Want to know the best Ramon Novarro movies? How about the worst Ramon Novarro movies? Curious about Ramon Novarro box office grosses or which Ramon Novarro movie picked up the most Oscar® nominations? Need to know which Ramon Novarro movie got the best reviews from critics and audiences and which got the worst reviews? Well, you have come to the right place….because we have all of that information.
Ramon Novarro (1899-1968) was Mexican-American actor. Novarro began his career in silent films in 1917 and eventually became a leading man and one of the top box office attractions of the 1920s and early 1930s. His IMDb page shows 63 acting credits from 1916 to 1968. This page will rank Ramon Novarro movies from Best to Worst in six different sortable columns of information. Television shows, shorts, cameos, uncredited roles, and movies that were not released in North American were not included in the rankings.
Ramon Novarro Movies Ranked In Chronological Order With Ultimate Movie Rankings Score (1 to 5 UMR Tickets) *Best combo of box office, reviews, and awards.
Year
Movie (Year)
Rating
S
Year Movie (Year) Rating S
1925
Ben-Hur: A Tale of the Christ (1925)
1927
The Student Prince in Old Heidelberg (1927)
1931
Mata Hari (1931)
1933
The Barbarian (1933)
1949
The Big Steal (1949)
1930
Call Of The Flesh (1930)
1950
The Outriders (1950)
1931
Daybreak (1931)
1923
Scaramouche (1923)
1929
Devil-May-Care (1929)
1950
Crisis (1950)
1931
Son Of India (1931)
1929
The Flying Fleet (1929)
1927
The Road to Romance (1927)
1929
The Pagan (1929)
1928
Across to Singapore (1928)
1922
The Prisoner of Zenda (1922)
1932
Huddle (1932)
1949
We Were Strangers (1949)
1922
Trifling Women (1922)
1930
In Gay Madrid (1930)
1924
The Red Lilly (1924)
1924
The Arab (1924)
1934
The Cat and the Fiddle (1934)
1932
The Son-Daughter (1932)
1928
Forbidden Hours (1928)
1940
Comedy of Happiness (1940)
1928
The Heartbreaker/A Certain Young Man (1928)
1960
Heller in Pink Tights (1960)
1925
The Midshipman (1925)
1923
Where The Payment Ends (1923)
1927
Lovers (1927)
1935
The Night Is Young (1935)
1924
Thy Name Is Woman (1924)
1922
Mr. Barnes of New York (1922)
1934
Laughing Boy (1934)
Ramon Novarro Movies Can Be Ranked 6 Ways In This Table
The really cool thing about this table is that it is “user-sortable”. Rank the movies any way you want.
- Sort Ramon Novarro movies by his co-stars
- Sort Ramon Novarro movies by adjusted domestic box office grosses using current movie ticket cost (in millions)
- Sort Ramon Novarro movies by yearly domestic box office rank
- Sort Ramon Novarro movies how they were received by critics and audiences. 60% rating or higher should indicate a good movie.
- Sort by how many Oscar® nominations and how many Oscar® wins each Ramon Novarro movie received.
- Sort Ramon Novarro movies by Ultimate Movie Rankings (UMR) Score. UMR puts box office, reviews, and awards into a mathematical equation and gives each movie a score.
