Young Princess Sophia of Germany is taken to Russia to marry the half-wit Grand Duke Peter, son of the Empress. The domineering Empress hopes to improve the royal blood line. Sophia doesn't... See full summary »
On the eve of World War II (1939) English officer Ralph Denistoun is in Nazi Germany on an espionage mission to recover a poison gas formula from Prof. Krosigk. He is helped by Lydia and ... See full summary »
Country orphan Lily goes to Berlin to stay with her tippling aunt, and soon meets Richard, handsome sculptor across the street. Persuaded half-reluctantly to pose for Richard, her physical ... See full summary »
The local building-contractor Martin Roumagnac is fascinated by the fashionable Blanche Ferrand. To impress Blache, Martin presents her with a villa. However, this ruins him financially. ... See full summary »
A young woman, Poppy, out for excitement in Shanghai, enters a gambling house owned by "Mother" Gin Sling, a dragon-lady who worked herself up from poverty to buy the casino. Sir Guy ... See full summary »
Kent, the unscrupulous boss of Bottleneck has Sheriff Keogh killed when he asks one too many questions about a rigged poker game that gives Kent a stranglehold over the local cattle rangers... See full summary »
The Foreign Legion marches in to Mogador with booze and women in mind just as singer Amy Jolly arrives from Paris to work at Lo Tinto's cabaret. That night, insouciant legionnaire Tom Brown catches her inimitably seductive, tuxedo-clad act. Both bruised by their past lives, the two edge cautiously into a no-strings relationship while being pursued by others. But Tom must leave on a perilous mission: is it too late for them? Written by
Rod Crawford <firstname.lastname@example.org>
The infamous scene where Marlene Dietrich kisses another woman - which was added to the script at Dietrich's suggestion - was saved from being cut by the censors by Dietrich herself: she came up with the idea of taking a flower from the woman before kissing her and then giving the flower to Gary Cooper, explaining that if the censors cut the kiss the appearance of the flower would make no sense. See more »
[singing, at the nightclub]
What am I bid for my apple, the fruit that made Adam so wise? On the historic night, when he took a bite, they discovered a new paradise. An apple, they say, keeps the doctor away, while his pretty young wife has the time of her life, with the butcher, the baker, the candlestick maker... Oh, what am I bid for my apple?
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It's interesting to read other reviews of Morocco. Some people just don't seem to have a clue, and it would be fascinating to learn what they think of as a good film from this era. Nevertheless, I was surprised to see that only one reviewer mentioned the sound, and that was to criticize it. Sternberg's use of sound as a tool jumped right out at me. There are numerous scenes in this film which have the possibility of being overly tedious and run the risk of being boring. Much is made of Sternberg's visual prowess and the rich texture displayed here, but I'm surprised that everyone seems to be missing the effect of the sound. Throughout the film, in scenes which need to build tension yet are visually somewhat tiresome (Legionaires marching in the street for example) Sternberg uses various sound devices artfully. We hear the monotonous drumbeat as the men march. The longer this goes on, the more irritating it becomes and as a result, puts the audience on edge. This adds to the tension of the scene immensely. The same thing happens in other parts of the film when we hear a short nearly monotone musical phrase repeated over and over ad nauseum, or when the sound of the wind blowing through the trees also becomes irritating. Each time, the scene is intended to build tension and each time, Sternberg's use of sound perfectly complements the visual to achieve the desired effect. This movie is on my "you gotta see this one" list.
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