Morocco
"The talking screen has found its voice of love!"
Plot
In the late 1920s, disillusioned cabaret singer Amy Jolly arrives in Mogador, Morocco, to start a new life and quickly captures the attention of the wealthy, sophisticated Kennington La Bessière. However, she finds herself irresistibly drawn to Private Tom Brown, a cynical and womanizing soldier in the French Foreign Legion who is equally weary of the world. Their burgeoning romance is tested by Tom's dangerous military assignments, the jealous machinations of his commanding officer’s wife, and Amy's own internal struggle between the security of La Bessière's wealth and her passion for the penniless soldier. After a series of emotional misunderstandings and near-fatal skirmishes in the desert, Tom attempts to leave Amy for her own benefit, believing she deserves a better life. In the film's iconic climax, Amy abandons her engagement party and her shoes to join the 'rear-guard' of camp followers, trudging into the Sahara sands to follow the man she loves.
About the Production
The film was Marlene Dietrich's American debut, though she had already filmed 'The Blue Angel' in Germany. Director Josef von Sternberg was notoriously meticulous, often clashing with Gary Cooper over his directing style and his perceived favoritism toward Dietrich. Cooper was so frustrated by Sternberg's habit of directing in German and ignoring him that he once physically lifted the director by his collar and demanded he speak English. To compensate for the tension, Cooper brought his then-girlfriend Lupe Vélez to the set to distract him and annoy Sternberg.
Historical Background
Released in 1930, 'Morocco' arrived during the early years of the Great Depression and the transition from silent films to 'talkies.' It was a 'Pre-Code' film, meaning it was produced before the strict enforcement of the Motion Picture Production Code (Hays Code) in 1934. This allowed for the film's frank depiction of sexual ambiguity, adultery, and the scandalous 'tuxedo kiss.' Historically, the film is set against the backdrop of the Rif War and the French Foreign Legion's presence in North Africa, reflecting the era's fascination with 'exotic' colonial locales as a form of escapism for American audiences facing economic hardship.
Why This Film Matters
The film is a cornerstone of queer cinema history due to Dietrich's gender-bending performance and the famous kiss with another woman. It established the 'Dietrich persona'—the enigmatic, sophisticated, and sexually ambiguous femme fatale—that would dominate 1930s cinema. Furthermore, it solidified the artistic partnership between Sternberg and Dietrich, which resulted in seven legendary films. Its influence on fashion was also immense, as Dietrich's use of men's clothing helped popularize trousers for women in mainstream society.
Making Of
The production was a masterclass in visual control by Josef von Sternberg, who acted as an uncredited cinematographer alongside Lee Garmes. Sternberg was obsessed with Dietrich's image, overseeing everything from the plucking of her eyebrows to the specific angle of the 'butterfly' lighting that created her signature hollow-cheeked look. Gary Cooper felt sidelined by this 'Svengali-like' relationship, leading to a cold atmosphere on set. Despite the personal friction, the production successfully recreated the atmosphere of North Africa on the Paramount backlot and in the California desert, using innovative sound techniques to maintain the visual fluidity of the silent era while embracing the new medium of 'talkies.'
Visual Style
The cinematography by Lee Garmes (with heavy uncredited input from Sternberg) is characterized by its 'North African' atmosphere created through intricate light and shadow. The film utilizes 'butterfly lighting' to accentuate Dietrich's facial structure and employs deep shadows to create a dreamlike, almost surreal environment. Sternberg's mastery of the frame allowed for a visual storytelling style that didn't rely on heavy dialogue, preserving the artistic elegance of the late silent period.
Innovations
The film was a technical pioneer in integrating sound without sacrificing camera movement. At a time when many early 'talkies' were static and stagey due to bulky sound equipment, Sternberg maintained a fluid camera. The art direction by Hans Dreier was also a major achievement, successfully transforming a Hollywood backlot into a convincing, atmospheric Mogador.
Music
The soundtrack features music by Karl Hajos (uncredited) and includes several iconic songs performed by Dietrich, such as 'Give Me the Man,' 'What Am I Bid?', and 'Quand l'Amour Meurt.' The film is notable for its use of silence and ambient sound—like the marching of boots and the wind in the desert—to build tension and mood, rather than relying on a continuous orchestral score.
Famous Quotes
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: 'I've told women just about everything a man could say, and I'll tell you something I've never told a woman before—I wish I'd met you ten years ago.'
Amy Jolly: 'I understand that men are never asked why they entered the Foreign Legion.'
Tom Brown: 'Anybody who has faith in me is a sucker.'
Amy Jolly: 'You better go now... I am beginning to like you.'
Memorable Scenes
- The Cabaret Performance: Dietrich appears in a top hat and tails, sings in French, and kisses a woman in the audience before tossing a flower to Gary Cooper.
- The Mirror Message: Tom Brown writes 'I changed my mind. Good luck!' on Amy's dressing room mirror in lipstick, a heartbreaking moment of perceived abandonment.
- The Finale: Amy Jolly kicks off her high heels and walks barefoot into the desert sands to follow the Legionnaires' caravan into the horizon.
Did You Know?
- Marlene Dietrich's performance in a man's tuxedo, where she kisses a female audience member, was one of the first depictions of a lesbian kiss in Hollywood history.
- Gary Cooper pressured the studio to change the title from 'Amy Jolly' to 'Morocco' because he feared Dietrich was getting too much of the spotlight.
- The green Rolls-Royce Phantom II seen in the film actually belonged to director Josef von Sternberg; he bought it for Dietrich as a welcoming gift to America.
- Dietrich reportedly fainted on set due to the intense heat from the studio lights and the heavy costumes.
- The film was nominated for four Academy Awards but did not win any, marking Dietrich's only career Oscar nomination.
- Josef von Sternberg and Marlene Dietrich were rumored to be having an affair during production, which contributed to the tension with Gary Cooper.
- The film's ending, where Amy Jolly follows the troops into the desert, was highly controversial and considered one of the most romantic gestures in cinema history.
- The script was adapted from the 1927 novel 'Amy Jolly' by Benno Vigny, which Dietrich had given to Sternberg as a parting gift in Germany.
- The film was selected for preservation in the National Film Registry in 1992.
What Critics Said
At the time of its release, reviews were somewhat mixed; while critics praised the visual beauty and Dietrich's magnetism, some found the plot thin and the pacing too slow. The New York Times noted that the 'economy of dialogue' sometimes handicapped the actors. However, modern critics view it as a masterpiece of style and atmosphere. It currently holds a high reputation among film historians for its innovative use of sound and shadow, with many considering it the pinnacle of the Sternberg-Dietrich collaborations.
What Audiences Thought
Audiences in 1930 were captivated by the film, making it a significant box office success for Paramount with an estimated $2 million profit. Marlene Dietrich became an overnight sensation in America, with moviegoers enthralled by her 'exotic' allure and deep, throaty voice. The film's romantic ending was particularly resonant with the public, cementing its status as one of the great screen romances of the early sound era.
Awards & Recognition
- National Board of Review: Top Ten Films (1930)
- National Film Registry (Inducted 1992)
Film Connections
Influenced By
- The Blue Angel (1930)
- Weimar Cinema
- Amy Jolly (Novel by Benno Vigny)
- Orientalism in Art
This Film Influenced
- Casablanca (1942)
- The English Patient (1996)
- Victor/Victoria (1982)
- Seven Hufeisen (1938)
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Film Restoration
The film is well-preserved. It was selected for preservation in the United States National Film Registry by the Library of Congress in 1992 for being 'culturally, historically, or aesthetically significant.' High-quality restorations have been released on Blu-ray by The Criterion Collection.