792:
401:
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French
Foreign Legion, which famously "asks no questions" about an applicant's background. Likewise, Brown seems to have no future beyond fighting for a cause that he does not believe in Morocco and seemingly sleeping with every women in sight. It is only when he meets Amy that he finds someone that he actually cares about and a reason to be hopeful about the future. Most notably, Brown who was portrayed as an entirely cynical, selfish character prior to meeting Amy displays an altruistic side as he encourages Amy to marry the rich man La Bessière who is more capable of supporting her financially than he is under his private's salary. Despite his efforts to push Amy out of his life, when he is alone, he carves the "Amy Jolly" onto the table along with a heart.
602:, Cooper and Sternberg did not get along. Sternberg filmed so as to make Cooper look up at Dietrich, emphasizing her at his expense. Cooper complained to his studio bosses and got it stopped. Cooper greatly disliked Sternberg, complaining that he received little in the way of direction from him about how to play Brown. It was open knowledge on the set that Sternberg and Dietrich were lovers, and Cooper felt that he was very much a secondary figure in the film as Sternberg devoted all of his attention to Dietrich. As a way of compensation, Cooper brought his mistress, the Mexican actress
565:(French for "beloved and pretty") is meant ironically as Amy is portrayed as a fallen star past her prime, a desperately lonely woman lost in despair who has gone to Morocco to die. However, in the book, the character of Amy was a prostitute and a drug addict, both of which were unacceptable even under the looser censorship in 1930 Hollywood and these aspects of Amy's character were removed from the film during the script-writing. Likewise, the ending was changed from the book to the film. In the book, Amy abandons Tom and at the conclusion of the novel, boards a ship to
888:"The film's unforgettable ending works dramatically because it comes at a moment of panic, one in a series of such moments that have brought Dietrich to the brink. Sternberg says, 'The average human being lives behind an impenetrable veil and will disclose his deep emotions only in a crisis which robs him of control.' Amy Jolly had hidden behind her veil for many years and many men, and her emergence, the sublimation of her fear and pride to her desire, is one of the most supremely romantic gestures in film."
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1829:
385:
She informs La Bessière that she must go to Tom, and, wanting only her happiness, he drives her to the hospital. It turns out Tom had been faking an injury to avoid combat and, when this was discovered, he was assigned to a new unit in the Legion. Amy goes to a bar where Tom was, briefly talks with him, and when he leaves, finds he carved into the table the name "Amy", showing he still loves her, which surprises her.
31:
369:
knows of her feelings for Tom and offers to use his influence to lighten Tom's punishment. Instead of a court-martial, Tom is reassigned to a detachment commanded by Caesar that is leaving soon for Amalfa Pass. Suspecting that Caesar intends to rid himself of his romantic rival while they are gone, Tom decides to desert and run away with Amy.
373:
along and asks Tom to wait while she performs. Once he is alone, he notices a lavish bracelet that La Bessière has given to Amy. Though he has fallen in love with her, Tom decides Amy would be better off with a rich man than with a poor
Legionnaire. He writes on the mirror, "I changed my mind. Good luck!" and leaves.
811:
The character of Tom Brown was portrayed as an example of a lost soul, a tough, jaded
American serving in the French Foreign Legion with a name that was so bland that it was clearly a pseudonym. In the film, it is strongly implied that Brown was attempting to escape a painful past by enlisting in the
360:
On the way to Amy's house, Tom encounters
Adjudant Caesar's wife. She clearly has a clandestine relationship with him, which she desires to maintain, but Tom rejects her. He enters Amy's house and the two become acquainted. Amy is embittered with life and men after repeated betrayals, and asks if Tom
828:
This famous sequence provides an insight into
Dietrich's character, Amy Jolly, as well as the director himself: "Dietrich's impersonation is an adventure, an act of bravado that subtly alters her conception of herself as a woman, and what begins as self-expression ends in self-sacrifice, perhaps the
506:
was released to international acclaim in 1930, Paramount
Pictures took a keen interest in its new star, Marlene Dietrich. When the Berlin production was completed in January, Sternberg departed Germany before its premiere on April 1, confident his work would be a success. Legend has it that Dietrich
384:
Back in
Mogador, Amy accepts La Bessière's marriage proposal and tries to make herself love him, but she still pines for Tom. At an engagement party, she hears the return of the remains of Tom's detachment. She leaves the party and is told Tom was wounded and left behind to recuperate in a hospital.
