Coeurs brûlés

"Talkies" had been around just a couple years when Paramount made "Morocco," but watching this film one might think it was a late silent movie. That's because of the dialog - or paucity of it. "Morocco" is a film with few lines and even fewer words in those few lines. But then, the two leads in this early desert flick never were known for their verbosity or lengthy lines of dialog. Gary Cooper and Marlene Dietrich both grew up in the silent era, and had many films under their belts by 1930. And, both of their careers were noted for roles with little dialog. As very good actors, their expressions and movements spoke a lot.

This is a good movie that gives a feel for the desert, a foreign legion setting, and life in colonial Africa. The time is during the Rif war of 1911-27, between Spain with France as an ally, and Berber tribes from the Rif (mountainous) region of Morocco. The film is based on German novel, "Amy Jolly, the Woman from Marrakesh," by Benno Vigny. Dietrich plays Mademoiselle Jolly, who is a cabaret singer. She is the woman of a love triangle that includes Cooper. Cooper is in a sultry role as Legionnaire Tom Brown.

Cooper was 29 and Dietrich 28 when this film was made. Both got their starts in silent films - Cooper in the U.S. and Dietrich in Germany. Cooper had been in some 50 movies before this and Dietrich had been discovered in Berlin. This was her Hollywood debut.

This is a good early look in sound films of two great stars of the silver screen. Jolly performs a couple of numbers that are risqué.

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.

'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

While traveling from Europe to Morocco by ship, the cabaret singer Mademoiselle Amy Jolly (Marlene Dietrich) meets the wealthy Monsieur La Bessiere (Adolphe Menjou) that offers to "help" her in Morocco, but Amy refuses his offer. Mademoiselle Amy Jolly is hired by Lo Tinto (Paul Porcasi) to sing in his nightclub and in her debut, she meets Monsieur La Bessiere again having dinner with his friends Adjutant Caesar (Ullrich Haupt) and his wife Madame Caesar (Eve Southern). He invites Amy to stay with him, but the singer feels attracted by the lady-killer Legionnaire Tom Brown (Gary Cooper). Amy invites Tom to go to her apartment after the show but their encounter does not work very well. Tom leaves her apartment and Amy follows him. Meanwhile Madame Caesar stalks Tom on the street but he returns with Amy to her apartment. However two thieves attack him and he self-defends and kills the guys. Tom is arrested and Adjutant Caesar unsuccessfully tries to force him to confess that he had met his wife. Monsieur La Bessiere offers to help Tom but he is assigned to a suicide mission with the Foreign Legion. La Bessiere proposes marriage to Amy, but she is divided between her true love with Tom and the comfortable life she might have with the millionaire.

"Morocco" is the first film of Marlene Dietrich in America with a strange triangle of love among a cabaret singer, a legionnaire and a millionaire. The romance has a daring scene for a 1930 film, when Marlene Dietrich kisses Eve Southern on the lips and a magnificent conclusion, unusual in Hollywood movies. My vote is seven.

Title (Brazil): "Marrocos" ("Morocco")

My favourite Sternberg-Dietrich vehicle will always be "The Scarlet Empress", but all their films are worth more than a cursory glance. They're, to my mind, the most interesting thing to come out of the early thirties (and, although dated, far less so than more recognized classics of the era because of their unadulterated FUN).

Sternberg made art department COUNTRIES for Dietrich to languish in, true in all their Hollywood films, and still dazzling today. Plot, narrative are shaky, sometimes almost nonexistent, allowing for spectacle to take over, and what a spectacle it all is! Dietrich is probably one of the most macabre, knowingly lewd feminine manifestations ever to grace the silver screen (well, at least Sternberg was knowing, Dietrich herself....?). Highly recommended.