CreditRank | Movie (Year) | UMR Co-Star Links | Review % | Oscar Nom / Win | S | UMR Score | ||||
---|---|---|---|---|---|---|---|---|---|---|
CreditRank | Movie (Year) | UMR Co-Star Links | Actual B.O. Domestic (mil) | Adj. B.O. Domestic (mil) | Adj. B.O. Worldwide (mil) | B.O. Rank by Year | Review % | Oscar Nom / Win | S | UMR Score |
1 | Ben-Hur: A Tale of the Christ (1925) | Francis X. Bushman & May McAvoy |
17.40 | 695.1 | 695.1 | 2 | 81 | 00 / 00 | 97.6 | |
2 | The Student Prince in Old Heidelberg (1927) | Norma Shearer | 3.10 | 104.8 | 182.2 | 13 | 79 | 00 / 00 | 88.7 | |
3 | Mata Hari (1931) | Greta Garbo & Lionel Barrymore |
3.00 | 153.7 | 350.5 | 22 | 62 | 00 / 00 | 88.1 | |
4 | The Barbarian (1933) | Myrna Loy | 2.40 | 112.9 | 112.9 | 24 | 63 | 00 / 00 | 82.9 | |
5 | The Big Steal (1949) | Robert Mitchum | 4.00 | 99.2 | 128.8 | 91 | 65 | 00 / 00 | 81.9 | |
6 | Call Of The Flesh (1930) | Dorothy Jordan | 1.90 | 102.7 | 269.0 | 64 | 63 | 00 / 00 | 81.2 | |
8 | The Outriders (1950) | Joel McCrea & Arlene Dahl |
4.40 | 98.8 | 139.8 | 68 | 56 | 00 / 00 | 75.6 | |
7 | Daybreak (1931) | Helen Chandler | 1.50 | 74.7 | 74.7 | 90 | 64 | 00 / 00 | 75.5 | |
9 | Scaramouche (1923) | Lloyd Ingraham & Alice Terry |
0.90 | 42.2 | 42.2 | 21 | 72 | 00 / 00 | 73.2 | |
10 | Devil-May-Care (1929) | Dorothy Jordan | 2.30 | 70.2 | 139.3 | 55 | 63 | 00 / 00 | 73.1 | |
11 | Crisis (1950) | Cary Grant & José Ferrer |
2.50 | 57.2 | 90.0 | 120 | 66 | 00 / 00 | 72.4 | |
12 | Son Of India (1931) | Conrad Nagel | 1.40 | 70.0 | 70.0 | 102 | 62 | 00 / 00 | 72.4 | |
13 | The Flying Fleet (1929) | Ralph Graves | 2.10 | 64.7 | 126.5 | 64 | 63 | 00 / 00 | 71.7 | |
14 | The Road to Romance (1927) | Marceline Day | 1.50 | 49.7 | 49.7 | 42 | 67 | 00 / 00 | 70.9 | |
16 | The Pagan (1929) | Donald Crisp | 2.00 | 62.9 | 133.0 | 67 | 63 | 00 / 00 | 70.6 | |
15 | Across to Singapore (1928) | Joan Crawford | 1.80 | 57.9 | 93.1 | 52 | 64 | 00 / 00 | 70.4 | |
17 | The Prisoner of Zenda (1922) | Lewis Stone | 1.30 | 65.6 | 65.6 | 11 | 60 | 00 / 00 | 68.3 | |
18 | Huddle (1932) | Madge Evans | 1.50 | 74.7 | 74.7 | 57 | 56 | 00 / 00 | 66.1 | |
19 | We Were Strangers (1949) | Jennifer Jones & Directed by John Huston |
2.10 | 52.2 | 52.2 | 140 | 61 | 00 / 00 | 64.0 | |
20 | Trifling Women (1922) | Barbara La Marr | 0.80 | 40.0 | 40.0 | 16 | 62 | 00 / 00 | 59.6 | |
22 | In Gay Madrid (1930) | Dorothy Jordan | 1.60 | 87.2 | 87.2 | 79 | 47 | 00 / 00 | 58.7 | |
21 | The Red Lilly (1924) | Enid Bennett | 0.60 | 26.0 | 26.0 | 39 | 65 | 00 / 00 | 56.2 | |
23 | The Arab (1924) | Alice Terry | 0.60 | 26.5 | 26.5 | 38 | 63 | 00 / 00 | 54.1 | |
24 | The Cat and the Fiddle (1934) | Jeanette MacDonald | 1.30 | 60.9 | 147.2 | 87 | 52 | 00 / 00 | 53.8 | |
26 | The Son-Daughter (1932) | Helen Hayes | 0.90 | 44.1 | 44.1 | 123 | 56 | 00 / 00 | 50.0 | |
27 | Forbidden Hours (1928) | Dorothy Cummings | 1.60 | 49.2 | 49.2 | 63 | 54 | 00 / 00 | 49.7 | |
25 | Comedy of Happiness (1940) | Michel Simon | 0.10 | 2.0 | 2.0 | 227 | 69 | 00 / 00 | 49.5 | |
28 | The Heartbreaker/A Certain Young Man (1928) | Bert Roach | 0.70 | 22.7 | 22.7 | 98 | 58 | 00 / 00 | 40.6 | |
29 | Heller in Pink Tights (1960) | Sophia Loren & Anthony Quinn |
2.70 | 42.4 | 42.4 | 83 | 51 | 00 / 00 | 39.5 | |
30 | The Midshipman (1925) | Wesley Barry | 1.00 | 41.4 | 41.4 | 30 | 51 | 00 / 00 | 38.7 | |
31 | Where The Payment Ends (1923) | Alice Terry | 0.70 | 31.0 | 31.0 | 29 | 54 | 00 / 00 | 37.2 | |
