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Casablanca is the consummate Hollywood film. It is superbly directed,
acted, and filmed. Bogart is amazing, the characters are deep and engaging.
This is easily one of the greatest films of all time. The story is timeless and meaningful, full of heart and should endure for another fifty years with no problems. A true masterpiece and the benchmark by which all other films should be measured. If you haven't seen it, you are at a profound loss. If you have then you know the greatness of this film.
Sunday, November the 20th is the anniversary of Marcel Dalio's death in
1983. It was the end of a serendipitous life. You know him. He was a
citizen of the world. Born Israel Moshe Blauschild, in Paris, in 1900,
he became a much sought-after character actor. His lovely animated face
with its great expressive eyes became familiar across Europe. He
appeared in Jean Renoir's idiosyncratic Rules of the Game, and Grand
Illusion, arguably the greatest of all films. True to his Frenchman's
heart, he married the very young, breathtaking beauty Madeleine LeBeau.
He worked with von Stroheim and Pierre Chenal. He had it all.
But then the Germans crushed Poland, swept across Belgium and pressed on toward Paris. He waited until the last possible moment and finally, with the sound of artillery clearly audible, with Madeleine, fled in a borrowed car to Orleans and then, in a freight train, to Bordeaux and finally to Portugal. In Lisbon, they bribed a crooked immigration official and were surreptitiously given two visas for Chile. But on arriving in Mexico City, it was discovered the visas were rank forgeries. Facing deportation, Marcel and Madeleine found themselves making application for political asylum with virtually every country in the western hemisphere. Weeks passed until Canada finally issued them temporary visas and they left for Montreal.
Meanwhile, France had fallen and, in the process of subjugating the country, the Germans had found some publicity stills of Dalio. A series of posters were produced and were then displayed throughout the city with the caption 'a typical Jew' so that citizens could more easily report anyone suspected of unrepentant Jewishness. The madness continued. 'Entree des artistes', a popular film, was ordered re-edited so that Dalio's scenes could be deleted and re-shot with another, non-Jewish, actor.
After a short time, friends in the film industry arranged for them to arrive in Hollywood. Nearly broke, Marcel was immediately put to work in a string of largely forgettable films. Madeleine, a budding actress in her own right, was ironically cast in 'Hold Back the Dawn', a vehicle for Charles Boyer with a plot driven by the efforts of an émigré (Boyer) trying desperately to cross into the United States from Mexico. But the real irony was waiting at Warner Brothers.
In early 1942, Jack Warner was driving production of a film based on a one act play, 'Everybody Comes to Rick's' but had no screenplay. What he had was a mishmash of treatments loosely based on the play and two previous movies. But he had a projected release date and a commitment to his distributors to have a movie for that time slot and little else. Warner Brothers started to wing it.
Shooting started without a screenplay and little plot. Principal players were cast and a director hired but casting calls for supporting roles and bit players continued and sometime in the early spring Marcel Dalio and Madeleine LeBeau were cast as, respectively, a croupier and a romantic entanglement for the male lead. Veteran screen-writers were hired to produce a running screenplay, sometimes delivering pages of dialogue one day, for scenes to be shot the following day. No one knew exactly where the plot would go or how the story would turn out. No one was sure of the ending. And, of course, they produced a classic, perhaps the finest American movie.
They produced a screenplay of multiple genres, rich with characterizations, perfectly in tune with the unfolding events in Europe and loaded with talent from top to bottom. Oh, and they changed the title to 'Casablanca'.
It is so well known, that many lines of long-memorized dialogue have passed into the slang idiom. 'We'll always have Paris', 'I was misinformed', 'Here's looking at you, kid', ' I am shocked! Shocked! To find that there's gambling going on in here!', 'Louis, I think this is the beginning of a beautiful friendship', 'Oh he's just like any other man, only more so', 'I don't mind a parasite. I object to a cut-rate one', 'Round up the usual suspects', and, of course, the oft quoted, apocryphal, 'Play it again, Sam'.
Madeleine LeBeau plays Yvonne, the jilted lover of Humphrey Bogart, who is seen drowning her sorrows at the bar early in the film and who later, to get back at Rick and looking for solace takes up with a German officer finding only self-hatred. She is luminous.
And when Claude Rains delivers the signature line, 'I'm shocked! Shocked! To find that there's gambling going on in here!' the croupier, Emil, played by Marcel Dalio, approaches from the roulette table and says simply, 'Your winnings, sir.' It is a delicious moment ripe with scripted irony, one among many in this film, but one made all the more so, knowing where Dalio came from and what he and his wife had endured to arrive at that line.
I have often wondered exactly when they saw the final script or if they only realised the many parallels to their own lives when the film was released.