372:
Tom goes to Amy's nightclub dressing room. He overhears La Bessière offer to marry Amy, and her politely reject the proposal, before knocking on the door. La Bessière leaves Amy alone with Tom, who tells her that, if she will join him, he will desert and board a freighter to Europe. She agrees to go
368:
The next day, Tom is brought before Caesar, who is Tom's commanding officer, for injuring the two natives. Amy helps Tom's case by testifying that he was attacked, but Caesar makes Tom aware that he knows about Tom's involvement with his wife. La Bessière, whose affections for Amy continue unabated,
880:
The "absurdity" of the closing sequence, in which
Dietrich, "sets out into the desert sands on spike heels in search of Gary Cooper", was noted by critics at the time of the film's release. The image, however odd, is part of the "dream décor" that abandoned "documentary certification" to create "a
824:
and tails" includes a "mock seduction" of a pretty female cabaret patron, whom
Dietrich "outrages with a kiss." Dietrich's costume simultaneously mocks the pretensions of one lover (Menjou's La Bessière) and serves as an invitation to a handsome soldier-of-fortune (Cooper's Tom Brown), the two men
708:
In a contemporary review, the French critic Michel
Vauclaire wrote: "Every year in the US, half a dozen novels are published about the Legion, in general very severe and quite fantastic. It's obviously on this sort of fiction that Sternberg has based his research. Perhaps the film reflects the
849:
demands of art, between pride in restraint and passion in excess ... when Dietrich kisses him goodbye, Menjou clutches her wrist in one last spasmodic reflex of passion, but the other hand retains its poise at his side, the gestures of form and feeling thus conflicting to the very end of the
380:
On the way to Amalfa Pass, Tom's detachment runs into a machine-gun nest. Caesar orders Tom to deal with it, and Tom suspects it is a suicide mission. To his surprise, Caesar decides to accompany him. After drawing his pistol (apparently to kill Tom), Caesar is shot and killed by the enemy.
364:
Back in the street, Tom encounters Caesar's wife again, while her husband watches undetected from the shadows. Meanwhile, Amy changes her mind and comes after Tom, who heads back with her to her house. Madame Caesar hires two ruffians to attack Tom, but he manages to seriously wound both.
376:
In the morning, Amy, after a drunken, miserable night, arrives in the town square with La Bessière so she can bid Tom farewell. She asks La Bessière about some women following the company, remarking that the women must be mad. He responds, "I don't know. You see, they love their men."
778:"Sternberg was the first director to attain full mastery and control over what was essentially a new medium by restoring the fluidity and beauty of the late silent period. One of the key elements in this was his understanding of the value of silence itself.
578:
inviting American tourists to enjoy the country "just as Gary Cooper unforgettable landscapes and engaging people." However, the film was filmed entirely in southern California, and Sternberg felt compelled to personally reassure the
590:
Cinematographer Lee Garmes and Sternberg (himself a skilled camera technician) developed the distinctive lighting methods that served to enhance Dietrich's best facial features, while obscuring her slightly bulbous nose.
881:
world of illusions." As Sarris points out, "The complaint that a woman in high heels would not walk off into the desert is nonetheless meaningless. A dream does not require endurance, only the will to act."
287:, and whose relationship is complicated by his womanizing and the appearance of a rich man who is also in love with her. The film is famous for a scene in which Dietrich performs a song dressed in a man's
782:
contains long sections sustained only by its stunning visual beauty, augmented with appropriate music and aural effects. Sternberg was the first artist to make an authentic virtue of the arrival of sound.
357:
Amy becomes the headliner at a nightclub. After a performance, she sells apples to audience members, including La Bessière and Brown. When Amy gives the latter his "change", she slips him her key.
