This was Marlene Dietrich's first American-made film. Because it was done so early, she looks a lot different from the person she played in films just a few years later. She frankly looks less "bizarre"--with less makeup and her painted eyebrows about an inch lower. She was, in my opinion, prettier in this film than in later productions. Additionally, because it was released in 1930, the sound quality is understandably poor. Like many films of the day, they were still trying to "get it right" with the sound--and many scenes are just too loud but most are too soft. Plus, oddly, there are several songs Ms. Dietrich sings, but there is absolutely no incidental music in the film otherwise. I didn't notice it for about fifteen minutes, but once I noticed, the film seemed strangely stark.

The performances of Dietrich, Gary Cooper and Adolph Menjou were fine and the cinematography of Dietrich's mentor, Josef von Sternberg, was lovely. BUT, there are major problems with the incredibly simple plot. Dietrich and Cooper fall in love--even though the film gives reason after reason that this never should have occurred OR that it should have died a natural death due to the lousy way Cooper treated his "lady love". Considering that Menjou was extremely kind, sophisticated, in love with Dietrich and mega-rich, it just made no sense for her to be so taken with Cooper! Now, in movies (as well as in real life) sometimes people CAN make foolish choices, but when it is used as a plot device so often as well as "love at first sight", it just takes away from the film's impact. Very good acting, very clichéd script.

'Morocco' may not be the best of the seven Marlene Dietrich-Josef Von Sternberg collaborations, but there is so much to love and what is loved about their other collaborations is seen aplenty in 'Morocco' as well.

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. Occasionally it is a little stagy in the dialogue too.

However, Dietrich makes her character a real person, her toughness hard-hitting, her risqué-ness sensual and her vulnerability deeply touching. Cooper has rarely looked so young and is incredibly handsome, while his acting was stronger in later years he is still likable and at ease. Menjou is wonderfully dapper. Sternberg directs sumptuously and with adroit atmosphere, of which 'Morocco' is rich in.

There are many memorable scenes, including Dietrich's ornate and deliciously outrageous first appearance, one of the most erotic nightclub scenes on film, a wonderfully romantic love scene and one of the most unforgettably hot kisses in cinematic history.

Visually, 'Morocco' looks great, especially in the luminous lighting and ravishingly atmospheric cinematography. The music is very catchy with some parts ahead of their time. Most of the script is clever and sophisticated and there is still a huge amount to keep one engrossed despite the unexceptional story.

In summary, very good and rich in atmosphere film that has a lot that is hard to forget in the long run. 8/10 Bethany Cox

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!