803:
412:
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French
Foreign Legion, which famously "asks no questions" about an applicant's background. Likewise, Brown seems to have no future beyond fighting for a cause that he does not believe in Morocco and seemingly sleeping with every women in sight. It is only when he meets Amy that he finds someone that he actually cares about and a reason to be hopeful about the future. Most notably, Brown who was portrayed as an entirely cynical, selfish character prior to meeting Amy displays an altruistic side as he encourages Amy to marry the rich man La Bessière who is more capable of supporting her financially than he is under his private's salary. Despite his efforts to push Amy out of his life, when he is alone, he carves the "Amy Jolly" onto the table along with a heart.
613:, Cooper and Sternberg did not get along. Sternberg filmed so as to make Cooper look up at Dietrich, emphasizing her at his expense. Cooper complained to his studio bosses and got it stopped. Cooper greatly disliked Sternberg, complaining that he received little in the way of direction from him about how to play Brown. It was open knowledge on the set that Sternberg and Dietrich were lovers, and Cooper felt that he was very much a secondary figure in the film as Sternberg devoted all of his attention to Dietrich. As a way of compensation, Cooper brought his mistress, the Mexican actress
576:(French for "beloved and pretty") is meant ironically as Amy is portrayed as a fallen star past her prime, a desperately lonely woman lost in despair who has gone to Morocco to die. However, in the book, the character of Amy was a prostitute and a drug addict, both of which were unacceptable even under the looser censorship in 1930 Hollywood and these aspects of Amy's character were removed from the film during the script-writing. Likewise, the ending was changed from the book to the film. In the book, Amy abandons Tom and at the conclusion of the novel, boards a ship to
1890:
1874:
1856:
1840:
899:"The film's unforgettable ending works dramatically because it comes at a moment of panic, one in a series of such moments that have brought Dietrich to the brink. Sternberg says, 'The average human being lives behind an impenetrable veil and will disclose his deep emotions only in a crisis which robs him of control.' Amy Jolly had hidden behind her veil for many years and many men, and her emergence, the sublimation of her fear and pride to her desire, is one of the most supremely romantic gestures in film."
396:
She informs La Bessière that she must go to Tom, and, wanting only her happiness, he drives her to the hospital. It turns out Tom had been faking an injury to avoid combat and, when this was discovered, he was assigned to a new unit in the Legion. Amy goes to a bar where Tom was, briefly talks with him, and when he leaves, finds he carved into the table the name "Amy", showing he still loves her, which surprises her.
42:
380:
knows of her feelings for Tom and offers to use his influence to lighten Tom's punishment. Instead of a court-martial, Tom is reassigned to a detachment commanded by Caesar that is leaving soon for Amalfa Pass. Suspecting that Caesar intends to rid himself of his romantic rival while they are gone, Tom decides to desert and run away with Amy.
384:
along and asks Tom to wait while she performs. Once he is alone, he notices a lavish bracelet that La Bessière has given to Amy. Though he has fallen in love with her, Tom decides Amy would be better off with a rich man than with a poor
Legionnaire. He writes on the mirror, "I changed my mind. Good luck!" and leaves.
822:
The character of Tom Brown was portrayed as an example of a lost soul, a tough, jaded
American serving in the French Foreign Legion with a name that was so bland that it was clearly a pseudonym. In the film, it is strongly implied that Brown was attempting to escape a painful past by enlisting in the
371:
On the way to Amy's house, Tom encounters
Adjudant Caesar's wife. She clearly has a clandestine relationship with him, which she desires to maintain, but Tom rejects her. He enters Amy's house and the two become acquainted. Amy is embittered with life and men after repeated betrayals, and asks if Tom
839:
This famous sequence provides an insight into
Dietrich's character, Amy Jolly, as well as the director himself: "Dietrich's impersonation is an adventure, an act of bravado that subtly alters her conception of herself as a woman, and what begins as self-expression ends in self-sacrifice, perhaps the
517:
was released to international acclaim in 1930, Paramount
Pictures took a keen interest in its new star, Marlene Dietrich. When the Berlin production was completed in January, Sternberg departed Germany before its premiere on April 1, confident his work would be a success. Legend has it that Dietrich
395:
Back in
Mogador, Amy accepts La Bessière's marriage proposal and tries to make herself love him, but she still pines for Tom. At an engagement party, she hears the return of the remains of Tom's detachment. She leaves the party and is told Tom was wounded and left behind to recuperate in a hospital.
