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.... Written by
Gary Jackson <email@example.com>
Howard Hawks had said in interviews that he was supposed to direct Casablanca (1942) and Michael Curtiz was supposed to direct Sergeant York (1941). The directors had lunch together, where Hawks said he didn't know how to make this "musical comedy", while Curtiz didn't know anything about "those hill people." They switched projects. Hawks struggled on how to direct the scenes that involved singing, namely the "La Marseillaise" scene. It is ironic to note that most of his other films involved at least one singing scene. See more »
During Rick and Ilsa's night together in Paris they hear artillery firing; and Rick says that "it's German's new 77." The German's didn't use the 77 in World War II. They did use a 77mm gun in World War I; but in World War II the 88mm gun was the new gun. See more »
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 ...
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While there's not anything new to be said about "Casablanca", it's good to see one of the classics still getting some attention. By most standards it is at least very good, and there are good reasons why so many still remember it so fondly. Not everyone who watches it today shares the opinion that it is a classic, but it's still good to see fans of modern movies giving it a try for themselves.
The cast is one of its main strengths, not just Bogart and Bergman but also the fine supporting cast. Rains, Greenstreet, Lorre, and the others are indispensable to the atmosphere and the story, and each has some very good moments. It does have its imperfections, but it was not expected to be a classic or blockbuster - everything you read about the production suggests that it was made in a rather slap-dash fashion, under constraints that would have wrecked most other films. It's not hard to see the little ways that this affected the finished product, such as the times when the plot strains credibility a bit, or the characters seem to behave somewhat oddly. (In particular, it might have been even more satisfying if Bergman's character had been a little stronger - Ilsa is charming, but that's entirely thanks to what Bergman does with her; the character herself as written seems somewhat shallow.)
But it turned out anyway to be an excellent combination of actors, characters, and story, a combination that more than makes up for everything else. Different viewers probably remember and enjoy "Casablanca" for different reasons, because it seemingly has a little of everything. While perhaps not perfect, it is well worth remembering and watching.
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