Alas, they separated and divorced the next year, both going on to long successful careers. Dalio never remarried.
Late in his career, when Mike Nichols was looking for a vaguely familiar face to deliver a long and worldly, near-monologue in Catch-22, he turned to Dalio. Faced with a hopelessly idealistic young American pilot, Dalio, as simply 'old man in whore house', in tight close-up, delivers a discourse on practical people faced with impractical circumstances, of the virtues of expedience in the face of amorality . Using his wonderful plastic features, now beginning to sag, in a voice full of melancholy, the old man reassures the young man that regardless of what 'grand themes' may be afoot in the world, in the end, little matters but survival.
Most teenagers don't watch classics I know. But after they've seen this
one, there's no turning back! This is the classic to end all classics
(That and Gone With The Wind which rocked! but the ending was a bit
unusual.) I had been an Ingrid Bergman fan after watching Gaslight with
my drama class. It was great because I love a good mystery type thing.
Casablanca was a bit confusing at first, but I found out in the end that it has just the right blend of romance, drama, and comedy. Plus, my dad instilled in me a love for all things World War II related.
I would recommend this movie for children 15 and older, not because there's anything bad, but simply because I don't think younger children would understand it. You guys my age, this is a great Sit-down-and-watch-with-your-girl-on-a-rainy-afternoon type movie, and parents already love it, so everyone's happy.
I always say when I write these things that, even though I liked it, you might not. CHeck it out for yourself and form your own opinion.
Generation after generation will continue to love this splendid film, just as many previous generations have enjoyed this movie in the past!! (The principle reason for me bastardizing one of this movie's famous quotes) "Casablanca" has, undeniably, withstood the test of time!! This film evokes a romantic humanism into the thick of World War II!!! Humphrey Bogart and Ingrid Bergman are magnificent as the tormented love interest duo who do not seem to be able to piece everything together, they just know they love each other, and more importantly, something clicks!!! Originally, Ronald Reagan and Ann Sheriden were cast for the roles of Rick and Ilsa, as it turns out, you cannot imagine any two other people besides Humphry Bogart and Ingrid Bergman for the roles!! These two performers exude more of a continental flair!! The American fascination for this flick is thoroughly justified!! Winning the academy award for best picture in 1943, "Casablanca" was just one of the many movies in the late 1930's and early 1940's which epitomized an era for excellent movies!! Based on the book "Everybody Comes To Ricks", Hal B. Wallis produces this film with a flawless orchestration!! The place, Casablanca, becomes a citadel of despondence and despair for so many people, yet for Rick and Ilsa, (Humphrey Bogart and Ingrid Bergman) the situation is tailor made for a passionate redemption!! Max Steiner encompasses a necessary nostalgia with the music in this film. "As Time Goes By" (made in 1931) became enormously popular with this movie!! The whole scene is set up whereby Paris becomes a venue for unprecedented and wondrous romanticism!! "Casablanca" is, without question, one of the greatest movies ever made!! You must remember this, a movie is just a movie!! Unless!! It is the movie of all time; "Casablanca"!! I will see "Casablanca" over and over and over again and never be tired of it!! EVERYBODY SHOULD SEE THIS MOVIE!! I guarantee you, you will not be disappointed!!! This film has 6 of the top 100 famous quotes in the history of all American film making!! Humphrey Bogart and Marlon Brando may lay claim to the most quotes from this list. Many colloquialisms from "Casablanca" have fallen within the realm of popular modern day jargon!! This website ranks "Casablanca" 11th best picture out of the top 250. AFI (American Film Institue) ranks "Casablanca" the second best American film ever made. I feel this is very impressive!! You will truly marvel at this film, in fact, if you do not think "Casablanca" is not one of the greatest films you have ever seen, I will be utterly amazed!!! AN ALL TIME MOVIE CLASSIC!!!!!!
There are literally hundreds of comments about this movie on IMDB. Many of
exhort its greatness. I don't disagree with them.
But I'd like to add a suggestion to those of you out there who haven't seen this film. I'd like to tell you HOW to watch it.
The people who made this movie didn't think they were producing a masterpiece. Bergman left the shoot disgusted. The screenwriters were on salary for Warners, writing half a dozen movies a year, and this was just one more. Bogie was punching the clock in the middle of a workhorse career.
So as an audience member, you can't sit down expecting gilded greatness.
Don't have a Casablaca party. Don't watch it on your first date, hoping it will lend that "Romantic Touch." Don't watch it as part of your "I need to watch the Best 10 movies of all time" Film School project.