841:, part satanist", is destined to lose the object of his desire. Menjou's response to Dietrich's desertion reveals the nature of the man and presents a key thematic element of the film:
350:
in the late 1920s, a unit of the French Foreign Legion returns from a campaign. Among the legionnaires is Private Tom Brown. Meanwhile, on a ship bound for Mogador is the disillusioned
400:
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agreed to bring Dietrich to Hollywood in February 1930 under a two-picture contract. When she arrived in the United States, Sternberg welcomed her with gifts, including a green
791:
2348:
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can restore her faith in men. He answers that he is the wrong man for that. Unwilling to risk heartbreak yet again, she asks him to leave before anything serious happens.
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onto the set and went out of his way to demonstratively show his affections by having her sit on his lap between takes and passionately kissing her as often as possible.
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2308:
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569:. Sternberg disliked the ending in the book, and gave the film the more romantic ending where Amy chooses to be with Brown by going with him into the Sahara.
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867:(There has been the criticism that an effect of a trek across the desert in high heels is unrealistic and while not noted would reach a definition of
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311:
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1919:
essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010
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Next morning, Amy and La Bessière watch Tom's new unit readying for their march. Tom and Amy briefly speak. The two wave goodbye. When Amy sees a
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The La Bessière character has autobiographical overtones for Sternberg, as Menjou has looks and mannerisms that resemble the director. Critic
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following the legionnaires, she impulsively leaves La Bessière, kicks off her high-heeled shoes, joins them, following Tom into the desert.
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Sternberg's depiction of "picturesque" Morocco elicited a favorable response from the Moroccan government, which ran announcements in
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1947:
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803:, Sternberg examines the "interchange of masculine and feminine characteristics" in a "genuine interplay between male and female."
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Dietrich "was subjected to the full power of Paramount's public relations machine", launching her into "international stardom"
303:
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The film garnered Academy Award nominations for Best Director (Sternberg), Best Actress (Dietrich), Best Art Direction (
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and kisses another woman (to the embarrassment of the latter), both of which were considered scandalous for the period.
164:
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1146:(subtitled The Woman of Marrakesh) ... which was to serve as inspiration for their first American film together.".
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American public's idea of the Legionaries. In France, despite its dramatic pretensions, it will raise a laugh".
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1502:, pp. 56–57: Morocco "effaced the last vestiges of the demarcation between the silent and the sound film ...".
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1467:"From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time"
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Film historian Charles Silver considers the final scene as one that "no artist today would dare attempt":
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Morocco was released by Universal Studios in DVD on April 25, 2011, under label Universal Vault Series.
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The character of Amy was toned down considerably from the novel. As in the book, in the film the name
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1990:
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1685:
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1235:, p. 55: "She scored a personal triumph unmatched by any actress on the screen since the of Garbo.".
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observed: "Sternberg has never been as close to any character as he is to this elegant expatriate."
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1219:, p. 210: "... Marlene Dietrich did not appear on American screens until after the release of
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informed him that Paramount “had been saved from bankruptcy” by the box office success of
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in a going-away gift package to Sternberg when he sailed for America. He and screenwriter
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1749:"You Ain't Heard Nothin' Yet": The American Talking Film History and Memory, 1927–1949
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In Menjou's pained politeness of expression is engraved the age-old tension between
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Amy Jolly. Wealthy La Bessière tries to make her acquaintance, but she rebuffs him.
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set out in her society shoes but within yards breaks her stride and removes them.)
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being presented by Sternberg as contrasting conceptions of masculinity."
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On the basis of test footage Sternberg provided from the yet unreleased
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1142:, p. 55: "It was Dietrich who suggested to Sternberg an obscure novel,
705:, who said of the film, "yes, is an artist ... it is his best film ."
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795:"The purveyor of pansexuality and the supreme lover, male or female."
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Dietrich's devoted suitor, Menjou's La Bessière, "part stoic, part
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as being "culturally, historically, or aesthetically significant".
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404:
L–R: La Bessière (Adolphe Menjou) and Amy Jolly (Marlene Dietrich)
399:
1936:
1347:"TONIGHT - GALA PERFORMANCE, LUX RADIO THEATRE (advertisement)"
871:. The observation is technically correct. Dietrich's character
690:
s success at the box office was "immediate and impressive".
275:(the on-screen credits state: from the play 'Amy Jolly') by
651:), with Marlene Dietrich reprising her film role, and with
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1585:, p. 79: "... no doubt motive for casting Menjou ...".