383:
Tom goes to Amy's nightclub dressing room. He overhears La Bessière offer to marry Amy, and her politely reject the proposal, before knocking on the door. La Bessière leaves Amy alone with Tom, who tells her that, if she will join him, he will desert and board a freighter to Europe. She agrees to go
379:
The next day, Tom is brought before Caesar, who is Tom's commanding officer, for injuring the two natives. Amy helps Tom's case by testifying that he was attacked, but Caesar makes Tom aware that he knows about Tom's involvement with his wife. La Bessière, whose affections for Amy continue unabated,
891:
The "absurdity" of the closing sequence, in which
Dietrich, "sets out into the desert sands on spike heels in search of Gary Cooper", was noted by critics at the time of the film's release. The image, however odd, is part of the "dream décor" that abandoned "documentary certification" to create "a
835:
and tails" includes a "mock seduction" of a pretty female cabaret patron, whom
Dietrich "outrages with a kiss." Dietrich's costume simultaneously mocks the pretensions of one lover (Menjou's La Bessière) and serves as an invitation to a handsome soldier-of-fortune (Cooper's Tom Brown), the two men
719:
In a contemporary review, the French critic Michel
Vauclaire wrote: "Every year in the US, half a dozen novels are published about the Legion, in general very severe and quite fantastic. It's obviously on this sort of fiction that Sternberg has based his research. Perhaps the film reflects the
860:
demands of art, between pride in restraint and passion in excess ... when Dietrich kisses him goodbye, Menjou clutches her wrist in one last spasmodic reflex of passion, but the other hand retains its poise at his side, the gestures of form and feeling thus conflicting to the very end of the
391:
On the way to Amalfa Pass, Tom's detachment runs into a machine-gun nest. Caesar orders Tom to deal with it, and Tom suspects it is a suicide mission. To his surprise, Caesar decides to accompany him. After drawing his pistol (apparently to kill Tom), Caesar is shot and killed by the enemy.
375:
Back in the street, Tom encounters Caesar's wife again, while her husband watches undetected from the shadows. Meanwhile, Amy changes her mind and comes after Tom, who heads back with her to her house. Madame Caesar hires two ruffians to attack Tom, but he manages to seriously wound both.
387:
In the morning, Amy, after a drunken, miserable night, arrives in the town square with La Bessière so she can bid Tom farewell. She asks La Bessière about some women following the company, remarking that the women must be mad. He responds, "I don't know. You see, they love their men."
1144:
789:"Sternberg was the first director to attain full mastery and control over what was essentially a new medium by restoring the fluidity and beauty of the late silent period. One of the key elements in this was his understanding of the value of silence itself.
1221:
589:
inviting American tourists to enjoy the country "just as Gary Cooper unforgettable landscapes and engaging people." However, the film was filmed entirely in southern California, and Sternberg felt compelled to personally reassure the
601:
Cinematographer Lee Garmes and Sternberg (himself a skilled camera technician) developed the distinctive lighting methods that served to enhance Dietrich's best facial features, while obscuring her slightly bulbous nose.
892:
world of illusions." As Sarris points out, "The complaint that a woman in high heels would not walk off into the desert is nonetheless meaningless. A dream does not require endurance, only the will to act."
298:, and whose relationship is complicated by his womanizing and the appearance of a rich man who is also in love with her. The film is famous for a scene in which Dietrich performs a song dressed in a man's
793:
contains long sections sustained only by its stunning visual beauty, augmented with appropriate music and aural effects. Sternberg was the first artist to make an authentic virtue of the arrival of sound.
368:
Amy becomes the headliner at a nightclub. After a performance, she sells apples to audience members, including La Bessière and Brown. When Amy gives the latter his "change", she slips him her key.
852:, part satanist", is destined to lose the object of his desire. Menjou's response to Dietrich's desertion reveals the nature of the man and presents a key thematic element of the film:
361:
in the late 1920s, a unit of the French Foreign Legion returns from a campaign. Among the legionnaires is Private Tom Brown. Meanwhile, on a ship bound for Mogador is the disillusioned
545:
agreed to bring Dietrich to Hollywood in February 1930 under a two-picture contract. When she arrived in the United States, Sternberg welcomed her with gifts, including a green
1237:
372:
can restore her faith in men. He answers that he is the wrong man for that. Unwilling to risk heartbreak yet again, she asks him to leave before anything serious happens.
617:
onto the set and went out of his way to demonstratively show his affections by having her sit on his lap between takes and passionately kissing her as often as possible.
1504:
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580:. Sternberg disliked the ending in the book, and gave the film the more romantic ending where Amy chooses to be with Brown by going with him into the Sahara.
