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===Dietrich's high-heeled march into the dunes=== ''(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 [[Camp (style)|camp]]. The observation is technically correct. Dietrich's character ''does'' set out in her society shoes but within yards breaks her stride and removes them.)''<br> 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.{{sfn|Sarris|1966|loc=p. 29: "C.A. Lejeune of ''The London Observer''"}} The image, however odd, is part of the "dream dΓ©cor" that abandoned "documentary certification" to create "a 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."{{sfn|Sarris|1966|pp=29β30}} Film historian Charles Silver considers the final scene as one that "no artist today would dare attempt": {{blockquote|"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."<ref name="moma"/>}}
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