Casablanca (1942)

Set in unoccupied Africa during the early days of World War II: An American expatriate meets a former lover, with unforeseen complications.

Director:

Michael Curtiz

Writers:

Julius J. Epstein (screenplay), Philip G. Epstein (screenplay),

Stars:

Humphrey Bogart, Ingrid Bergman, Paul Henreid

Top 250 #25 | Won 3 Oscars. Another 5 wins & 6 nominations.

Cast

Complete credited cast:
Humphrey Bogart	...	Rick Blaine
Ingrid Bergman	...	Ilsa Lund
Paul Henreid	...	Victor Laszlo
Claude Rains	...	Captain Louis Renault
Conrad Veidt	...	Major Heinrich Strasser
Sydney Greenstreet	...	Signor Ferrari
Peter Lorre	...	Ugarte
S.Z. Sakall	...	Carl (as S.K. Sakall)
Madeleine Lebeau	...	Yvonne (as Madeleine LeBeau)
Dooley Wilson	...	Sam
Joy Page	...	Annina Brandel
John Qualen	...	Berger
Leonid Kinskey	...	Sascha
Curt Bois	...	Pickpocket

Storyline

In World War II Casablanca, Rick Blaine, exiled American and former freedom fighter, runs the most popular nightspot in town. The cynical lone wolf Blaine comes into the possession of two valuable letters of transit. When Nazi Major Strasser arrives in Casablanca, the sycophantic police Captain Renault does what he can to please him, including detaining a Czechoslovak underground leader Victor Laszlo. Much to Rick's surprise, Lazslo arrives with Ilsa, Rick's one time love. Rick is very bitter towards Ilsa, who ran out on him in Paris, but when he learns she had good reason to, they plan to run off together again using the letters of transit. Well, that was their original plan....

---

Plot Keywords:

casablanca | german | police | american expatriate | visa | 

---

Taglines:

As exciting as the landing at Casablanca! (NY Premiere Poster Ad)

---

Genres:

Drama | Romance | War

---

Motion Picture Rating (MPAA)

Rated PG for mild violence

Details

Official Sites:

Official Facebook

Country:

USA

Language:

English French German Italian

Release Date:

23 January 1943 (USA)

Also Known As:

Kazablanka

Filming Locations:

Flagstaff, Arizona, USA

Box Office

Budget:

$950,000 (estimated)

Company Credits

Production Co:

Warner Bros

Technical Specs

Runtime:

102 min 82 min (cut)

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Studio publicity in 1941 claimed that Ronald Reagan and Ann Sheridan were scheduled to appear in this film, and Dennis Morgan is mentioned as the third lead. This was never the case, however, and the false story was planted, either by a studio publicist or a press agent for the three other actors, to keep their names in the press. Meanwhile George Raft was angling for the part with Jack L. Warner, but Hal B. Wallis had been assigned to search for what would be Humphrey Bogart's next starring role. He wrote to Warner that he had found the next movie for Bogart and the role was perfect for him. Nobody else was ever considered for the part.

---

Goofs

Throughout the film, liquor bottles are seen with USA tax revenue stickers across the tops of the bottles.

---

Quotes

[first lines]
Narrator: With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas. Lisbon became the great embarkation point. But, not everybody could get to Lisbon directly, and so a tortuous, roundabout refugee trail sprang up - Paris to Marseilles... across the Mediterranean to Oran... then by train, or auto, or foot across the rim of Africa, to Casablanca in French Morocco. Here, the fortunate ones through money, or ...
[...]

---

Connections

Referenced in Charmed: Charmed Noir (2004)
Eddie: "Of all the books and all the libraries in all the world you gotta get sucked into this one?"

---

Soundtracks

"You Must Have Been a Beautiful Baby"
(1938) (uncredited)
Music by Harry Warren
Played when Yvonne walks into Rick's with the German officer

User Reviews

The Fundamental Things Apply...

