A box office triumph, Morocco got rewarded with Oscar nominations for von Sternberg, Hollywood beginner Dietrich, Lee Garmes’s appealing camera work, and Hans Dreier’s core beautification, and assisted continue Paramount Pictures buoyant as the Great Depression hit Hollywood.
Morocco is traditional Hollywood enchantment condensed to its mainly untainted soul, as supported by the reality that just about the whole thing regarding this motion picture is at present a time-honored truism.
It is visible throughout the movie in various shots that both the characters of Marlene and Gary never expressed their passionate love for each other through words. None of them used the phrases like ‘I love you’ and ‘I can’t live without you’ to demonstrate the romance. However the acts they have performed in various places of the picture portray the actual characters loving each other. The shots taken in the movie are in a black and white mode however the colors of gray black and white tend to sparkle up the classic direction.
The intense scenes of the movie especially the one in which Gary kisses Marlene behind the Chinese fan held at hand, shows the love interest and desire deep down inside their hearts. Then comes up another beautiful depiction where Tom (Gary) engraves the name ‘Amy’ on the table. He could have written it with a pen on a piece of paper, the point of direction to be noted here is, that engravings once done can never be removed. This depicts the intense affection of Tom for Marlene, relating the solidness of his love to the immovable nature of the engraving. The cinematographer of the movie Lee Garmes has played a phenomenal role in the camera work for the movie Morocco.
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