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This listing has ended. The seller has relisted this item or one like this. Item:RAMON NOVARRO GILBERT ROLAND INTIMATE PHOTOGRAPH |
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    8x10 Glossy Photograph. This is an actual photograph recently printed from a negative in a photography lab. Please know that my e-Bay name will only appear on this scan, not the actual photograph. Buyer pays Postage and S&H. Inside USA $6.00, International $15.00. I will ship up to five photographs in one envelope for one shipping charge. I accept PayPal, *Your bid is a contract - Place a bid only if you're serious about buying the item. If you are the winning bidder, you will enter into a legally binding contract to purchase the item. This is a private auction your name is not shown to other bidders. A private auction prevents others from seeing what you purchase on e-Bay.* Be sure to check out my other auctions by clicking on view sellers other items. Thanks for bidding!Circa 1928 . Ramon Novarro was Boyishly handsome, engaging Mexican vaudevillian and singer who made his film debut in 1917 and gave Rudolph Valentino a run for his money in the mid-1920s. Novarro and his large, religious family (several siblings were priests and nuns) hailed from Mexico but moved to Los Angeles in 1914. He entered vaudeville and, around 1917, films. He had small roles in "The Hostage", "The Little American" and "Joan the Woman" (all 1917), played a loin-clothed Nijinsky parody in the comedy "A Small-Town Idol" (1919) and finally became a star as the roguish Rupert of Hentzau in "The Prisoner of Zenda" (1922). Signed by Metro (later MGM) in 1922, Novarro starred as All-American and "native" heroes in such films as "Where the Rainbow Ends" (1923), "The Arab" (1924), "The Midshipman" (1925), "Across to Singapore" (1928) and "The Flying Fleet" (1929). His two biggest successes were as "Ben Hur" in the 1926 super-production and as "The Student Prince" (1927), a silent version of the operetta. Novarro's unthreatening boy-next-door good looks and air of sweet-natured innocence made it possible for him to play roles unavailable to other so-called "Latin lovers" like Valentino. Talkies should have posed no threat to Novarro, who had a trained tenor voice. But somehow his early talkies, such as "Devil May Care" (his first, 1929), "Call of the Flesh" (1930), and "Son of India" (1931), fell flat. His best was "Mata Hari" (1932), though Novarro was given little to do but gaze longingly at Greta Garbo. Dreadful mishaps such as "The Son-Daughter" (1932, Novarro and Helen Hayes as Chinese) and "Laughing Boy" (1934, Novarro and Lupe Velez as Native Americans) finished his career. After the operettas "The Cat and the Fiddle" and "The Night is Young" (both 1934), MGM let him go. By this time, Novarro had other problems. Uncomfortable with his homosexuality, he developed a drinking problem and lost his boyish looks. One of the best-educated and popular members of the Hollywood community, he nonetheless could get little work and was doing bit parts and character work by the late 40s; his last film was "Heller in Pink Tights" (1960). By this time distinguished and gray-haired, he had something of a comeback in the 50s and 60s as a television actor, notably on "Zorro" (ABC, 1957-59). A wealthy recluse, Novarro was tortured and beaten to death in 1968 by two male prostitutes who tried to rob his house. Tried as minors, they were released from jail after serving less than ten years. |
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This is a private listing and your identity will not be disclosed to anyone except the seller.
This is a private listing and your identity will not be disclosed to anyone except the seller.
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