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.