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Accolades for the film were issued by Soviet director
1612:"The 4th Academy Awards (1931) Nominees and Winners"
1223:( 1930), actually her second stint with Sternberg.".
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Dietrich's "butch performance" dressed in "top hat,
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1971:
738:cited this movie as one of his 100 favorite films.
326:was selected for preservation in the United States
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1684:. The International Film Guide Series. New York:
770:'s Department of Film, offers this assessment of
683:Premiering in New York City on December 6, 1930,
641:was adapted as a one-hour radio broadcast by the
549:American moviegoers had seen her as Lola Lola in
861:
886:
816:"When Love Dies": Dietrich's male impersonation
776:
655:assuming the role of the Legionnaire. This was
1948:
208:United States cost = $ 491,299.36
8:
1341:
1339:
1706:. Lexington: University Press of Kentucky.
862:Dietrich's high-heeled march into the dunes
553:, which appeared in U.S. theaters in 1931.
2349:United States National Film Registry films
1955:
1941:
1933:
1905:starring Clark Gable and Marlene Dietrich.
1877:
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1827:
485:as Anna Dolores, a woman who clings to Tom
29:
20:
1116:"Complete National Film Registry Listing"
1074:
1072:
1070:
2334:Films with screenplays by Jules Furthman
1499:
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1393:
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1066:
746:Director von Sternberg reported in his
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1465:Thomas-Mason, Lee (January 12, 2021).
1423:
1396:, p. 56: "... swept the world, as did
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829:path also of Sternberg as an artist."
620:is recreated in the 1946 Mexican film
2309:Films directed by Josef von Sternberg
2304:Films about the French Foreign Legion
1799:Josef von Sternberg: A Critical Study
1649:from the original on February 5, 2018
1638:"25 Films Added to National Registry"
720:), though it did not win any awards.
7:
1901:: June 1, 1936. Radio adaptation of
1374:Morocco DVD (Universal Vault Series)
538:, which featured in some scenes of
453:Uncredited (in order of appearance)
815:
500:Even before Josef von Sternberg's
66:Amy Jolly, die Frau aus Marrakesch
14:
2339:LGBT-related romantic drama films
1680:The Cinema of Josef von Sternberg
1175:Silver, Charles (July 13, 2010).
647:on June 1, 1936 (under the title
587:had not been shot in his domain.
1726:The Films of Josef von Sternberg
1049:The film was ranked 83rd on the
16:1930 film by Josef von Sternberg
918:National Board of Review Awards
766:Charles Silver, curator at the
479:as Colonel Alexandre Barratière
294:Dietrich was nominated for the
2289:American black-and-white films
1055:AFI's 100 Years...100 Passions
613:was completed in August 1930.
300:Best Actress in a Leading Role
1:
2299:American romantic drama films
1782:, San Francisco, California.
2279:1930s English-language films
1894:The Legionnaire and the Lady
1858:AFI Catalog of Feature Films
725:The Legionnaire and the Lady
716:), and Best Cinematography (
649:The Legionnaire and the Lady
165:Paramount Publix Corporation
2294:American LGBT-related films
1016:Best Foreign Language Film
832:
731:broadcast on June 1, 1936.
179:November 14, 1930
2365:
2314:Films scored by Karl Hajos
1597:, p. 29: "C.A. Lejeune of
663:, following its move from
523:based on the Vigny story.
507:included a copy of author
271:. Based on the 1927 novel
2269:1930 romantic drama films
1353:. June 1, 1936. p. 5
1351:Spokesman-Review (Oregon)
944:
939:
911:
908:
905:
902:
899:
833:La Bessière's humiliation
519:would write a script for
418:as Mademoiselle Amy Jolly
35:Theatrical release poster
28:
2344:Paramount Pictures films
2284:1930s LGBT-related films
1776:Fun in a Chinese Laundry
1086:. Movies & TV Dept.
847:Apollonian and Dionysian
412:as Légionnaire Tom Brown
129:Sam Winston (uncredited)
1755:Oxford University Press
1745:Sarris, Andrew (1998).
