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Morocco
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Morocco (1930) More at IMDbPro »

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Overview

User Rating:
7.3/10   3,218 votes »
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Down 7% in popularity this week. See why on IMDbPro.
Writers:
Jules Furthman (adapted by)
Benno Vigny (from the play "Amy Jolly" by)
Contact:
View company contact information for Morocco on IMDbPro.
Release Date:
6 December 1930 (USA) See more »
Genre:
Plot:
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. Full summary » | Add synopsis »
Plot Keywords:
Awards:
Nominated for 4 Oscars. Another 3 wins See more »
NewsDesk:
(30 articles)
Hollywood Costume Lands At The Academy
 (From WeAreMovieGeeks.com. 8 July 2014, 2:39 PM, PDT)

Who Should Play Garbo and Dietrich?
 (From Indiewire Television. 18 April 2014, 6:11 PM, PDT)

Who Should Play Garbo and Dietrich?
 (From Thompson on Hollywood. 18 April 2014, 6:11 PM, PDT)

User Reviews:
That Hot Kiss! See more (47 total) »

Cast

  (in credits order) (verified as complete)

Gary Cooper ... Légionnaire Tom Brown

Marlene Dietrich ... Mademoiselle Amy Jolly

Adolphe Menjou ... Monsieur La Bessiere
Ullrich Haupt ... Adjutant Caesar
Eve Southern ... Madame Caesar
Francis McDonald ... A Sergeant
Paul Porcasi ... Lo Tinto
rest of cast listed alphabetically:
Emile Chautard ... French General (uncredited)
Juliette Compton ... Anna Dolores (uncredited)
Albert Conti ... Col. Quinnovieres (uncredited)
Thomas A. Curran ... (uncredited)
Theresa Harris ... Camp Follower (uncredited)
Harry Schultz ... German Sergeant (uncredited)
Michael Visaroff ... Col. Alexandre Barratière (uncredited)
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Directed by
Josef von Sternberg  (as Josef Von Sternberg)
 
Writing credits
Jules Furthman (adapted by)

Benno Vigny (from the play "Amy Jolly" by)

Produced by
Hector Turnbull .... producer (uncredited)
 
Original Music by
Karl Hajos (uncredited)
 
Cinematography by
Lee Garmes (photographed by)
Lucien Ballard (uncredited)
 
Film Editing by
Sam Winston (uncredited)
 
Production Management
Elizabeth McGreary .... unit production manager (uncredited)
 
Second Unit Director or Assistant Director
Henry Hathaway .... second unit director (uncredited)
 
Sound Department
Harry D. Mills .... sound (uncredited)
 
Camera and Electrical Department
Lucien Ballard .... assistant camera (uncredited)
Homer Plannette .... gaffer (uncredited)
 
Costume and Wardrobe Department
Travis Banton .... wardrobe (uncredited)
Eugene Joseff .... costume jeweller (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
92 min
Country:
Aspect Ratio:
1.20 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Argentina:13 | Germany:12 | Netherlands:18 (original rating) (1931) | Portugal:M/12 | Spain:18 | USA:Passed (National Board of Review) | USA:TV-14 (TV rating)

Did You Know?

Trivia:
The film is notable for two story elements which were controversial at the time of release: Marlene Dietrich is seen kissing a woman on screen as well as for wearing a tuxedo suit designed for a man.See more »
Quotes:
Amy Jolly:[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?See more »
Movie Connections:
Featured in "Arena: Screen Goddesses" (2012)See more »
Soundtrack:
Give Me the ManSee more »

FAQ

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36 out of 41 people found the following review useful.
That Hot Kiss!, 18 September 2003
Author: Piafredux from United States

Of course Morocco has dated - mostly in its scripting, yet if one is willing to fantasize a little, to place oneself in a 1930 sensibility, the film works brilliantly. Even without taking that delicious mindstep Morocco is a delectable cinema classic, even if it isn't the finest of the Sternberg-Dietrich collaborations.

That hot kiss the white-tie-and-tails-clad Dietrich plants on the lips of a woman seated, helplessly, at a cabaret table is still breathtaking. Seeing that kiss still sizzle nowadays makes one wonder why so much hubbub ensued after 2003's gratuitous, lackluster liplock shared by Madonna and Britney Spears (which, as it made me yawn also made me think of Madeline Kahn's Dietrich-parodying Lilli von Shtupp dismissing Hedley Lamar's bouquet offering: "Oh. How odinawy."). Moreover, Dietrich's Amy Jolly deliberately ignores the luststruck man who handed a flower to her following her cabaret act, and instead humiliates him by kissing his startled, but not at all displeased - and rather persuaded to complaisance, date. No penis envy nonsense here: its all Marlene being woman almighty flexing woman's timeless power.

One ought not, as one amateur reviewer has, to judge myopically this film by today's anal PC standards by dint of sanctimonious judgments about colonialism - and by taking a badly mistaken swipe at Gary Cooper's character speaking American English instead of affecting a French accent when, in fact, Cooper was playing an American in the Foreign Legion (did the character's name, Tom Brown, not clue that reviewer to Brown's nationality?); further, the uniform of enlisted legionnaires wasn't tailored to fit handsomely - it was made mostly of coarse wool and issued "as-is," quite often ill-fitting, to men who volunteered for arduous service. Instead one ought to see Morocco's characters for what they are: broadly-painted archetypes of white colonialists behaving as white colonialists behaved, indeed as people in archetypal roles since Sophocles still behave - albeit in the cinematic mannerist modality of the film's period.

Missed too often, but not to be missed here is how Morocco, in its own stylized Sternbergian way, deals with enduring human nature: lust and love; jealousy and covetousness; pettiness and spite, anger and beneficence; harshness and tenderness; not to mention the ineffable human wont to go head over heels, round the bend, over a lover: what we have in Morocco is not a didactic narrative but an epoch-bridging fable. And despite the dated dialect of its dialogue language, it's remarkable how much and exactly what this 1930 film dared to show and got away with showing. (Anyone with a matured world-view ought to be aware that, seventy years hence, rap star films of the two thousand-aughts - as well as films employing the standard English of the early twenty-first century - are likely to be ridiculed or dismissed for their peculiarities of dialect.)

Give yourself a huge wink and watch Morocco, and savor its seductive lenswork, its atmopsheric sets and and costumes and lighting, and its timeless, classical themes which, over all these years since its shooting, remind us that "Plus ca change, plus c'est la meme chose."

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Message Boards

Discuss this movie with other users on IMDb message board for Morocco (1930)
Recent Posts (updated daily)User
piano piece at bar scene near the end of movie. rodin_indi
Who provided the vocals for the prayer call at the beginning? AnnaScreengazer
Ferry Captain jpmarmaro-2
how do i see this film? eenar_6
Marlene's voice sebado
I LOVE MARLENE DIETRICH! Steph_On_The_Beach
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