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Morocco (1930)

Passed  -  Romance | Drama  -  6 December 1930 (USA)
7.3
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Ratings: 7.3/10 from 3,213 users  
Reviews: 47 user | 29 critic

A cabaret singer and a Legionnaire fall in love, but their relationship is complicated by the results of his womanizing and due to the appearance of a rich man who wants her for himself.

Director:

(as Josef Von Sternberg)

Writers:

(adapted by), (from the play "Amy Jolly" by)
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Title: Morocco (1930)

Morocco (1930) on IMDb 7.3/10

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Nominated for 4 Oscars. Another 3 wins. See more awards »
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Cast

Complete credited cast:
...
Légionnaire Tom Brown
...
...
Monsieur La Bessiere
Ullrich Haupt ...
Adjutant Caesar
Eve Southern ...
Madame Caesar
Francis McDonald ...
A Sergeant
Paul Porcasi ...
Lo Tinto
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Storyline

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 <puffinus@u.washington.edu>

Plot Summary | Add Synopsis

Genres:

Romance | Drama

Certificate:

Passed | See all certifications »
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Details

Country:

Language:

| | | |

Release Date:

6 December 1930 (USA)  »

Also Known As:

Amy Jolly  »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.20 : 1
See  »
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Did You Know?

Trivia

This film was selected to the National Film Registry, Library of Congress, in 1992. See more »

Quotes

Tom Brown: What in the name of 10,000 corporals did you come to a country like this for anyways?
Amy Jolly: I understand that men are never asked why they entered the Foreign Legion...
Tom Brown: That's right. They never asked me and if they had I wouldn't have told. When I crashed the Legion, I ditched the past.
Amy Jolly: There's a foreign legion of women, too. But we have no uniforms, no flags, and no medals when *we* are brave; no wound stripes when *we* are hurt.
Tom Brown: Look here, is there anything I can do to help you?
Amy Jolly: No. I've thought ...
[...]
See more »

Connections

Featured in The Celluloid Closet (1995) See more »

Soundtracks

Give Me the Man
(1930) (uncredited)
Music by Karl Hajos
Lyrics by Leo Robin
Written for the movie and possibly played as background music
See more »

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User Reviews

 
Masterful use of early primitive sound
8 August 2010 | by (United States) – See all my reviews

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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