Marokko

'Morocco' may not be the best of the seven Marlene Dietrich-Josef Von Sternberg collaborations, but there is so much to love and what is loved about their other collaborations is seen aplenty in 'Morocco' as well.

Its weak link is the story, which does creak in the pacing at times, especially in the more uneventful stretches, and it is also threadbare thin and clichéd. Occasionally it is a little stagy in the dialogue too.

However, Dietrich makes her character a real person, her toughness hard-hitting, her risqué-ness sensual and her vulnerability deeply touching. Cooper has rarely looked so young and is incredibly handsome, while his acting was stronger in later years he is still likable and at ease. Menjou is wonderfully dapper. Sternberg directs sumptuously and with adroit atmosphere, of which 'Morocco' is rich in.

There are many memorable scenes, including Dietrich's ornate and deliciously outrageous first appearance, one of the most erotic nightclub scenes on film, a wonderfully romantic love scene and one of the most unforgettably hot kisses in cinematic history.

Visually, 'Morocco' looks great, especially in the luminous lighting and ravishingly atmospheric cinematography. The music is very catchy with some parts ahead of their time. Most of the script is clever and sophisticated and there is still a huge amount to keep one engrossed despite the unexceptional story.

In summary, very good and rich in atmosphere film that has a lot that is hard to forget in the long run. 8/10 Bethany Cox

The above one-line summary is the only reason to watch this movie - a great reason, too. Forget the story. Forget Gary Cooper's most lame acting ever. The ten-minute nightclub scene packs more unabashed eroticism with Marlene fully clothed, than any two hours of Demi Moore completely undressed.

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.

Marlene Dietrich is aboard ship to Mogador. An officer explains to fellow passenger Adolphe Menjou she's probably a vaudeville performer; they call one-way passages like her a suicide ticket. Her first night performing at Paul Porcasi's place she's a sensation. Soon she's beginning a tentative relationship with Foreign Legion private Gary Cooper. But Menjou is still in there, pitching.

Josef von Sternberg & Miss Dietrich's first American film still shows a lot of hesitancy with sound. There are vast silences between lines, giving this movie an air of being a chapter-heading show, with the lines explaining what is going on.... but you don't need to be told, the heat is palpable: not just the sexual heat, but the desert heat. Unfortunately, the prints available are not in great shape, and Lee Garmes' sharp images of von Sternberg's always rococo set designs are as much inferred as seen.

MOROCCO is first and foremost an atmospheric film. Anyone who looks for more didn't understand what Josef von Sternberg created here. It's pure atmosphere. A reverie. The film is at times creaky but it's understandable because it was made over 70 years ago! There are several stand-out scenes in MOROCCO, including the famous kiss scene and the one when Marlene breaks a pearl necklace but what makes this Sternberg film so memorable is the stunning ending. Suddenly, the creaky film looks positively contemporary. Are we really in 1930s and not the wild 1970s?!?! The brilliant ending MAKES the movie. Without it, it would probably have been an enjoyably moody but average 1930s flick. With it, MOROCCO becomes a timeless classic. It's probably the most stunning ending ever made, with so many layers of meaning with that one prolonged static shot. It's visually brilliant and sexy on so many levels.