"Casablanca" remains Hollywood's finest moment, a film that succeeds on such a vast scale not because of anything experimental or deliberately earthshaking in its design, but for the way it cohered to and reaffirmed the movie-making conventions of its day. This is the film that played by the rules while elevating the form, and remains the touchstone for those who talk about Hollywood's greatness.

It's the first week in December, 1941, and in the Vichy-controlled African port city of Casablanca, American ex-pat Rick Blaine runs a gin joint he calls "Rick's Cafe Americaine." Everybody comes to Rick's, including thieves, spies, Nazis, partisans, and refugees trying to make their way to Lisbon and, eventually, America. Rick is a tough, sour kind of guy, but he's still taken for a loop when fate hands him two sudden twists: A pair of unchallengeable exit visas, and a woman named Ilsa who left him broken-hearted in Paris and now needs him to help her and her resistance-leader husband escape.

Humphrey Bogart is Rick and Ingrid Bergman is Ilsa, in roles that are archetypes in film lore. They are great parts besides, very multilayered and resistant to stereotype, and both actors give career performances in what were great careers. He's mad at her for walking out on him, while she wants him to understand her cause, but there's a lot going on underneath with both, and it all spills out in a scene in Rick's apartment that is one of many legendary moments.

"Casablanca" is a great romance, not only for being so supremely entertaining with its humor and realistic-though-exotic wartime excitement, but because it's not the least bit mushy. Take the way Rick's face literally breaks when he first sees Ilsa in his bar, or how he recalls the last time he saw her in Paris: "The Germans wore gray, you wore blue." There's a real human dimension to these people that makes us care for them and relate to them in a way that belies the passage of years.

For me, and many, the most interesting relationship in the movie is Rick and Capt. Renault, the police prefect in Casablanca who is played by Claude Rains with a wonderful subtlety that builds as the film progresses. Theirs is a relationship of almost perfect cynicism, one-liners and professions of neutrality that provide much humor, as well as give a necessary display of Rick's darker side before and after Ilsa's arrival.

But there's so much to grab onto with a film like this. You can talk about the music, or the way the setting becomes a living character with its floodlights and Moorish traceries. Paul Henreid is often looked at as a bit of a third wheel playing the role of Ilsa's husband, but he manages to create a moral center around which the rest of the film operates, and his enigmatic relationship with Rick and especially Ilsa, a woman who obviously admires her husband but can't somehow ever bring herself to say she loves him, is something to wonder at.

My favorite bit is when Rick finds himself the target of an entreaty by a Bulgarian refugee who just wants Rick's assurance that Capt. Renault is "trustworthy," and that, if she does "a bad thing" to secure her husband's happiness, it would be forgivable. Rick flashes on Ilsa, suppresses a grimace, tries to buy the woman off with a one-liner ("Go back to Bulgaria"), then finally does a marvelous thing that sets the whole second half of the film in motion without much calling attention to itself.

It's not fashionable to discuss movie directors after Chaplin and before Welles, but surely something should be said about Michael Curtiz, who not only directed this film but other great features like "Captain Blood" and "Angels With Dirty Faces." For my money, his "Adventures Of Robin Hood" was every bit "Casablanca's" equal, and he even found time the same year he made "Casablanca" to make "Yankee Doodle Dandy." When you watch a film like this, you aren't so much aware of the director, but that's really a testament to Curtiz's artistry. "Casablanca" is not only exceptionally well-paced but incredibly well-shot, every frame feeling well-thought-out and legendary without distracting from the overall story.

Curtiz was a product of the studio system, not a maverick like Welles or Chaplin, but he found greatness just as often, and "Casablanca," also a product of the studio system, is the best example. It's a film that reminds us why we go back to Hollywood again and again when we want to refresh our imaginations, and why we call it "the dream factory." As the hawker of linens tells Ilsa at the bazaar, "You won't find a treasure like this in all Morocco." Nor, for that matter, in all the world.