In 1918, after the Romanian occupation, having worked as a junior reporter for the Aradi Hírlap, he chose not to take the oath of allegiance of the new state, and set out to emigrate to Denmark, so he could act in the Danish movies he idolized.

After being banned from the Guild in 1926, he played in small roles in different theatres around the country, and later in Budapest, aided by mentors of the acting community, and slowly gaining the interest of critics.

The opportunity to appear in movies first came in 1929, when he starred in Csak egy kislány van a világon, which was to be the last Hungarian silent film.

This allowed Jávor to sing a song in one of the scenes, which, combined with the charm and temperament that became his later trademark, secured him firm employment in the country's nascent film industry.

The sudden fame weighed heavily on the young actor, leading to him returning to alcohol and to frequent clashes with co-workers and the then-powerful newspaper owners, resulting in numerous scandals.

After arriving in the United States, he was met with great acclaim by the emigrant community, but despite this, he could only arrange small comedic and musical shows, which he found humiliating.

While he thought about returning home, he received no encouraging news from Hungary, and the increasingly tense political situation also forced him to remain in the States.

His best known Hollywood role is probably the small part of opera baritone Antonio Scotti in the hit film The Great Caruso (1951), starring Mario Lanza.

With humiliating castings and low ranking roles he found degrading, Jávor joined a touring group, performing Hungarian hit songs.

Through a voluntary detoxication cure, he gave up alcohol-addiction, and befriended several emigrant artists living in the United States, including Sándor Márai.