Morocco

Josef von sternberg

T. It.: Marocco; Sog.: Dal Racconto “Amy Jolly, Die Frau Aus Marrakesch” Dibenno Vigny (1927); Scen., Dial.: Jules Furthmann; F.: Lee Garmes, Lucien Ballard; Mo.: Sam Winston; Scgf.: Hans Dreier; Su.: Harry D. Mills; Mu.: Karl Hajos; Int.: Gary Cooper (Tom Brown), Marlene Dietrich (Amy Jolly), Adolphe Menjou (Kennington), Ullrich Haupt (Aiutante Mag­giore Caesar), Juliette Compton (Anna Dolores), Francis Mcdonald (Caporale Tatoche), Albert Conti(Colonnello Quinnovieres), Ève Southern (Madame Caesar), Michael Visaroff (Barratire), Paul Porcasi(Lotinto), Èmil Chautard (Generale Francese); Prod.: Paramount- Publix Corp.; Pri. Pro.: 14 Novembre 1930 35mm. L.: 2511 M. D.: 91′ A 24 F/S (Movietone). Bn

info_outline
T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

Paramount delayed the u.s. Release of The blue angel – Sternberg’s only german film, where the unknown Marlene Dietrich overshadowed superstar Emil Jannings – until after Morocco to give its new star a properly ambiguous introduction – exotic, not necessarily german. Sternberg: “I had deliberately selected a theme that was visual and owed no allegiance to a cascade of words.” Dietrich’s accent was not the problem, he saw her face become distorted when she spoke english. Like the men in the foreign legion, Amy Jolly descends into this milieu by choice, where no questions will be asked and with a heart that cannot be touched. But her glittering, androgynous performances in a tawdry nightclub bring her to the equally impossibly desirable legionnaire Tom Brown (Gary Cooper), setting up one of sternberg’s sublime, doomed love triangles, as the director’s look-alike, the rich, permissive La bessière (Adolphe Menjou) watches. The finale moves the film’s anti-realism to another level entirely, the very definition of l’amour fou. Sternberg’s former mentor, director emile chautard, plays the french general.

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