1398:
2359:
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878:(There has been the criticism that an effect of a trek across the desert in high heels is unrealistic and while not noted would reach a definition of
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1930:
essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010
399:
Next morning, Amy and La Bessière watch Tom's new unit readying for their march. Tom and Amy briefly speak. The two wave goodbye. When Amy sees a
2319:
2314:
865:
The La Bessière character has autobiographical overtones for Sternberg, as Menjou has looks and mannerisms that resemble the director. Critic
411:
1965:
802:
403:
following the legionnaires, she impulsively leaves La Bessière, kicks off her high-heeled shoes, joins them, following Tom into the desert.
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2349:
583:
Sternberg's depiction of "picturesque" Morocco elicited a favorable response from the Moroccan government, which ran announcements in
2172:
1094:
989:
814:, Sternberg examines the "interchange of masculine and feminine characteristics" in a "genuine interplay between male and female."
322:
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2309:
556:
Dietrich "was subjected to the full power of Paramount's public relations machine", launching her into "international stardom"
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330:
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17:
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The film garnered Academy Award nominations for Best Director (Sternberg), Best Actress (Dietrich), Best Art Direction (
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and kisses another woman (to the embarrassment of the latter), both of which were considered scandalous for the period.
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1157:(subtitled The Woman of Marrakesh) ... which was to serve as inspiration for their first American film together.".
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American public's idea of the Legionaries. In France, despite its dramatic pretensions, it will raise a laugh".
1935:
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310:
1513:, pp. 56–57: Morocco "effaced the last vestiges of the demarcation between the silent and the sound film ...".
2339:
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1478:"From Stanley Kubrick to Martin Scorsese: Akira Kurosawa once named his top 100 favourite films of all time"
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1951:
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Film historian Charles Silver considers the final scene as one that "no artist today would dare attempt":
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1920:
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Morocco was released by Universal Studios in DVD on April 25, 2011, under label Universal Vault Series.
2122:
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The character of Amy was toned down considerably from the novel. As in the book, in the film the name
1246:, p. 55: "She scored a personal triumph unmatched by any actress on the screen since the of Garbo.".
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observed: "Sternberg has never been as close to any character as he is to this elegant expatriate."
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1230:, p. 210: "... Marlene Dietrich did not appear on American screens until after the release of
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informed him that Paramount “had been saved from bankruptcy” by the box office success of
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in a going-away gift package to Sternberg when he sailed for America. He and screenwriter
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1760:"You Ain't Heard Nothin' Yet": The American Talking Film History and Memory, 1927–1949
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In Menjou's pained politeness of expression is engraved the age-old tension between
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Amy Jolly. Wealthy La Bessière tries to make her acquaintance, but she rebuffs him.
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294:, the film is about a cabaret singer and a Legionnaire who fall in love during the
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set out in her society shoes but within yards breaks her stride and removes them.)
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being presented by Sternberg as contrasting conceptions of masculinity."
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On the basis of test footage Sternberg provided from the yet unreleased
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1153:, p. 55: "It was Dietrich who suggested to Sternberg an obscure novel,
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728:
716:, who said of the film, "yes, is an artist ... it is his best film ."
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806:"The purveyor of pansexuality and the supreme lover, male or female."
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Dietrich's devoted suitor, Menjou's La Bessière, "part stoic, part
345:
as being "culturally, historically, or aesthetically significant".
299:
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L–R: La Bessière (Adolphe Menjou) and Amy Jolly (Marlene Dietrich)
354:
295:
1358:"TONIGHT - GALA PERFORMANCE, LUX RADIO THEATRE (advertisement)"
882:. The observation is technically correct. Dietrich's character
872:
41:
701:
s success at the box office was "immediate and impressive".
286:(the on-screen credits state: from the play 'Amy Jolly') by
1575:
662:), with Marlene Dietrich reprising her film role, and with
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1973:
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1596:, p. 79: "... no doubt motive for casting Menjou ...".
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Accolades for the film were issued by Soviet director
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1623:"The 4th Academy Awards (1931) Nominees and Winners"
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1234:( 1930), actually her second stint with Sternberg.".
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Dietrich's "butch performance" dressed in "top hat,
1209:
749:cited this movie as one of his 100 favorite films.
