Customer Reviews

Morocco

5 star:		(3)
4 star:		(7)
3 star:		(1)
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1 star:		(1)

 

 

Simplistic but highly effective triangle love story of legionaire(Cooper), cafe girl(Marlene) and older wealthy suitor(Menjou). While maintaining her relationship with a wealthy suitor, Amy finds a shy but handsome soldier in Gary Cooper. The story is not complicated but rather accurate for real life situations. While Dietrich's character is fascinated with Cooper, her mercenary slant keeps Menjou in the forefront of her plans. We can see the love growing between the young couple but we know that Cooper has no chance. Or does he? The final scene is beautiful and draws me back to this film repeatedly. Morocco launched Dietrich in America and started a 6 film collaboration between Josef von Sternberg and Marlene which produced some of the most provocative films of the 1930's. I believe this is a must see for classic film buffs. Highly recommended for Dietrich fans, von Sternberg fans, pre-code fans and classic film fans in general. It is not for the kids (they'll get bored!).

Gary Cooper plays Tom Brown, a devil-may-care American private in the French Foreign Legion who hooks up with cabaret signer Amy Jolly, played by Marlene Dietrich in her American film debut (the name is a corruption of "pretty friend"/"aimee jolie" in French). Brown has been pretty ruthless with women, but becomes drawn to the embittered Amy. Director Josef Von Sternberg spends a lot of time setting up Dietrich, while Cooper gets the rare opportunity to play a heel and turns in one of the best performances of his early films. Adolphe Menjou plays Kensington, a debonair suitor of Amy who becomes the third wheel in the main love affair, while Eve Southern and Juliette Compton play a couple of the discarded women in Brown's life. Dietrich sings "Quand L'Amour Muert" and "What Am I Bid For My Apple?" while wearing a tuxedo. This 1930 film was based on the racy novel, "Amy Jolly, Women of Marrakesh" by Berlin journalist, Benno Vignay, who had served in the Foreign Legion and followed the success of "Beau Geste." "Morocco" is an above average film, even though the two main characters waste a lot of time pretending they are not perfect for each other and the ending is a bit ludicrous for a character played by Marlene Dietrich. For that matter, I am not sure that Amy upsets Cooper's character so much that Brown would rather go out on hazardous missions instead of facing her. Still, all in the all the two stars make this story work for the most part.

Marlene Dietrich and Gary Cooper are the reluctant lovers--she is looking for a wealthy, comfortable existence and he is just a foreign legion soldier of little or no consequence. Marlene makes fun of the gypsy-like groupies who make a habit of following after the legionairres to be their "groupies". She, after all, has Adolfe Menjoui, a weathy patron as her boyfriend; so who needs Gary Cooper? Well, it turns out, she does and to her chagrin--she becomes part of that horrible, mass of women running after their men through wars and strife. At the end she watches them all running, running and then to Adolfe Menjoi's shock she starts running too; thus forsaking all her beautiful clothes and material possessions throwing away her shoes and going barefoot --running into the desert after her one true love and soulmate--the soldier (played by young and handsome, Gary Cooper). What a great finish!

Great movie for legion fans even though not alot of fighting type action. The legion marching song "Le Boudin" is heard quite often and inspiring. Marlene Dietrich is great singing in a tuxedo and then planting a long kiss on the lips of female customer! Cooper is good, but Dietrich makes the movie. Black and white flic makes the setting mysterious.

