Morocco (1930)

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:

Josef von Sternberg (as Josef Von Sternberg)

Writers:

Jules Furthman (adapted by), Benno Vigny (from the play "Amy Jolly" by)

Stars:

Gary Cooper, Marlene Dietrich, Adolphe Menjou

Nominated for 4 Oscars. Another 3 wins.

Cast

Complete credited cast:
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	...	Sergeant Tatoche
Paul Porcasi	...	Lo Tinto

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?

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Plot Keywords:

love | legionnaire | singer | nightclub | foreign legion | 

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Taglines:

Who is this woman who scorns a hundred men...to give her love to a Devil-May-Care Soldier? (Print Ad- San Jose Evening News, ((San Jose, Calif.)) 31 January 1931)

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Genres:

Drama | Romance

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Certificate:

Passed

Did You Know?

Trivia

Marlene Dietrich's and Josef von Sternberg's second out of seven feature-film collaborations.

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Quotes

[first lines]
Sergeant Tatoche: Now listen here, fat-heads. We're back home again and that's because we did a little fighting. And I know what you're thinking. You're thinking: Well, here comes us, The Foreign Legion. Each man a hero, all the booze in the world made for us, and the women thrown in. But, you're wrong. This time, you're gonna behave yourselves like gentlemen even if it'll kills you. Yes, I'm talking to you, you heard what I said!

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Connections

Featured in The Celluloid Closet (1995)

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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

User Reviews

That Hot Kiss!

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."

Details

Country:

USA

Language:

English French Spanish Arabic Italian

Release Date:

6 December 1930 (USA)

Also Known As:

Amy Jolly

Filming Locations:

Yuma, Arizona, USA

Company Credits

Production Co:

Paramount Pictures

Technical Specs

Runtime:

92 min

Sound Mix:

Mono (Western Electric Sound System)

Color:

Black and White

Aspect Ratio:

1.20 : 1