Picture Dietrich as Amy Jolly, cabaret performer dressed in top-hat and tails, singing "What Am I Bid for My Apples," or one-upping a society dame with a firm kiss on her lips. Picture Gary Cooper, hang-dog and smouldering with contempt, the French Legionnaire whom Amy Jolly loves. Picture her following him out into the desert on four-inch high heels. "There's a foreign legion of women, too," she says, "but we have no uniform, no flag, no medals when we are brave, no wound stripes when we are hurt." "Showing Bogart the script of To Have and Have Not, Hawks said, 'We are going to try an interesting thing. You are about the most insolent man on the screen and I'm going to make a girl a little more insolent than you are.' In Morocco, Sternberg has done the opposite: taken the most insolent girl on the screen and made a man a little more insolent than she was" (Raymond Durgnat). Morocco was considered by both Chaplin and Eisenstein to be Sternberg's greatest film, a masterpiece of lighting, design and atmosphere--all created on the back-lot, with nothing left to chance.