In the movie "Morocco" Josef von Sternberg has two musicals scenes which will compared.
The movie “Morocco” by Josef von Sternberg shows Marlene Dietrich as the singer Ami Jolly in a cabaret. She falls in love with the soldier Tom Brown acted by Gary Cooper and is loved by the richest man in town La Bassier (Adolphe Menjou). La Bassier does everything to make her love him and even gives up at the end when Ami Jolly follows Tom Brown into the dessert.
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Table of Contents
1. Introduction
2. Analysis of the Opening Sequence
3. The Musical Cabaret Sequence
3.1 Introduction of Characters in the Cabaret
3.2 The First Musical Performance
3.3 The Second Musical Performance
4. Symbolic Meanings and Social Hierarchy
Research Objectives and Themes
This paper examines the two central musical sequences in Josef von Sternberg's film "Morocco" to analyze the underlying power dynamics, gender roles, and class rivalry between the main characters, specifically focusing on the interactions between Ami Jolly, Tom Brown, and La Bassier.
- Examination of gender performance and symbolism in cabaret scenes.
- Analysis of class distinctions represented through material objects and behavior.
- The role of "competition" as a primary narrative driver.
- Symbolic interpretation of props such as calling cards, cigarettes, and apples.
- Hierarchy of characters based on their social status and physical placement in the cabaret.
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The two musical scenes in the Josef von Sternbeg movie “Morocco”
The sequence with the two musical performances follows the introduction of the main characters. This is further split into two different parts. The first part shows Tom Brown, a soldier who arrives at a Moroccan town by foot. He is instantly attracted to a woman who is presented in the first couple of scenes and he makes a date with this woman. We are also introduced to La Bassier in this sequence, he arrives by ship and he is attracted to Ami Jolly. He tries to get her attention by helping her and giving her his calling card. She tears the calling card and throws it away. A comparison is drawn between the Moroccan woman and Ami Jolly in that Ami Jolly is presented as being more sophisticated than the Moroccan woman. This comparison can also be expanded to discuss the division between the rich and the poor. This can be seen in the way both men dressed and comported themselves. Tom Brown the soldier does not dress like a businessman like La Bassier does. In addition to this, La Bassier has a calling card; this calling card represents the class distinction that occurs between both men since only the rich had calling cards at this time. The first sequence is presented as a series of competition. It can be summarized as: Tom Brown versus La Bassier; Moroccan woman vs. Ami Jolly, coming by foot vs. coming by ship, no money vs. money and sexual success vs. no success. I think the movie is made to be a constant competition to show the subconscious rivalry that exists between men and women and also between money and love.
Chapter Summaries
1. Introduction: Provides an overview of the film's premise, introducing the main characters Ami Jolly, Tom Brown, and La Bassier within the context of their initial relationships.
2. Analysis of the Opening Sequence: Discusses the arrival of the characters and the establishment of the central theme of competition between the soldier and the wealthy suitor.
3. The Musical Cabaret Sequence: Details the staging of the cabaret and analyzes the two distinct performances, highlighting the shifts in Ami Jolly's presentation and her interactions with the men.
4. Symbolic Meanings and Social Hierarchy: Explores the deeper symbolic functions of props and evaluates the social stratification present within the physical space of the cabaret.
Keywords
Morocco, Josef von Sternberg, Marlene Dietrich, Gary Cooper, Adolphe Menjou, Cabaret, Gender roles, Symbolism, Class distinction, Power dynamics, Subconscious rivalry, Film studies, Performance, Sexuality.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper focuses on analyzing the two musical performance scenes in Josef von Sternberg's film "Morocco" to understand how they function as sites of competition and character development.
Which characters are central to the study?
The central characters analyzed are the singer Ami Jolly, the soldier Tom Brown, and the wealthy, sophisticated La Bassier.
What is the core research question or theme?
The research explores how the film utilizes constant competition—between men and women, and between wealth and love—to reveal character motivations and subconscious social rivalries.
What analytical approach does the author use?
The author uses a film studies approach, focusing on character introduction, mise-en-scène analysis, and the symbolic interpretation of props and behaviors.
What is discussed in the main body of the text?
The body text provides a detailed breakdown of the cabaret sequence, comparing the social status of Tom Brown and La Bassier, and interpreting Ami Jolly's stage performances as acts of power and gender subversion.
What are the characterizing keywords of the work?
Key terms include gender roles, power dynamics, class distinction, symbolism, and the specific dynamics between the film's protagonist and her suitors.
How does the author interpret the symbol of the apple in the film?
The apple is interpreted as a multifaceted symbol representing sin, the phallus, and the commodification of Ami Jolly, suggesting her status as a perceived prostitute in the eyes of the male audience.
What role does the physical setting of the cabaret play in the analysis?
The physical setting is used to map the social hierarchy of the characters, where status dictates seating arrangements, separating the elite from soldiers and the working class.
How is Ami Jolly's power portrayed in the film?
Her power is displayed through her defiance, such as tearing up a calling card, her control over the male gaze during her performances, and her ability to navigate and manipulate the expectations of her male suitors.
- Quote paper
- Marco Kaiser (Author), 2002, Abaut Major Filmmakers - The two musical scenes in the Josef von Sternbeg movie “Morocco”, Munich, GRIN Verlag, https://www.grin.com/document/78899
