Published via Ecency

(source: tmdb.org

If a woman wants to draw attention to herself in a packed nightclub, one of the more efficient ways is kissing another woman. Although such practices are usually associated with our more relaxed or enlightened era, they were not unheard of nearly a century ago, at least judging by one such detail which became a memorable scene in Morocco, a 1930 film directed by Josef von Sternberg, now known as one of the best Hollywood melodramas of the early sound era.

The film is an adaptation of Amy Jolly, a 1927 novel by the French writer Benno Vigny. The plot begins in Mogador, a port city in Morocco, which was a French protectorate at the time. French rule is maintained by the forces of the French Foreign Legion, and one of its soldiers is Tom Brown (played by Gary Cooper), an American who has joined it three years earlier, apparently in order to forget and escape his shady past. Brown is something of a troublemaker even in Morocco, openly disobeying orders from his superior officers, especially if it involves not socialising with local women, who easily fall under the spell of the tall and dashing legionnaire. Soon, another person comes to Mogador in order to escape her rough past. She is a vaudeville entertainer, Amy Jolly (played by Marlene Dietrich), hired to work as the headliner in a nightclub owned by Lo Tinto (played by Paul Porcasi) who openly advises his new star to find a rich lover. During her first performances, she gets the attention of Monsieur La Bessière (played by Adolphe Menjou), a wealthy businessman who would be so smitten with her that he would offer marriage to a woman who is, despite her beauty, way below his social standing. She instead falls in love with Brown, and the feelings are mutual, despite both of the lovers' cynicism and bitter life experiences. Things are, however, complicated when Brown's superior, Adjutant Caesar (played by Ullrich Haupdt), starts believing that the legionnaire is having an affair with his wife (played by Eve Southern).

Morocco was produced immediately after The Blue Angel, a German production which became a great international hit and turned the until-then unknown Marlene Dietrich into a major star. Von Sternberg, who had directed Dietrich in that film and (according to many sources) had a romantic relationship with her, used the technical and financial resources of Hollywood not only to make his next venture technically better, but also to enhance Dietrich's stardom by using the cinematography of Lee Garmes to make her look even more glamorous. Although the character of Amy Jolly isn't as iconic as the one played in The Blue Angel, this, in many ways thanks to von Sternberg, represents one of Dietrich's best roles. But the film works even when the stellar performances aren't taken into account. Morocco was entirely shot in Southern California, but you couldn't tell based on what is available on screen; the audience will really believe that the film was actually made in North-western Africa. A large part of that almost documentary-like authenticity comes from the great deal of attention given to detail. Morocco doesn't include much music, and after a few songs performed in the nightclub, the music is mostly incidental and includes French military marches and Moroccan folk songs. Even the weapons are authentic, which include Berthier rifles and MAS Mle. 1892 revolvers used by the Legion. The film's authenticity was even recognised by the Moroccan government, which used it to promote tourism in the country.

Morocco also benefited from being made in the brief but happy period when Hollywood didn't have to worry about the infamous MPAA Production Code. This allowed the film to have content which became impossible only a few years later – Brown and other legionnaires being involved with women who are clearly prostitutes or having extramarital affairs. But the most memorable scene happens in the nightclub when Dietrich, in a tradition associated with her native Berlin during the decadent Weimar era, openly challenges gender stereotypes – first by appearing dressed as a man and, later, during a performance, kissing a woman in the audience. Although many decades later celebrated in The Celluloid Closet as a rare display of homosexuality in early 1930s Hollywood, this is just a part of the seduction during which Amy Jolly successfully brings Brown's attention. The scene works very well because Gary Cooper shows great skill and possesses great chemistry with Dietrich, although, by many accounts, he couldn't stand von Sternberg on the set. Adolphe Menjou, one of the most underrated character actors of Classic Hollywood, delivers another impressive performance as a wealthy, refined and intelligent man who is still affected by strong emotions and must work very hard to keep the image of the "perfect gentleman", even if it results in a very public and predictable humiliation.

Morocco, despite being obsolete in a strictly technical sense, still looks like a very modern film. This could be seen in its ending, which is unusual for this kind of melodrama. The finale, which is in a way open-ended, but doesn't make much sense, looks quite suitable for characters that, for one reason or another, couldn't adapt to the "proper" and normal world. But that ending also represented a good beginning for Dietrich's Hollywood career and an excellent way to remain one of the grandest screen icons of the 20th century.

RATING: 8/10 (+++)