Physical Mirrors

The comparison between London and Marrakech—between what Western viewers would see as civilized and uncivilized—also sets up a huge mirror for examination.  In Morocco we see a scene of Orientalist chaos and intrigue, with strange customs and music, assassinations, espionage and kidnappings. 

The McKennas must deal with this foreign culture and its alien traditions. Hank, on the bus, needs to be told that pulling of a Muslim woman's veil is considered offensive in the extreme. This clash just serves to magnify the already striking visual difference between Westerners and Morroccans, foreigners and natives. Notice how stodgy and out of place all the tourists seem, their absurdity culminating in a straight-laced Jo and unattentive Ben.

In fact, everywhere we go, Hitchcock reminds us of a predominant Moroccan culture. From the marketplace to the hotel balcony, we always know our place.

Though England may seem civilized in comparison, it displays many of the same characteristics as exotic Marrakech.  Hank remains kidnapped, an assassination is still afoot, and music still dominates arguably strange and dull church/theatre customs in London.  Is Hitchcock trying to show through reflection that these two cultural situations are really no different from each other? Also, notice how masculine our gratuitous Marrakech shots are. The tall steeples of the skyline unambiguously indicate phalli and, appropriately, appear just after Ben's sole moment of male dominance, the sedation scene. Contrarily, the sole wide-angle shot of a London building focuses on The Royal Albert Hall, a large, curved edifice. This building, then, represents the place within which Jo achieves dominance with her blood-curdling scream.

  These “plot mirrors,” then, serve to emphasize some startling similarities that would not have been readily apparent otherwise. The film, then exists in two parts. One in Marrakech, with Ben dominating, and the other in London, where Jo takes over. These two cities, then, are far more related than on the surface, but the real differentiation between the two lies within the power-struggle between husband and wife.