Marlene Dietrich's first Hollywood film, and perhaps Von Sternberg's most effective piece of romantic mythmaking. It's enchantingly silly, full of soulful grand passions, drifting cigarette smoke, and a few too many pictorial shots of The Foreign Legion marching to and fro. As Amy Jolly, a mysterious woman with a past, that quintessential femme fatale of film, Marlene had delicacy and an uncanny ability to soften her very expressive face; her acting was highly praised back in 1930 when she was hailed as the "new Garbo". Jolly arrives in Morocco and gets a job singing in a rough cafe; you feel she's a real performer here: when she comes out to sing, her energy level soars. For her first number, she appears in top hat, white tie and tails; a Legionnaire (Gary) hushes the racous, jeering crowd. In a daring moment, she then eyes a woman at a table, kisses her on the mouth and tosses a flower to Cooper! When Dietrich shows off her long sleek legs and sings WHAT AM I BID FOR MY APPLES, Gary knows JUST what to offer! The contrast of her high, rounded forehead and Madonna-like face with her low, uncouth voice provides an extraordinary sexual charge; her torso is sturdier than in her later movies and face looks rather ethereal. A downright fascinating excursion into the world of antique classic talkies, this is a great example of what the Sternberg/Dietrich offered the public.

Marlene Dietrich and Gary Cooper were 28 years old when they filmed "Morocco" (1930) and they look so young you can hardly recognize them. Their co-star, Adolph Menjou, was 11 years older and more or less resembles the actor we all know, down to the tailored suits and the distinctive mustache.

Morocco was a major release for Paramount. Cooper was the studio's new leading man and this was Dietrich's first American film after a much publicized career in Europe, especially the success of "Blue Angel" (1930). She brought her director, Josef von Sternberg, who had a distinguished career in silent films in the U.S. (e.g., "Salvation Hunters", "The Last Command", "Docks of New York") before moving to Germany.

Gary Cooper (1901-61) is a film icon, ranked #11 in AFI's list of 100 top male stars. Nominated 5 times for an Oscar, he won twice ("Sergeant York" and "High Noon"). His films were in the top 10 box office 18 times between 1936 and 1957, a record surpassed only by John Wayne. By 1930 Cooper had already appeared in 34 films, mostly silent. His "breakthrough" film was "The Virginian" (1929). Cooper plays a womanizing Legionnaire attracted to a new cabaret singer, played by Dietrich.

FWIW - this may be the first film in which Cooper voices his now famous "Yup" responding to a question.

Marlene Dietrich (1901-92) appeared in more than a dozen films, some as early as 1919, before she had her "breakthrough" in "The Blue Angel" (1929), her first film with von Sternberg. They would make 6 more films together (e.g., "Morocco", "The Scarlett Empress", "The Devil is a Woman") and Dietrich would be nominated for an Oscar ("Morocco" in 1930) and a Golden Globe (Witness for the Prosecution" in 1957 - my personal Dietrich favorite). Her performance as "Frenchy" in "Destry Rides Again" (1939) has been parodied in many films.

Cooper hated working with von Sternberg, but enjoyed working with Dietrich and they formed a long standing friendship. They worked again in 1936 on "Desire" with Frank Borzage directing (Cooper refused to work with von Sternberg). When he was dying in 1961 Dietrich flew in from Europe to be with him.

Adolphe Menjou (1890-1963) brought an air of distinction to more than 100 films between 1914 and 1960. He was nominated for an Oscar for "The Front Page" (1931) and for a Golden Laurel for "Paths of Glory" (1957). He developed his suave persona during the silent years. Following "Morocco" he went from Paramount to MGM where he enjoyed a long career as the second male lead. Menjou plays the third leg of the love triangle - an ardent suitor for Dietrich. Famed director William Wellman said of him - "There has never been anyone like Menjou...Brilliant, opinionated, smart as a whip, lovable, and a character."

Josef von Sternberg (1894-1969) directs. Born in Vienna, he grew up in New York and moved to Germany in 1929. Because he was fluent in both languages he made a German and English version of "Blue Angel" simultaneously. In fact it was the first German talkie. Von Sternberg was twice nominated for an Oscar ("Morocco" in 1930 and "Shanghai Express" in 1931). His credo was "To know what to reveal and what to conceal and in what degree to do this is all there is to art." He claimed "I care nothing about the story, only how it is photographed." You can see this philosophy in the film - many of the scenes have photographic beauty but don't necessarily advance the plot or serve the story.