1177:"Josef von Sternberg's
1051:American Film Institute
762:Retrospective appraisal
734:The Japanese filmmaker
461:as Colonel Quinnovieres
424:as Monsieur La Bessière
2319:Films set in the 1920s
2051:The Case of Lena Smith
1490:Sternberg, 1965 p. 247
1028:National Film Registry
890:
852:
796:
784:
536:Rolls-Royce Phantom II
405:
328:National Film Registry
2041:The Docks of New York
1981:The Salvation Hunters
1702:Baxter, John (2010).
1686:A.S. Barnes & Co.
1645:. November 15, 1994.
1573:, pp. 15, 29–30.
843:
794:
659:debut broadcast from
600:Turner Classic Movies
467:as a nightclub patron
403:
2329:Films set in Morocco
2324:Films set in deserts
2274:1930s American films
2202:The Shanghai Gesture
2162:Crime and Punishment
2152:The Devil is a Woman
1991:The Exquisite Sinner
1772:Sternberg, Josef von
1730:Museum of Modern Art
1436:Ross, Donna (2009).
1185:Museum of Modern Art
1019:Josef von Sternberg
768:Museum of Modern Art
302:, von Sternberg for
187: (United States)
2142:The Scarlet Empress
2112:An American Tragedy
1965:Josef von Sternberg
1795:Weinberg, Herman G.
1599:The London Observer
1445:Library of Congress
1120:Library of Congress
1096:on December 5, 2011
1009:Kinema Junpo Awards
994:Best Cinematography
954:Josef von Sternberg
616:The final scene of
442:as Sergeant Tatoche
332:Library of Congress
320:Best Cinematography
257:Josef von Sternberg
245:is a 1930 American
45:Josef von Sternberg
2185:(1937, unfinished)
2172:The King Steps Out
2004:(1926, unfinished)
2001:A Woman of the Sea
1963:Films directed by
1889:at Virtual History
1875:TCM Movie Database
1643:The New York Times
1426:, p. 129-130.
1272:, p. 125-126.
1089:The New York Times
1035:Narrative feature
979:Best Art Direction
797:
748:1965 autobiography
699:Robert E. Sherwood
581:Pasha of Marrakesh
575:The New York Times
491:as a camp follower
430:as Adjutant Caesar
406:
312:Best Art Direction
154:Paramount Pictures
2251:
2250:
1899:Lux Radio Theater
1764:978-0-1950-3883-5
1694:978-0-3020-2136-1
1534:, pp. 29–30.
1158:, pp. 75–76.
1047:
1046:
729:Lux Radio Theatre
695:Sergei Eisenstein
644:Lux Radio Theatre
473:as French General
238:
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2021:The Last Command
2015:
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1927:, pages 173-175
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1092:. Archived from
1084:"Morocco (1930)"
1076:
969:Marlene Dietrich
897:
701:, and filmmaker
689:
634:Radio Adaptation
628:Emilio Fernández
483:Juliette Compton
477:Michael Visaroff
465:Thomas A. Curran
440:Francis McDonald
436:as Madame Caesar
416:Marlene Dietrich
390:handful of women
352:nightclub singer
265:Marlene Dietrich
186:
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102:Marlene Dietrich
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1972:Silent films
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1801:. New York:
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1674:Baxter, John
1666:Bibliography
1651:. Retrieved
1642:
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1619:. Retrieved
1615:
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1474:. Retrieved
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1448:. Retrieved
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1188:. Retrieved
1178:
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1123:. Retrieved
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1094:the original
1087:
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964:Best Actress
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434:Eve Southern
