What Happens in Morocco Stays in Morocco
Where bold cabaret singers and womanizing Foreign Legion soldiers rendezvous and sparks fly
Today we are watching a clip from the 1930 film Morocco. It is a pre-Code movie and the first American offering to feature star Marlene Dietrich. She stars opposite Gary Cooper, highly demanded in Hollywood as a leading man, with six leading roles to his credit in 1930 alone. Pairing a cinematic newcomer to the American scene with an established bona-fide movie star in a feature film might have been seen as risky, but such was the confidence of director Josef von Sternberg in his “discovery” of Dietrich and her sizzling on-screen charisma. (And with plenty of off-screen charisma too—they were in a relationship at the time.) After directing Dietrich in her breakthrough role in the German film The Blue Angel, a film that became an international success, von Sternberg convinced the German-born actress to move to the United States under contract for Paramount Pictures.
Morocco follows the story of Amy Jolly (played by Dietrich), a hardened, down-on-her-luck lounge singer hoping to escape the unhappiness of her life in Europe by hopping on a steamship to take her chances in the titular city. She gets a gig singing at a local cabaret nightclub, a somewhat-unconventional place with a mix of patrons: the rough-and-tumble riff-raff sit below the stage while the fancy folk sit at tables set on platforms that ring the floor. As it happens, for her first performance the club is packed, a regiment from the Foreign Legion having just arrived looking for rowdy fun. Within the throng is legionnaire Tom Brown (Cooper). In the short time he’s been in town, he’s already managed to pick up a new lady companion; one gets the sense that he does indeed have a romantic interest in every port, no strings attached. Also in the crowd, in the upscale section, is the wealthy Monsieur La Bessiere (Adolphe Menjou), already acquainted with (and enchanted by) Amy from the ship crossing.
This rowdy joint is not an easy place to debut an act, but Amy is clearly a pro. After a lukewarm introduction from the club owner and his weak admonishment to treat the talent with respect, she enters the stage wearing a tuxedo. It’s menswear, but no matter; she looks exquisite, born to wear it. Some of the patrons appear shocked, while others, admirers can’t help but be drawn to a woman with such beauty and magnetism. In what seems to be not-uncommon treatment at this establishment, the more ill-behaved members of the audience greet her with boos and jeers. Amy pauses for a moment and surveys the crowd, Dietrich’s gorgeous face framed by the lighting arrangement that von Sternberg designed to enhance her lovely features (a treatment he would use in all seven of their cinematic collaborations), a slight smile on her face. She already knows she will triumph this evening, but she bides her time a bit. In the meantime, Tom—clearly intrigued at first sight—threatens hecklers with physical violence. The crowd quiets and at last she begins to sing.
You will likely find this surprising, but in the non-Martini’ed version of this scene Dietrich is not singing of Tabs but instead of lost love. The song is in French, Quand l'amour meurt (when love dies). Hard times, oh she’s seen ‘em. She finishes with a jaunty tip of the hat and the crowd bursts into hearty applause. And just as she knew she would, Amy vanquishes any doubters. The applause is enthusiastic from both the upper and lower levels. One admirer offers her a glass of champagne, which she gladly accepts, joining his table in the upscale section of the club. She raises her glass, drinks and before she departs, a mischievous notion takes hold. She flirts with a woman at the table and then kisses her, much to the embarrassment of the latter. The patrons love it, bursting into cheers and laughter.
The scene was the first in cinematic history to feature a leading woman kissing another woman on-screen. Dietrich infused the role of Amy Jolly with mystery, glamor and a smoldering gender-fluid sexiness; it earned her an Oscar nomination for Best Actress.
There is a wonderful article on Jay’s Classic Movie Blog about the significance of Morocco, a detailed exploration of the themes and cinematography and a biography of actors and director. I highly recommend a read if you are interested in more information about the movie and its place in cinematic history.
Stream it here: Internet Archive: Morocco (1930) by Josef von Sternberg
Love Marlene Dietrich. Not just her movies but also for her defiance of social conventions. I know here at Wonkette we don't wear pants but Marlene did which pissed the stuffed shirts off. Can you imagine it being scandalous to wear pants as a woman?
I'll have to watch this, thanks Martini!