as Amy Jolly
as Tom Brown
as Mons. Le Bessiere
as Adjutant Caesar
as Anna Dolores
as Anna Dolores
as Cpl. Tatoche
as Col. Quinnevieres
as Mme. Caesar
as Lo Tinto
as Camp Follower
as German Sergeant
Critic Reviews for Morocco
Cooper and Dietrich have a unique romantic chemistry, although it is memorable mainly for its oddness, rather than any heat it generates.
Morocco earned Dietrich what would be the only Best Actress Oscar nomination of her entire career.
Watching Dietrich occupy cinematic space is one of the most intoxicating experiences that movies afford.
Over the years, Marlene Dietrich's androgyny (kissing a woman on the mouth) and the last, campy image, in which she removes her high-heel shoes and follows Gary Cooper into the desert, have received more critical attention than any other aspect.
Audience Reviews for Morocco
Through a cracky copy of this film, we see a young Gary Cooper and Marlene Dietrich doing her thing before and beyond what the Code would ever permit. It is probably the only interesting part to the film. I don't know if was jaded at seeing such a poor copy but the thrills were few and far between.
the notable legendary bond of marlene dietrich/joserf von sternberg in the 30s...particularly the one scene dietrich wears tuxedo strutting imperiously then kisses a woman arrogantly as if she were a man that was deemed defyingly ultra-sexy in a conservative time of 30s...dietrich became the female martini idol who made millions of closet lesbians drooling endlessly, and also titilated male audience with a provocative sense of vanquishing lust.....except this offbeat gendre-ambiguous breakthru and sternberg's artsy lighting in black and white, the rest of the movie sinks into a conventional mode of love story between cabaret singer and a flippant soldier(gary cooper) trapped by the circumstance of war and seedy past...of course there's an un-requited suave provider (adolpe menjou) who loves her unconditionally but only rewarded with a hasty big hug rushly like an unworthy sap. could "morcocco" be considered milestone of feministic assertion since dietrich built her self-sufficient vixen facade by this movie?... perhaps not. it might be an intense feministic declaration of self-choasen will for love since she selects to chase behind the soldier barefoot in the desert (who flings around with women and could offer nothing but a wide innocent smile) instead of the selflessly patient gentleman who politely awaits her in the cozy limousine....it is a strong sense of self-chosen will indeed, but ironically it's like being the necglectful queen of an respectful worshiper but an romorseless dedicated slave to a ghetto hulk. somehow sadistically mosochistic. just like one fashion editor once remarks, dietrich combines the dublicity of a queen and a whore. maybe behind the grandeur facade of every shrewd vixen dwells a soul of petite woman who clings even to the shade silhouette of her beloved man. perhaps ideologically speaking, it's deliberantly arranged so since the bourgeois mass(the majority of movie-goers) would identify more with cooper machismo than the polished chivalry of adolphe menjou. something worthy a mention, adolphe menjou was spotted as the typecasting of charming rich gentleman since charlie chaplin's "a woman of paris", and menjou was prestigous for his appropritately aristocratic presence...maybe only william power could be the competent equivalent for his rackishly witty image in "the thin man" series.
You think you're in love? Watch this and you might want to reexamine. One of the most romantic endings ever.
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