32 | Lovers (1927) | Alice Terry | 0.70 | 24.4 | 24.4 | 77 | 55 | 00 / 00 | 34.6 | |
33 | The Night Is Young (1935) | Rosalind Russell | 0.60 | 25.1 | 25.1 | 185 | 52 | 00 / 00 | 29.6 | |
34 | Thy Name Is Woman (1924) | Barbara La Marr | 0.50 | 22.0 | 22.0 | 49 | 50 | 00 / 00 | 24.1 | |
35 | Mr. Barnes of New York (1922) | Tom Moore | 0.20 | 8.3 | 8.3 | 43 | 53 | 00 / 00 | 20.9 | |
36 | Laughing Boy (1934) | Lupe Velez | 0.20 | 11.7 | 11.7 | 192 | 46 | 00 / 00 | 12.1 |
Possibly Interesting Facts About Ramon Novarro
1. José Ramón Gil Samaniego was born in Durango City, Durango (Mexico) in 1899.
2. Ramon Novarro entered films in 1917, in bit parts. He supplemented his income by working as a singing waiter.
3. In the early 1920s, Ramon Novarro began to get promoted as a rival to Rudolph Valentino. It was during this time frame that he started using his screen name Ramon Novarro.
4. Ramon Novarro achieved his greatest success in 1925’s Ben-Hur. His performance in that blockbuster elevated him into the Hollywood elite.
5. At the peak of his success in the late 1920s and early 1930s, Ramon Novarro was earning more than $100,000 per film.
6. In 1968 Ramon Novarro was found beaten to death in his home in Hollywood Hills, Los Angeles. A book about his death, “Bloody Wednesday”, was rushed into print. For some reason, very few copies are available today, making the book a collector’s item.
Check out Ramon Novarro‘s career compared to current and classic actors. Most 100 Million Dollar Movies of All-Time.
Thank you for doing a long-overdue section on Ramon Novarro.
Ramon Novarro was the first Mexican American/Latino film superstar in Hollywood films. He was also the first Latino director (Contra la Corriente in 1936) and screenwriter in Hollywood films. He also had a fine singing voice and gave concerts, made records, and sang in films. He was a cousin of Dolores Del Rio, who was the first Mexican and/or Latrina film star in films.
In the 1930s, studios made Spanish and French versions of their popular films. For example, Novarro’s Call of the Flesh (1930), was made as Sevilla de Mis Amores in Spanish; and in French in Le chanteur de Seville. Novarro starred in both films.
In 1940, Novarro went to France and made La Comedie du bonheur; and an Italian version called Ecco la felicita. As the Nazi occupation neared the director left and Novarro finished directing both films. In 1942, Novarro travelled to Mexico and played the Native American Juan Diego who saw the revered Virgen de Guadalupe in La Virgen Que forjo Una Patria (which is now available on DVD). It was a huge success throughout the Spanish-speaking world.
The Golden Age of Mexican Cinema was starting; and Novarro received many offers to direct and star in films. However, his alcoholism was already affecting his life and he returned to the United States. It is said that his drinking was due to his personal struggle to reconcile his fervent
Catholicism and being gay.
In the 1940s and 1950s, Novarro appeared in theatre and made several television appearances such in Dr. Kildare; Combat; Bonanza; Wild, Wild West; and The High Chaparral.
Whatever his personal demons, Ramon Novarro opened the door for all the Latino performers that followed. He never took the comparison to Rudolph Valentino seriously and worked to become a good dramatic actor, in which he succeeded. He was a talented and bright star in the Hollywood heavens.
Great UMR Page
Thank you Mike