Ramon Novarro's pedestrian sound period hastened an end to his film career and Call of the Flesh may well be the vehicle that pushed him over the cliff. In the silent era Novarro's handsome chiseled features, dark eyes and killer smile showed him adept at both drama (The Red LIly, The Pagan) and romantic comedy ( The Student Prince of Heidleberg) but in Call of the Flesh he is a triple fret as speaks, sings and dances dreadfully.
Juan Di Deos is a carefree entertainer that loves to play tricks and chase the ladies. His fiery dance partner Lola (Renee Adoree) is often the victim of his childish pranks but is crazy about the guy. Nun in training Maria Vasquez however is the one that captures his heart. Career wise he has the same laissez faire attitude which frustrates his mentor Esteban who pulls strings to get him an audition with an opera impresario. When Juan botches it Esteban reverts to bribery to get him on the stage. Meanwhile Lola gets wind Juan's romancing the good sister and tries to break it up.
Call of the Flesh is early sound at its worst. Without his title cards doing the talking Novarro comes across like a mischievous twelve year old. The timber in his voice fails to live up to his look and his singing and dancing would get the hook at a local amateur show. Aquitting themselves as shabbily as Novarro fellow silent film alumni Ernest Torrence and the ailing Renee Adoree overact monstrously while fresh faces Dorothy Jordan and Russell Hopton make it clear they will have short careers.
Charles Brabin's direction is haphazard and flat as he allows his troupe to step on each others lines and display bad timing; some of it so poor you get the feeling he might have had his face buried in a newspaper oblivious to the action being recorded. One could hardly fault him for averting his eyes since Call of the Flesh is dead meat from the opening reel.
Juan Di Deos is a carefree entertainer that loves to play tricks and chase the ladies. His fiery dance partner Lola (Renee Adoree) is often the victim of his childish pranks but is crazy about the guy. Nun in training Maria Vasquez however is the one that captures his heart. Career wise he has the same laissez faire attitude which frustrates his mentor Esteban who pulls strings to get him an audition with an opera impresario. When Juan botches it Esteban reverts to bribery to get him on the stage. Meanwhile Lola gets wind Juan's romancing the good sister and tries to break it up.
Call of the Flesh is early sound at its worst. Without his title cards doing the talking Novarro comes across like a mischievous twelve year old. The timber in his voice fails to live up to his look and his singing and dancing would get the hook at a local amateur show. Aquitting themselves as shabbily as Novarro fellow silent film alumni Ernest Torrence and the ailing Renee Adoree overact monstrously while fresh faces Dorothy Jordan and Russell Hopton make it clear they will have short careers.
Charles Brabin's direction is haphazard and flat as he allows his troupe to step on each others lines and display bad timing; some of it so poor you get the feeling he might have had his face buried in a newspaper oblivious to the action being recorded. One could hardly fault him for averting his eyes since Call of the Flesh is dead meat from the opening reel.