{"id":36978,"date":"2016-06-10T12:46:32","date_gmt":"2016-06-10T19:46:32","guid":{"rendered":"http:\/\/filmfanatic.org\/?p=36978"},"modified":"2021-01-05T11:12:48","modified_gmt":"2021-01-05T18:12:48","slug":"morocco-1930","status":"publish","type":"post","link":"https:\/\/filmfanatic.org\/?p=36978","title":{"rendered":"Morocco (1930)"},"content":{"rendered":"<p><strong>&#8220;Every time a man has helped me, there has been a price. What&#8217;s yours?&#8221;<\/strong><\/p>\n<table>\n<tr>\n<td>\n<p><a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster-214x300.jpg\" alt=\"\" width=\"214\" height=\"300\" class=\"alignleft size-medium wp-image-36979\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster-214x300.jpg 214w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster-91x128.jpg 91w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster-768x1077.jpg 768w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster-730x1024.jpg 730w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Poster.jpg 900w\" sizes=\"auto, (max-width: 214px) 100vw, 214px\" \/><\/a><\/p>\n<p><strong>Synopsis:<\/strong><br \/>\nA sultry nightclub singer (Marlene Dietrich) in Morocco falls for a womanizing Foreign Legion soldier (Gary Cooper) while being wooed by a kind millionaire (Adolph Menjou).\n<\/p>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p>\n<strong>Genres, Themes, Actors, and Directors:<\/strong><\/p>\n<ul>\n<li>Adolph Menjou Films<\/li>\n<li>Gary Cooper Films<\/li>\n<li>Josef von Sternberg Films<\/li>\n<li>Love Triangle<\/li>\n<li>Marlene Dietrich Films<\/li>\n<li>Military<\/li>\n<li>Romance<\/li>\n<\/ul>\n<p><strong>Response to Peary\u2019s Review: <\/strong><br \/>\nPeary writes that in her second collaboration with director Josef von Sternberg &#8212; and &#8220;her first Hollywood film&#8221; &#8212;  Marlene Dietrich &#8220;is quite an attraction&#8221;, &#8220;whether wearing a tux and kissing a woman on the mouth (!) or a skimpy outfit that reveals her long, luscious legs&#8221;. He notes it&#8217;s &#8220;refreshing that both [Cooper and Dietrich] play characters who have had numerous affairs&#8221;, and that &#8220;they are both free to express passion&#8221;. In his <em>Alternate Oscars<\/em>, he names Dietrich Best Actress of the Year for her role here as Amy Jolly, arguing that she&#8217;s &#8220;perfect because she understood the importance of &#8216;presence&#8217; on the screen &#8212; and knew she had it &#8212; and because she conveyed the self-knowledge that her audience was watching a unique star&#8221;. He adds that her character&#8217;s &#8220;ironic wit\/nature comes from knowing that she is condemned by the male-dominated society for using sex to manipulate men when even they know she must use her body to survive&#8221;, and that &#8220;she maintains an air of superiority and startling indifference&#8221;. However, while it&#8217;s true that &#8220;Dietrich, who seems to be followed around by smoke, is at her most likable&#8221;, we never learn enough about her to understand her as anything other than a confident yet jaded woman who, over the course of the film, gradually &#8220;become[s] less flamboyant&#8221; and thinks &#8220;of herself more as a typical woman&#8221;. (We know even less about Cooper.) Although Dietrich does have impressive star presence and gives a fine performance, I don&#8217;t believe the screenplay of this &#8220;erotic and exotic&#8221; film does her justice.  <\/p>\n<p><strong>Redeeming Qualities and Moments: <\/strong><\/p>\n<ul>\n<li>Beautiful cinematography by Lee Garmes<br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still.png\" alt=\"\" width=\"480\" height=\"360\" class=\"alignnone size-full wp-image-36981\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still.png 480w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still-300x225.png 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/a><br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still2.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still2.png\" alt=\"\" width=\"480\" height=\"360\" class=\"alignnone size-full wp-image-36982\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still2.png 480w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still2-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still2-300x225.png 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/a><br \/>\n<a href=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still3.png\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still3.png\" alt=\"\" width=\"480\" height=\"360\" class=\"alignnone size-full wp-image-36980\" srcset=\"https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still3.png 480w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still3-128x96.png 128w, https:\/\/filmfanatic.org\/wp-content\/uploads\/2016\/06\/Morocco-Still3-300x225.png 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><\/a><\/li>\n<\/ul>\n<p><strong>Must See? <\/strong><br \/>\nNo, though it&#8217;s worth a look for its historical relevance and cinematic beauty. <\/p>\n<p><strong>Links: <\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/www.imdb.com\/title\/tt0021156\/\">IMDb entry<\/a><\/li>\n<li><a href=\"https:\/\/www.nytimes.com\/1930\/11\/17\/archives\/the-screen-david-and-goliath-a-new-german-actress-king-george-in.html\">NY Times Original Review<\/a><\/li>\n<li><a href=\"https:\/\/www.tcm.com\/tcmdb\/title\/83989\/morocco#articles-reviews?articleId=18560\">TCM Article<\/a><\/li>\n<li><a href=\"http:\/\/www.dvdtalk.com\/dvdsavant\/s1955diet.html\">DVD Savant Review<\/a><\/li>\n<li><a href=\"http:\/\/www.timeout.com\/london\/film\/morocco\">Time Out Capsule Review<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;Every time a man has helped me, there has been a price. What&#8217;s yours?&#8221; Synopsis: A sultry nightclub singer (Marlene Dietrich) in Morocco falls for a womanizing Foreign Legion soldier (Gary Cooper) while being wooed by a kind millionaire (Adolph Menjou). Genres, Themes, Actors, and Directors: Adolph Menjou Films Gary Cooper Films Josef von Sternberg Films Love Triangle Marlene Dietrich Films Military Romance Response to Peary\u2019s Review: Peary writes that in her second collaboration with director Josef von Sternberg &#8212;&#8230;<\/p>\n<p class=\"read-more\"><a class=\"btn btn-default\" href=\"https:\/\/filmfanatic.org\/?p=36978\"> Read More<span class=\"screen-reader-text\">  Read More<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-36978","post","type-post","status-publish","format-standard","hentry","category-responses-to-peary"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/36978","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=36978"}],"version-history":[{"count":11,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/36978\/revisions"}],"predecessor-version":[{"id":61683,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=\/wp\/v2\/posts\/36978\/revisions\/61683"}],"wp:attachment":[{"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=36978"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=36978"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmfanatic.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=36978"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}