Mona Maris’ ambition to become an actress originated during World War I, when she was a pupil in Luders, France. Together with her classmates she wrote, directed, and presented short plays to entertain soldiers billeted near the school. After graduation Maris begged to go to England and her mother finally relented. In England she found a woman was given much more freedom than in either Spain or South America. She traveled to England under the indirect chaperonage of an Argentine family. Her stay was intended to last only six months, but was extended another two years. The Argentine ambassador in Berlin received a letter which led to Maris being introduced to the President of the United Film Association. Soon she journeyed to Germany, where she participated in Universum Film AG productions. She was given a screen test during which the camera was not loaded with film. A prominent director noticed Maris and offered her a five-year contract. She counseled with her grandmother, who reluctantly allowed her to accept. Joe Schenck, president of United Artists, granted her the prospect of a Hollywood career. At the time she had completed just four films in Germany. Her Hollywood film career began with the 1925 movie The Apache and continued until the 1980s when she appeared in Camila (1984).

It was her inability to speak fluent English which interrupted, and nearly ended Mona Maris’ film career. Spanish, French, and German came easily for her, but in the early years of talkies, her English was almost unintelligible. From 1931 until 1941 she starred in nineteen Spanish-language versions of successful American pictures, which were produced by the Fox Film Company. Maris also appeared in seven English dialogue motion pictures for three studios. She was married twice. Her first marriage took place while she was working in Europe and was terminated before she travelled to the United States, and her second marriage was to Clarence Brown. Mona Maris died of lung disease in Buenos Aires on March 23, 1991.