The film is famous for an early scene in which Dietrich appears on stage in a man's tuxedo and in the course of her song, kisses a woman on the lips. Both the tuxedo and the kiss were scandalous for the times. Fans of Dietrich will note that her voice had not yet developed the deep sultry tones we remember so well.

Morocco received Oscar nominations for Actress, Director, Cinematography, and Art Direction. The winners in 1930 were "Cimarron" (Picture), Marie Dressler in "Min and Bill"(Actress), Norman Taurog for "Skippy"(Director), Floyd Crosby for "Tabu" (Cinematography), and Max Ree for Cimarron ("Art Direction).

Despite the critical acclaim, "Morocco" was not among the top grossing films of 1930, although Paramount did well with "Animal Crackers" (#4), "Feet First" (#5), and "The Vagabond King" (#10). Films with a European feel were not particularly popular with 1930s audiences, although English based films were extremely popular. In 1931, however, Garbo's "Mata Hari" was the third highest grossing film and Dietrich would jump to #1 in 1932 with "Shanghai Express".

To a modern audience Morocco may seem melodramatic. Some of the acting styles from the silent film era seep onto the screen, especially with Cooper and Dietrich. Nonetheless this is an early view of two of the greatest actors of the mid 20th century, and deserves a look.

This was Marlene Dietrich's first American movie, which came hard on the heels of THE BLUE ANGEL. She plays a sultry nightclub singer who somehow has made her way to Morocco. There she meets two men: Adolphe Menjou - rich, devoted to her, but obviously dull; and Gary Cooper - a devil-may-care French Legionnaire, who loves her but won't show it. No doubt whom she falls for.

Joseph von Sternberg directed and Dietrich was his raison d'etre - he lavished on her everything that would give her the best advantage: lighting, make-up, camera angles. She shines as a femme fatale who would cast off men like burnt matchsticks, until she meets Cooper. Coop plods along as he did in just about every picture he was in, handicapped even more here because of Sternberg's disdain for him.

Like every early sound movie the acting is pretty wooden and stilted (having to play to the primitive microphones rather than the camera explains that), but the dialogue (script by Jules Furthman) isn't too exceptional either. (How much better it would have been as a silent!) Many of the scenes are rather far-fetched, as at the end when she kicks off her shoes and marches off into the desert. But it captured the 1930 audiences' imagination and was a big hit, making stars of Cooper and Dietrich.

MOROCCO is a very early Marlene Dietrich film directed by Josef von Sternberg. Dietrich, Gary Cooper and Adolph Menjou give excellent performances. The scene in a nightclub where Dietrich passes her apartment key to French Legionnaire Cooper is priceless. MOROCCO is probably a very good movie for 1930 and it gives a strong hint of the greatness Dietrich and Josef von Sternberg will achieve in later movies. However, it is clearly not quite as good as SHANGHAI EXPRESS and some of their other collaborations.

MOROCCO received Oscar nominations but no awards for Best Director, Actress (Marlene Dietrich), Cinematography and Art Direction.

I was lucky enough to have been able to get a copy of Morocco on VHS. I was very excited before inserting the tape in my VCR, but soon became quite disappointed with the audio quality. You could barely understand the actors when they spoke. The sound is really bad. The copy that I purchased was new, and not one of those inexpensive imitations from unpopular realeasing studios. This was the original Paramount version. The movie was very good for 1930, obviously not as good as other Dietrich movies. I still HIGHLY recomended if you are a Marlene Dietrich fan, even with the bad sound.

Great movie for study of the cross over from silent to talkies. Joseph von Sternberg does a great job using dark and smoky cinema to convey the down and out personalities of the two main characters. The numerous moments of non verbal, body language and facial expression are well weaved into the verbal dialog. Cooper's wimsical acting behaviors bring a fresh interest to the movie, I'm sure in the 30's and for me now.