Buy this movie on DVD. Have it at the ready. And then, one Friday night, when your plans fall through and you find it's 10:30pm and there's nothing on TV that's any good, open a six pack of beer, or pour yourself some wine, and watch this movie in a darkened room.
The characters in Casablanca are absolutely devoid of sentimentalism. Every one of them sees the world without a hint of rose color in their lenses. As Rick says, "Three little people don't amount to a hill of beans in this big old world." If you're in a mood where you understand what he's saying, watch this movie and it will transport you.
There is no single movie that deserves to be called the best movie of all time. Because movies, when all is said and done, don't amount to a hill of beans. They are meant to entertain us, not for us to worship THEM.
But no movie has ever known this fact like Casablanca.
If you watch Casablance this way, with no expectations, with no "hype," you might catch 10 percent of its greatness on one viewing. And that will be enough to start you on your way.
Happy viewing, kid.
*** This review may contain spoilers ***
This movie opens up a gateway to the genre of early romance with light
drama. Now it is near impossible to find a movie that was made not for
the money, not to win awards, but for the people.
At first I thought that this movie was over hyped, but when I sat down and watched it, I realized that the hype was true. This movie delivered everything it promised and then some.
The characters were perfect. Believable, realistic, and you felt like you could relate to them in a way. Humphrey Boggart was the best example. His witty yet sarcastic remarks are still known as some of the greatest lines of all time. My personal favorite being "Of all the gin joints in all the towns in all the world, she walks into mine." While the movie did start out slow, it quickly picked up and was able to hold my interest. It was dark, yet was able to throw in light humor without upsetting the balance of a scene. Since it was dealing with a serious issue, which at the time was an incredibly important matter, they had to find a way to deal with the issue without upsetting the balance of the film. A feat that they managed to do well.
There are many memorable scenes in the movie, but my personal favorite is the very end when Rick has to watch Llsa fly off. It is painful for him, but he knows that her staying would only hurt both of them and due to his character he is able to keep his emotions inept, while conveying in his new friend, Louis.
As for changes, I would make none. This film is a masterpiece and wanting to make changes is like editing the Bible or adding finishes to one of Leonardo DaVinici's paintings. As the saying goes 'If it ain't broke don't fix it' I was only 12 when I first saw this film, but I gained much watching it. I learned that while you may not want to do something or say goodbye to someone sometimes it is necessary for the greater cause.
This is a movie I would recommend to anyone who wants drama, romance, comedy, memorable dialogue, or just an all around good feeling. This is a movie I will continue to enjoy for years to come.
Out of all the films that are considered classic milestones in cinema how many fully deserve that status?? Not that many, let me tell you but Casablanca absolutely does! Casablanca has become history itself, a legendary production that'll live on forever. And it should! This film is essential viewing for everyone who ever showed interest in cinema. Every sequence in Casablanca is brilliant, every character is intriguing and every setting is breath taking. Especially when you're watching it for the first time you'll be surprised how much you actually know about it already. Multiple ideas, lines and sequences were so influential and important to cinema, that they have been used numberless times afterwards. You might even say that cinema would have looked completely different if it wasn't for Casablanca. It's a brilliant love-story with irresistible film-noir and comedy aspects. The entire script - line by line - is pure nostalgic and some of the dialogues originally shown here grew out to become pure historical art. This intelligent movie also depends a lot on its superb cast, of course. Bogart portrays a terrific character here a performance that yet has to find its equal. His brute and heartless portrayal of Rick is fascinating, especially because you soon find out that he is in fact just a hurt romanticist, heart-broken by a girl who's about to show up again. This girl (the stunning Ingrid Bergman) is practically the most marvelous lady who ever appeared on the big screen. Thanks to her natural charm and beauty, Bergman makes the most out of Ilsa. Film-noir stars Claude Rains and Peter Lorre supply the film with terrific supporting characters and a right amount of humor and parody. It's amazing how this film combines so many different genres successfully. The cruelty and drama of the war and the rise of the 'Third Empire' is mixed with comedy and romance in a unique way. It cannot be denied Casablanca is pure perfection and everyone should appreciate it. This film isn't to be missed by anyone, whether you're young, middle-aged or retired this film will move you.
Saw this classic in DVD format the other night. I must confess that it
looks just as good as I remembered it. Michael Curtiz's film is a
curious one. It enjoys presently perhaps more popularity than when it
originally made its debut in 1942. As new generations discovered the
picture, they made it a timeless film, and generations to come will
also be charmed by it.
The story of Rick and Ilsa and their impossible love affair will be something to be treasured by film lovers forever. Casablanca in the 40s was a hot bed of intrigue; lots of people tried to get there, but perhaps leaving the place was harder because the red tape of that era and the fact that the Nazis had a way to spoil a party.
