — and still is — an amazing combination of mischievous small boy, ascetic and madman. One can picture him in Rome, wandering through the many churches, wrapt and uplifted. Sitting for hours at the piano, while his eyes contemplated through a neighboring window the panorama of the Eternal City. Straying off to ransack the rustic shops of neighboring towns. Dressed in a most disreputable pair of trousers and an antique sweater and with the unkempt beard required by certain sequences of the picture. He would spend blissful hours window gazing, haggling with shopkeepers and finally bearing his loot triumphantly back to the hotel. Gifts for his mother and father, his brothers and sisters, treasures to beautify his home. Ramon frequently displays a childishness, a small boy spirit of play, that amazes people. In order to understand this side of him, you must see him in relation to his family and background. You must catch a glimpse of Ramon, the father. For since his success on the screen he has stood in that capacity to his brothers and sisters — even to his parents. There were fourteen children originally. Now there are ten — five boys and five girls. Three are older than Ramon — the two sisters who are nuns and one who is married. But the rest — the younger ones — are his children — his responsibility. He has educated them and supported them, as well as caring for his father and mother. This he loves doing — for his life is bound up with them, and his first thought is always for his own flesh and blood. There is an almost Jewish clannishncss about the Samaniegos family. Yet it is not surprising that when Ramon is not in his own home he throws aside responsibility and becomes a child. It is particularly understandable when you remember that Ramon began to work for his family while he was still in his teens. And that during his boyhood his father was very ill and the shadow of death lay over the household. He was never able to be carefree — to play as it is his nature to play. And so, when the chance came, when, still in his twenties, he found himself well able to care for his family and with plenty of money in his pockets, he became the child he had never had the chance to be. For a long time religion dominated Ramon's life. He was often moody, silent and uncongenial. Then the other side of his nature gained the ascendancy. He began to go out to parties. He was sometimes a little too gay, a little too abandoned. He behaved once or twice in a manner that was foolish and unwise. And Hollywood, not pausing to analyze and understand, passed around the word that Ramon Novarro had gone haywire. But that period, too, is passing and Ramon is gaining a real balance, adjusting for the first time the two conflicting sides of his nature. With his richly emotional disposition, his fine intelligence, his creative genius and his indomitable will to learn, he should, given half a chance, emerge as one of the outstanding figures in the modern world of art. Remembering Ramon's past obsessions, you may hesitate to take his consuming ambition to direct as serious. You may say, "Ah, yes, but there was a time when every fan magazine printed the fact that Novarro wished to give up the world and enter a monastery. And there was also a time when his one desire was to go into grand opera." True enough. And Ramon was sincere in both ambitions — at the time. It is no reflection on him that he has outgrown both and turned to a new and what he now considers a more comprehensively creative aim. Ramon no longer wants to enter a monastery, although his religious sense is as deep and strong as ever. He still would like to sing in grand opera — provided he could plan and direct his own productions. He has a unique and modern conception of "Tosca" which he would