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255:directed by
241:
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239:
196:Running time
172:Release date
140:(uncredited)
85:(uncredited)
65:
57:(adapted by)
18:
2182:I, Claudius
2072:Thunderbolt
2063:Sound films
1913:at filmsufi
1621:February 6,
1595:Sarris 1966
1583:Baxter 1971
1571:Sarris 1966
1559:Baxter 1971
1544:Baxter 2010
1532:Sarris 1966
1515:Sarris 1966
1476:January 23,
1424:Baxter 2010
1380:December 3,
1357:February 2,
1331:Baxter 1971
1319:Baxter 2010
1302:Baxter 1971
1285:Sarris 1966
1270:Baxter 2010
1258:Baxter 2010
1217:Sarris 1998
1205:Baxter 1971
1156:Baxter 1971
984:Hans Dreier
714:Hans Dreier
657:Lux Radio's
653:Clark Gable
563:aimee jolie
530:, producer
509:Benno Vigny
448:as Lo Tinto
410:Gary Cooper
322:. In 1992,
308:Hans Dreier
277:Benno Vigny
261:Gary Cooper
97:Gary Cooper
79:Produced by
73:Benno Vigny
41:Directed by
2264:1930 films
2258:Categories
2102:Dishonored
2011:Underworld
1925:0826429777
1738:B000LQTJG4
1616:oscars.org
1061:References
1003:Nominated
999:Lee Garmes
988:Nominated
973:Nominated
958:Nominated
909:Recipient
742:Box Office
718:Lee Garmes
671:Home media
604:Lupe Vélez
557:Production
496:Background
316:Lee Garmes
253:drama film
200:91 minutes
183:1930-11-14
146:Production
138:Karl Hajos
120:Lee Garmes
69:1927 novel
2240:Jet Pilot
1704:Sternberg
1438:"Morocco"
1144:Amy Jolly
906:Category
893:Accolades
822:white tie
807:Tom Brown
679:Reception
661:Hollywood
623:Enamorada
513:Amy Jolly
511:'s story
273:Amy Jolly
213:Languages
126:Edited by
2230:Anatahan
2211:The Town
1841:AllMovie
1797:(1967).
1774:. 1988.
1724:(1966).
1676:(1971).
1653:July 22,
1647:Archived
1450:July 10,
1190:July 10,
1082:(2011).
839:sybarite
289:tailcoat
250:romantic
247:pre-Code
242:Morocco
134:Music by
90:Starring
62:Based on
2092:Morocco
1917:Morocco
1910:Morocco
1903:Morocco
1886:Morocco
1873:at the
1870:Morocco
1855:at the
1852:Morocco
1836:Morocco
1819:Morocco
1221:Morocco
1179:Morocco
1039:Morocco
931:Morocco
912:Result
801:Morocco
780:Morocco
772:Morocco
756:Morocco
723:Titled
685:Morocco
639:Morocco
618:Morocco
611:Morocco
585:Morocco
540:Morocco
521:Morocco
348:Morocco
344:Mogador
330:by the
324:Morocco
285:Rif War
228:Italian
225:Spanish
219:English
205:Country
181: (
148:company
24:Morocco
2243:(1957)
2233:(1953)
2223:(1952)
2213:(1943)
2205:(1941)
2195:(1939)
2175:(1936)
2165:(1935)
2155:(1935)
2145:(1934)
2135:(1932)
2125:(1932)
2115:(1931)
2105:(1931)
2095:(1930)
2085:(1930)
2075:(1929)
2054:(1929)
2044:(1928)
2034:(1928)
2024:(1928)
2014:(1927)
1994:(1926)
1984:(1925)
1923:
1826:
1803:Dutton
1790:(pbk.)
1786:
1761:
1736:
1710:
1691:
1125:May 6,
900:Award
850:drama.
547:before
314:, and
267:, and
231:Arabic
222:French
2220:Macao
1441:(PDF)
1032:1992
1013:1932
945:1931
922:1930
903:Year
799:With
787:Theme
688:'
583:that
1921:ISBN
1824:IMDb
1784:ISBN
1759:ISBN
1734:ASIN
1708:ISBN
1689:ISBN
1655:2009
1623:2014
1478:2023
1452:2018
1382:2022
1359:2024
1192:2018
1127:2020
1102:2012
1043:Won
1022:Won
935:Won
873:does
869:camp
396:Cast
338:Plot
318:for
310:for
298:for
1897:on
1839:at
1822:at
1402:.".
598:of
342:In
71:by
2260::
1778:.
1757:.
1732:.
1641:.
1614:.
1601:".
1551:^
1522:^
1507:^
1469:.
1443:.
1349:.
1338:^
1309:^
1292:^
1277:^
1240:^
1183:.
1163:^
1118:.
1069:^
1057:.
774::
758:.
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1956:e
1949:t
1942:v
1805:.
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1657:.
1625:.
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1454:.
1361:.
1194:.
1181:"
1129:.
1104:.
185:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
