Morocco (1930)

TOMATOMETER

——

AUDIENCE SCORE

Critic Consensus: No consensus yet.

Movie Info

A sexy cabaret artiste, mistress to a wealthy man, tosses him over when she finds true love with a foreign legion soldier. Marlene Dietrich makes her first American screen appearance and gets plenty of chances to sing in this atmospheric Josef von Sternberg desert drama.
Rating:
NR
Genre:
Classics , Drama , Romance
Directed By:
Written By:
In Theaters:
 wide
Runtime:
Studio:
Paramount Pictures

Cast

Marlene Dietrich
as Amy Jolly
Gary Cooper
as Tom Brown
Adolphe Menjou
as Mons. Le Bessiere
Ullrich Haupt Sr.
as Adjutant Caesar
Juliette Compton
as Anna Dolores
Julie Compton
as Anna Dolores
Francis McDonald
as Cpl. Tatoche
Albert Conti
as Col. Quinnevieres
Eve Southern
as Mme. Caesar
Michael Visaroff
as Barratire
Paul Porcasi
as Lo Tinto
Theresa Harris
as Camp Follower
Emile Chautard
as Officer
Harry Schultz
as German Sergeant
Show More Cast

Critic Reviews for Morocco

All Critics (5)

No excerpt available.

Full Review… | February 8, 2006
Time Out
Top Critic

No excerpt available.

Full Review… | January 27, 2006
New York Times
Top Critic

Watching Dietrich occupy cinematic space is one of the most intoxicating experiences that movies afford.

Full Review… | May 1, 2011
Parallax View

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.

Full Review… | January 12, 2008
EmanuelLevy.Com

No excerpt available.

Full Review… | November 26, 2007
Not Coming to a Theater Near You

Enjoyable as lightweight entertainment.

Full Review… | January 5, 2005
Ozus' World Movie Reviews

Audience Reviews for Morocco

½

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.

John Ballantine
John Ballantine

Super Reviewer

½

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.

Veronique Kwak
Veronique Kwak

Super Reviewer

½

You think you're in love? Watch this and you might want to reexamine. One of the most romantic endings ever.

Cindy I
Cindy I

Super Reviewer

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