Maroc, dossier numéro 7

This film begins in London with a burglar breaking into a house and stealing some jewelry from a wall safe belonging to a jewel thief by the name of "Louise Henderson" (Cyd Charisse). Not long afterward this same man goes to a party and introduces himself to Louise as "Simon Grant" (Gene Barry). He also tells her that he has the jewels in his possession and will give them back only if he is allowed to go to Morocco where she is planning to steal an ancient jewel known as "the Medallion." She reluctantly agrees and they depart together with a modeling agency which she intends on using as her cover. It's during this trip that he becomes intimately acquainted with one of the models named "Claudia" (Elsa Martinelli) who happens to be one of the few people within the modeling agency who is in on the heist but has switched her loyalty from Louise to Simon. But what nobody realizes is that Simon has been followed by a beautiful law enforcement agent by the name of "Michelle Craig" (Alexandra Stewart) and that they seem to know quite a bit about their intended caper. Now rather than reveal any more I will just say that this was a rather interesting film in that it had a good plot, an exotic location and some decent actors in the cast. Likewise, having a bevy of beautiful young models featured certainly didn't hurt the scenery either. Be that as it may, I enjoyed this film for the most part and have I have rated it accordingly. Slightly above average.

Maroc 7 is one of those films that has a number of elements, individually of interest, but collectively failing to come together effectively.

The mysterious Simon Grant (Gene Barry) breaks into the home of fashion magazine editor Louise Henderson (Cyd Charisse) in order to get material to blackmail her into letting him accompany her on a fashion layout photo shoot in Morocco. Apparently he believes she was involved in a series of jewel thefts and he wants to get his share of the next caper. They are accompanied on the trip by her top model Claudia (Elsa Martinelli), shifty photographer Raymond Lowe (Leslie Phillips) and model wrangler Freddie (Angela Douglas). They are also accompanied by several models, including one, Vivienne, played by Tracy Reed. In Morocco they meet cynical police Inspector Barrada (Denholm Elliott), his attractive assistant Michelle Craig (Alexandra Stewart) and dubious antiquities expert Professor Bannen (Eric Barker).

The plot involves secret maps, robbing tombs and multiple double crosses. It doesn't really generate a lot of excitement but does have the decided attraction of being fast moving. They do try to enhance the ending with a fun plot twist. A major attraction is the colorful setting in Morocco, which is shown to great advantage.

Similarly the acting is professional, I don't think there is any bad performances per se, but it doesn't generate much emotional involvement. Perhaps the combination of 1940's Hollywood (Berry, Charisse) with 1960's swinging London was simply never going to be a comfortable fit. Although the photo shoot scenes, obviously dated to the 1960's (although I have no objection to miniskirts), provides some visual flair to match the Moroccan scenery. Denholm Elliott creates the most interesting character, while Elsa Martinelli and Alexandra Stewart are attractive love interests.

Leslie Phillips also produced the movie and he talked briefly about that experience on the commentary track for the British DVD release of Very Important Person (1961). Apparently he was interested in directing and thought that producing a movie would be a step in that direction. While he didn't say what, if anything, he enjoyed about producing, he was very clear about disliking all the financial management that went with producing. He mentioned, in passing, that the budget of Maroc 7 was approximately half a million dollars. According to IMDb this is the only movie he produced and he never directed any films (although his commentary referenced extensive theater directing). As an aside I would be interested in knowing whether the name of Alexandra Stewart's character, Michelle Craig, was an "inside joke" on Leslie Phillips' Doctor In Love co-star Michael Craig.

The quality of the print, in the German DVD release version I saw, could best be described as acceptable. In truth, having seen the movie on TV several times over the years, I have never really seen a pristine print of the film. The deterioration is regrettable given the colorful scenery in Morocco.

Overall the film is an acceptable time waster, although the elements are more workmanlike than inspired.

I watched this movie in 2007 and i watched again in 2022 it was the same vibe and cinematic experience. Good locations and good color and story i advice any one who want to watch how was movie and filming 60's and how they devolep the level of art , i watch the movie by mistake just because the title is catchy for me , and im happy because i see this work.

Considering that "Maroc 7" has an overall IMDb score of 4.6, I sure expected it to be a bad film. While in theory, a 5.0 would indicate an average film, here on IMDb the number is probably closer to 6.5--and 4.6 strongly indicates BAD. But, I was surprised--the film was actually a decent little film--not a work of genius but well worth seeing.

The film begins with a guy, Simon Grant (Gene Barry) approaching a woman (Cyd Charisse) who owns a studio that photographs pretty models. He's come to tell her he KNOWS her secret--that she is a world-class thief AND that he's planning on coming with her on her next caper. This takes her and her groups of models to Morocco. But WHAT is the item she plans to steal? And how much do the ladies and their photographer know? And, just who is Grant--who is he working for and what is HIS motivation? While not a brilliant caper film, it is nice and benefits from nice scenery and pretty ladies. It's interesting and well worth your time--especially if you are in the mood for a bit of escapism.

Three things stand out in this film. The filming on location - including interior scenes, the Moroccan desert, and the wonderful 1960s fashions/hairstyles. An enjoyable film only marred by the weak storyline and implausible ending. I wish that more films would make use of real locations for interior scenes. Actually seeing the real world out of the hotel room window, hearing the echo in voices due to being in a small room, genuine ambient background sound - all these ingredients help to 'put you there'. If this film had been made in the mid 70s or later it would be completely forgettable. But being made in the swinging 60s gives it something... Worth a look.