Marlene Dietrich is Amy Jolly, cabaret performer; picture her dressed in top-hat and tails, singing "What Am I Bid for My Apples," or one-upping a society dame by planting a firm kiss on her lips. Gary Cooper is the French Legionnaire whom Amy Jolly loves; picture him hang-dog and smoldering with contempt. Picture her following him out to the desert in 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.") Critic Raymond Durgnat notes, "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." Morocco was considered by many, including Chaplin and Eisenstein, to be Sternberg's greatest film, a masterpiece of lighting, design and atmosphere, of improbability and exoticism, all created on the back-lot with nothing left to chance.