337:was selected for preservation in the United States
1757:
1688:
1647:
1695:. The International Film Guide Series. New York:
781:'s Department of Film, offers this assessment of
694:Premiering in New York City on December 6, 1930,
652:was adapted as a one-hour radio broadcast by the
560:American moviegoers had seen her as Lola Lola in
2266:
827:"When Love Dies": Dietrich's male impersonation
666:assuming the role of the Legionnaire. This was
1959:
219:United States cost = $ 491,299.36
1475:
1352:
1350:
843:
1717:. Lexington: University Press of Kentucky.
873:Dietrich's high-heeled march into the dunes
564:, which appeared in U.S. theaters in 1931.
2360:United States National Film Registry films
1966:
1952:
1916:starring Clark Gable and Marlene Dietrich.
1888:
1872:
1854:
1838:
1615:
772:
496:as Anna Dolores, a woman who clings to Tom
40:
1347:
1127:"Complete National Film Registry Listing"
1085:
1083:
1081:
2345:Films with screenplays by Jules Furthman
1804:
1510:
1422:
1404:
1243:
1150:
1089:
801:
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757:Director von Sternberg reported in his
14:
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1476:Thomas-Mason, Lee (January 12, 2021).
1469:
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1407:, p. 56: "... swept the world, as did
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840:path also of Sternberg as an artist."
631:is recreated in the 1946 Mexican film
2320:Films directed by Josef von Sternberg
2315:Films about the French Foreign Legion
1947:
1810:Josef von Sternberg: A Critical Study
1660:from the original on February 5, 2018
1649:"25 Films Added to National Registry"
731:), though it did not win any awards.
1912:: June 1, 1936. Radio adaptation of
1446:
1385:Morocco DVD (Universal Vault Series)
1172:
644:
549:, which featured in some scenes of
464:Uncredited (in order of appearance)
24:
511:Even before Josef von Sternberg's
77:Amy Jolly, die Frau aus Marrakesch
25:
2371:
2350:LGBT-related romantic drama films
1822:
1691:The Cinema of Josef von Sternberg
1186:Silver, Charles (July 13, 2010).
658:on June 1, 1936 (under the title
598:had not been shot in his domain.
1737:The Films of Josef von Sternberg
1060:The film was ranked 83rd on the
27:1930 film by Josef von Sternberg
1676:
1640:
1495:
1440:
1376:
929:National Board of Review Awards
777:Charles Silver, curator at the
490:as Colonel Alexandre Barratière
305:Dietrich was nominated for the
2300:American black-and-white films
1119:
1066:AFI's 100 Years...100 Passions
624:was completed in August 1930.
311:Best Actress in a Leading Role
13:
1:
2310:American romantic drama films
1793:, San Francisco, California.
1071:
752:
681:
567:
506:
2290:1930s English-language films
1905:The Legionnaire and the Lady
1869:AFI Catalog of Feature Films
903:
817:
736:The Legionnaire and the Lady
727:), and Best Cinematography (
689:
660:The Legionnaire and the Lady
176:Paramount Publix Corporation
7:
2305:American LGBT-related films
1027:Best Foreign Language Film
742:broadcast on June 1, 1936.
190:November 14, 1930
10:
2376:
2325:Films scored by Karl Hajos
1608:, p. 29: "C.A. Lejeune of
674:, following its move from
534:based on the Vigny story.
518:included a copy of author
282:. Based on the 1927 novel
2280:1930 romantic drama films
2073:
1982:
1364:. June 1, 1936. p. 5
1362:Spokesman-Review (Oregon)
955:
950:
922:
919:
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913:
910:
844:La Bessière's humiliation
530:would write a script for
429:as Mademoiselle Amy Jolly
223:
215:
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181:
171:
155:
144:
136:
126:
100:
89:
72:
61:
51:
46:Theatrical release poster
39:
34:
2355:Paramount Pictures films
2295:1930s LGBT-related films
1787:Fun in a Chinese Laundry
1097:. Movies & TV Dept.
858:Apollonian and Dionysian
797:
423:as Légionnaire Tom Brown
140:Sam Winston (uncredited)
1766:Oxford University Press
1756:Sarris, Andrew (1998).
1188:"Josef von Sternberg's
1062:American Film Institute
773:Retrospective appraisal
745:The Japanese filmmaker
472:as Colonel Quinnovieres
435:as Monsieur La Bessière
406:
348:
2330:Films set in the 1920s
2062:The Case of Lena Smith
1501:Sternberg, 1965 p. 247
1039:National Film Registry
901:
863:
807:
795:
547:Rolls-Royce Phantom II
416:
339:National Film Registry
2052:The Docks of New York
1992:The Salvation Hunters
1713:Baxter, John (2010).