In a lot of ways, this is a dated film. By today standards it would be politically incorrect. But ultimately, we all fall under the spell that Michael Curtiz created and for almost two hours we are in Casablanca among the spies and would be travelers eavesdropping into their conversations and the different schemes going on.
Humphrey Bogart was an actor without the looks of some of the handsome male stars of that era, yet, he is mesmerizing as Rick Blaine. It would be hard to imagine another actor playing Rick other that Bogart. Ingrid Bergman was at the height of her career when she made the film. Her chemistry with her co star is one of the best things going, since they made it believable.
The rest of the cast is flawless. Paul Henreid, as Victor Lazlo, cuts quite a figure and it is hard to think Ilsa would prefer Rick to this suave and sophisticated man. Claude Rains is good as Capt. Renault. Conrad Veidt, Sydney Greenstreet, Peter Lorre, S.K. Sakall, and above all Dooley Wilson, as Sam, made a magnificent contribution to the film in small roles.
Casablanca gets better and better, as time goes by.
*** This review may contain spoilers ***
No film captures the classical Hollywood style quite so well as
"Casablanca." The film seamlessly combines romance and intrigue in its
exotic location, remarkably conveyed by mere studio sets. The black and
white cinematography is perfect for capturing and adding mood to the
smoke filled rooms, war torn city streets, and foggy airports that
compose the world of this film. Despite seeming a product of its time,
"Casablanca" is truly a timeless piece of entertainment. It would be
futile to recount the plot here. Even those who have never seen the
film are likely to be aware that "Casablanca" is the film where Ingrid
Bergman is forced to chose between old lover Humphrey Bogart and her
resistance leader husband (the often overlooked Paul Henreid). Bergman
as Ilsa Lund, the center of the love triangle, is magnificent here. She
communicates with such ease the very different types of love she feels
for each man in her life, and we sympathize with her struggle. Of
course, Bogart too created a legendary performance as café owner Rick
Blaine. Seeing him transform from the man who will stick his neck out
for nobody to someone content with making a great self-sacrifice is one
of the joys of the film.
Bogart and Bergman are leading players among equals however, and are rightly matched by numerous character actors, not the least of which is Claude Rains. In his portrayal of French Vichy officer Captain Renault, he hits the perfect notes to show off both the corrupt and goodhearted sides of the character. He also gets to deliver some of the film's best comedic one-liners. Another unforgettable actor is Dooley Wilson as the congenial piano player Sam, who of course provides the quintessential rendition of "As Time Goes By". Director Michael Curtiz certainly does these fine actors justice. The film has some striking visuals too. Be on the lookout for the raindrops on a letter which look more like tears, and the symbolism provided by a bottle of water towards the film's end. Viewers aware of the many troubles that plagued the production of "Casablanca," should be amazed at the manner in which the film as a whole is able to so greatly transcend the sum of its parts.
When you pause and really consider it, "Casablanca" is a much simpler film than many others also hailed as classics. It was based on an unremarkable (and unproduced) stage play, shot on a modest budget, and released with the thought of the natural appeal it would carry for its wartime audiences. And yet it has endured so long beyond that. Much has been made on the subject of reading "Casablanca" as a political allegory, with Rick representing isolationist America, Lazlo the Free French, so on, and so on. This rightfully compels the film student in me. But in all actuality, the romantic in me is much more captivated by the story of three little people caught up in the problems of a crazy world. The nuances of the characters, the sense of urgency ominously hanging over every scene, and the tear jerking story of love lost, found, and lost once more in the name of a bigger cause are the elements that stay with us. For me, as well as countless other film lovers around the world, the first viewing of "Casablanca" proves to be the start of a very beautiful friendship.
*** This review may contain spoilers ***
Bloom said of Shakespeare that he invented humanity. Films will always have less depth than poetry, but they can have a similar, profound effect on popular culture. Movies are seldom about life, but life is often about film, the few films that find the groove.
This film invented -- to a substantial degree -- what it meant to be a post-war American. It is not so much that it was perfect, but that we have remolded ourselves around it, as part of the victor's healing.
I recently saw some other Bogart films (like `Treasure'), and they amazed me in how poorly they worked. How mannered his acting seemed.
We have beautiful faces in other films, even this face (which we still have in Isabella). But nothing seems to compete for the certain archetype of passionate commitment, of pathetic yearning, of immature desire, of refugee desperation.
The interior sets -- and how they are photographed -- show a definite post `Citizen Kane' influence. In fact, one can see much of the Mercury Player flavor in these characters, particularly Greenstreet.
But you know, this film has so melded with dreams that you don't need to screen it.
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