Morocco was the first 'American' movie ever made in Hollywood by Marlene Dietrich under her 'master' Von Sternberg's direction and, as a follow-up to their extraordinary work in 'The Blue Angel', it consistently helped create a new myth on the cinema's horizon, the image, sensuality and androgyny of Marlene Dietrich.Cinematographically speaking the movie is a wonderful piece of art, with Sternberg's talent for shades in the black and white variation taken to a wonderful depiction of a love story in the Moroccan landscape.But it is above all else Marlene's true introduction to American audiences in the English language, and it is quite visibly a great effort by both director and actress in the creation of a new feminine myth which Marlene would represent throughout her career: the new sensual goddess, accessible and inaccessible at the same time, wonderfully and apparently aloof and distant, but also carnally at hand, sometimes paying the price of love in her own flesh.That image is ever-present in this beautiful film, from the first moment Dietrich appears on the big screen, arriving in 'Morocco' and refusing the help of a tentative lover.The androgyny which pervades the whole movie, especially her cabaret scenes are fundamental in the creation of the androgynous image of Marlene, especially as she sang the french waltz at the cabaret. Her love scenes with Cooper were ardent and unforgettable, and her final surrender, as she leaves everything behind in order to pursue her love for him, clearly represents the creation of the undying femme fatale who kills for love but can die for love.'Morocco' comes off as a great movie between director and actress, notwithstanding great performances by the others actors, especially the sensual presence of Gary Cooper, still a young man and a very charming one.Quite wonderful!
Review of Morocco