1697:A.S. Barnes & Co.
1656:. November 15, 1994.
1584:, pp. 15, 29–30.
897:
854:
805:
787:
670:debut broadcast from
611:Turner Classic Movies
478:as a nightclub patron
414:
2340:Films set in Morocco
2335:Films set in deserts
2285:1930s American films
2213:The Shanghai Gesture
2173:Crime and Punishment
2163:The Devil is a Woman
2002:The Exquisite Sinner
1783:Sternberg, Josef von
1741:Museum of Modern Art
1447:Ross, Donna (2009).
1196:Museum of Modern Art
1030:Josef von Sternberg
779:Museum of Modern Art
313:, von Sternberg for
198: (United States)
2153:The Scarlet Empress
2123:An American Tragedy
1976:Josef von Sternberg
1806:Weinberg, Herman G.
1610:The London Observer
1456:Library of Congress
1131:Library of Congress
1107:on December 5, 2011
1020:Kinema Junpo Awards
1005:Best Cinematography
965:Josef von Sternberg
627:The final scene of
453:as Sergeant Tatoche
343:Library of Congress
331:Best Cinematography
268:Josef von Sternberg
256:is a 1930 American
56:Josef von Sternberg
18:Morocco (1930 film)
2196:(1937, unfinished)
2183:The King Steps Out
2015:(1926, unfinished)
2012:A Woman of the Sea
1974:Films directed by
1900:at Virtual History
1886:TCM Movie Database
1654:The New York Times
1437:, p. 129-130.
1283:, p. 125-126.
1100:The New York Times
1046:Narrative feature
990:Best Art Direction
808:
759:1965 autobiography
710:Robert E. Sherwood
592:Pasha of Marrakesh
586:The New York Times
502:as a camp follower
441:as Adjutant Caesar
417:
323:Best Art Direction
165:Paramount Pictures
2262:
2261:
1910:Lux Radio Theater
1775:978-0-1950-3883-5
1705:978-0-3020-2136-1
1545:, pp. 29–30.
1169:, pp. 75–76.
1058:
1057:
740:Lux Radio Theatre
706:Sergei Eisenstein
655:Lux Radio Theatre
484:as French General
249:
248:
16:(Redirected from
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2133:Shanghai Express
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2046:
2036:
2032:The Last Command
2026:
2016:
2006:
1996:
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1961:
1954:
1945:
1944:
1938:, pages 173-175
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1103:. Archived from
1095:"Morocco (1930)"
1087:
980:Marlene Dietrich
908:
907:
712:, and filmmaker
700:
645:Radio Adaptation
639:Emilio Fernández
494:Juliette Compton
488:Michael Visaroff
476:Thomas A. Curran
451:Francis McDonald
447:as Madame Caesar
427:Marlene Dietrich
401:handful of women
363:nightclub singer
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607:Robert Osborne
569:
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539:The Blue Angel
528:Jules Furthman
514:The Blue Angel
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1511:Weinberg 1967
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2143:Blonde Venus
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1990:
1983:Silent films
1927:
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1812:. New York:
1809:
1786:
1764:. New York:
1759:
1739:. New York:
1736:
1714:
1690:
1685:Baxter, John
1677:Bibliography
1662:. Retrieved
1653:
1642:
1630:. Retrieved
1626:
1617:
1609:
1601:
1589:
1577:
1550:
1506:
1497:
1485:. Retrieved
1481:
1471:
1459:. Retrieved
1442:
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1418:
1408:
1400:
1389:, retrieved
1384:
1378:
1366:. Retrieved
1361:
1337:
1276:
1239:
1231:
1223:
1211:
1199:. Retrieved
1189:
1162:
1154:
1146:
1134:. Retrieved
1130:
1121:
1109:. Retrieved
1105:the original
1098:
1059:
1049:
975:Best Actress
941:
898:
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470:Albert Conti
463:
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457:Paul Porcasi
445:Eve Southern
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283:
266:directed by
252:
251:
250:
207:Running time
183:Release date
151:(uncredited)
96:(uncredited)
76:
68:(adapted by)
29:
2193:I, Claudius
2083:Thunderbolt
2074:Sound films
1924:at filmsufi
1632:February 6,
1606:Sarris 1966
1594:Baxter 1971
1582:Sarris 1966
1570:Baxter 1971
1555:Baxter 2010
1543:Sarris 1966
1526:Sarris 1966
1487:January 23,
1435:Baxter 2010
1391:December 3,
1368:February 2,
1342:Baxter 1971
1330:Baxter 2010
1313:Baxter 1971
1296:Sarris 1966
1281:Baxter 2010
1269:Baxter 2010
1228:Sarris 1998
1216:Baxter 1971
1167:Baxter 1971
995:Hans Dreier
725:Hans Dreier
668:Lux Radio's
664:Clark Gable
574:aimee jolie
541:, producer
520:Benno Vigny
459:as Lo Tinto
421:Gary Cooper
333:. In 1992,
319:Hans Dreier
288:Benno Vigny
272:Gary Cooper
108:Gary Cooper
90:Produced by
84:Benno Vigny
52:Directed by
2275:1930 films
2269:Categories
2113:Dishonored
2022:Underworld
1936:0826429777
1749:B000LQTJG4
1627:oscars.org
1072:References
1014:Nominated
1010:Lee Garmes
999:Nominated
984:Nominated
969:Nominated
920:Recipient
753:Box Office
729:Lee Garmes
682:Home media
615:Lupe Vélez
568:Production
507:Background
327:Lee Garmes
264:drama film
211:91 minutes
194:1930-11-14
157:Production
149:Karl Hajos
131:Lee Garmes
80:1927 novel
2251:Jet Pilot
1715:Sternberg
1449:"Morocco"
1155:Amy Jolly
917:Category
904:Accolades
833:white tie
818:Tom Brown
690:Reception
672:Hollywood
634:Enamorada
524:Amy Jolly
522:'s story
284:Amy Jolly
224:Languages
137:Edited by
2241:Anatahan
2222:The Town
1852:AllMovie
1808:(1967).
1785:. 1988.
1735:(1966).
1687:(1971).
1664:July 22,
1658:Archived
1461:July 10,
1201:July 10,
1093:(2011).
850:sybarite
300:tailcoat
261:romantic
258:pre-Code
253:Morocco
145:Music by
101:Starring
73:Based on
2103:Morocco
1928:Morocco
1921:Morocco
1914:Morocco
1897:Morocco
1884:at the
1881:Morocco
1866:at the
1863:Morocco
1847:Morocco
1830:Morocco
1232:Morocco
1190:Morocco
1050:Morocco
942:Morocco
923:Result
812:Morocco
791:Morocco
783:Morocco
767:Morocco
734:Titled
696:Morocco
650:Morocco
629:Morocco
622:Morocco
596:Morocco
551:Morocco
532:Morocco
359:Morocco
355:Mogador
341:by the
335:Morocco
296:Rif War
239:Italian
236:Spanish
230:English
216:Country
192: (
159:company
35:Morocco
2254:(1957)
2244:(1953)
2234:(1952)
2224:(1943)
2216:(1941)
2206:(1939)
2186:(1936)
2176:(1935)
2166:(1935)
2156:(1934)
2146:(1932)
2136:(1932)
2126:(1931)
2116:(1931)
2106:(1930)
2096:(1930)
2086:(1929)
2065:(1929)
2055:(1928)
2045:(1928)
2035:(1928)
2025:(1927)
2005:(1926)
1995:(1925)
1934:
1837:
1814:Dutton
1801:(pbk.)
1797:
1772:
1747:
1721:
1702:
1136:May 6,
911:Award
861:drama.
558:before
325:, and
278:, and
242:Arabic
233:French
2231:Macao
1452:(PDF)
1043:1992
1024:1932
956:1931
933:1930
914:Year
810:With
798:Theme
699:'
594:that
1932:ISBN
1835:IMDb
1795:ISBN
1770:ISBN
1745:ASIN
1719:ISBN
1700:ISBN
1666:2009
1634:2014
1489:2023
1463:2018
1393:2022
1370:2024
1203:2018
1138:2020
1113:2012
1054:Won
1033:Won
946:Won
884:does
880:camp
407:Cast
349:Plot
329:for
321:for
309:for
1908:on
1850:at
1833:at
1413:.".
609:of
353:In
82:by
2271::
1789:.
1768:.
1743:.
1652:.
1625:.
1612:".
1562:^
1533:^
1518:^
1480:.
1454:.
1360:.
1349:^
1320:^
1303:^
1288:^
1251:^
1194:.
1174:^
1129:.
1080:^
1068:.
785::
769:.
678:.
641:.
553:.
357:,
317:,
274:,
1967:e
1960:t
1953:v
1816:.
1778:.
1751:.
1727:.
1708:.
1668:.
1636:.
1491:.
1465:.
1372:.
1205:.
1192:"
1140:.
1115:.
196:)
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
