Morocco (1930) - Drama, Romance

Hohum Score



A cabaret singer and a Legionnaire fall in love, but their relationship is complicated by the results of his womanizing and due to the appearance of a rich man who wants her for himself.

IMDB: 7.1
Director: Josef von Sternberg
Stars: Gary Cooper, Marlene Dietrich
Length: 92 Minutes
PG Rating: N/A
Reviews: 12 out of 58 found boring (20.68%)

One-line Reviews (43)

" It's more impressive than those dozen words she could fill in this empty time space.

I found it hard to sit through the first time,the second time I really enjoyed it.

I suppose people's opinion of this movie is coloured by aspects other than the plot because it is strictly formulaic - and extremely dull.

Some shots of Dietrich, more than others, are breathtaking.

At the beginning of that scene, there is often some kind of barrier – a table or a railing – between the camera and the players, making us feel like voyeurs rather than participants, and making the eventual close-ups of Marlene seem all the more intense.

There are several stand-out scenes in MOROCCO, including the famous kiss scene and the one when Marlene breaks a pearl necklace but what makes this Sternberg film so memorable is the stunning ending.

Fabulous movie and completely unexpected ending!

In spite of its slow pacing, being the Von Sternberg style, MOROCCO offers several scenes worth noting, including Dietrich's vocalizing of "Quand L'Amour Meurt" and "What Am I Bid For My Apples?

After her stunning international success in The Blue Angel, Marlene Dietrich was open to all kinds of film offers from all countries.

Marlene Dietrich was stunning in this one, even more than in her last film we watched.

Why should we watch now this eighty years old film, made in black and white, slow moving forward, with only latent developing story?

In fact, it gets agonizingly slow as it goes on, as slow as Gary Cooper's dialog delivery.

In small but vivid roles, Paul Porcasi plays Dietrich's nervous little theater manager and Ullrich Haupt is quietly intense as Cooper's cuckolded commandant.

There are numerous scenes in this film which have the possibility of being overly tedious and run the risk of being boring.

The same thing happens in other parts of the film when we hear a short nearly monotone musical phrase repeated over and over ad nauseum, or when the sound of the wind blowing through the trees also becomes irritating.

The pacing is also a little on the slow side.

Stunning Ending .

Throughout the film, in scenes which need to build tension yet are visually somewhat tiresome (Legionaires marching in the street for example) Sternberg uses various sound devices artfully.

The film made in 1930 is rather creaky, slow moving and does not contain much of a story.

Unfortunately, the drama as presented is dull stuff.

That hot kiss the white-tie-and-tails-clad Dietrich plants on the lips of a woman seated, helplessly, at a cabaret table is still breathtaking.

Pretty good film but the ending is pretty formulaic and a let-down .

It all comes to a splendid climax too, with gripping images that are absolutely unforgettable.

Roles like La Bessiere were bread and butter to Menjou, but it's a shame that he seems a little bland in Morocco.

the courage to use taboo for a fascinating show.

Bland movie with an incredible ending .

The fascinating thing about Amy Jolly, perhaps one of the most enigmatic leading women of cinema's history, is the way she strikes for her modernity even by our own standards.

Cooper and Dietrich have a fascinating on-screen chemistry which was later cleverly exploited by Frank Borzage in Desire (for which Marlene was billed above Gary).

"Morocco" is an entertaining movie you have to see several times to enjoy completely.

Seeing that kiss still sizzle nowadays makes one wonder why so much hubbub ensued after 2003's gratuitous, lackluster liplock shared by Madonna and Britney Spears (which, as it made me yawn also made me think of Madeline Kahn's Dietrich-parodying Lilli von Shtupp dismissing Hedley Lamar's bouquet offering: "Oh.

Of course it's a vehicle for Dietrich, but what makes this early Hollywood Dietrich-Sternberg outing fascinating is its sensuality.


It's probably the most stunning ending ever made, with so many layers of meaning with that one prolonged static shot.

Its weak link is the story, which does creak in the pacing at times, especially in the more uneventful stretches, and it is also threadbare thin and clichéd.

Von Sternberg creates probably the single most beautiful and stunning final sequence that has ever been put on film-- it is a scene that I know will stay with me for a long time.

Remember that "I'm bored" song from "Blazing Saddles", well it seems that Madeline Kahn perfectly channeled Dietrich's Amy Jolly from "Morocco".

I like the idea of Gary Cooper in the role of a libertine as opposed to some of his 'aw shucks' type parts, but he has a way of delivering his lines that is awkward and slow in Morocco, and unfortunately he doesn't come close to keeping up with Marlene Dietrich.

The film has a slow plot with lots of long pauses between lines of dialogue, the result no doubt of the recent invention of talkies.

He calls them "suicide passengers", but in the face of Marlene Dietrich, you don't see suicide impulses, only boredom, this is a woman whose smile will be earned quite dearly...

Dull, even for the time.

Marlene Dietrich made her American movie debut in this intriguing & lavish film directed by her German mentor Josef von Sternberg.

The end of the film is absolutely stunning and worth the whole film.

I guess there must be something with Morocco or North Africa in general for having inspired so many intense love stories from "La Bandera" to "Algiers", "Pepe le Moko", "Casablanca" or "The English Patient" (where there was something in Kristin Scott Thomas that reminded me of Dietrich).