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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.
What is Curtiz's masterpiece really about? People fleeing the Axis? Rick running a bar in Casablanca? No, it is an existential awakening where Rick goes beyond possessing Ilsa, wanting to keep her there with him, eventually, he loves her enough to perform the hardest duty of all real love: letting go of her. When we meet Rick he is a cold cynical bar owner inured to the desperate people surrounding him,"I stick my neck out for nobody." When Captain Renault warns Rick not to aid the Laszlos, Renault chuckles at Rick's incredulous look when he utters the above line. We watch as he blithely allows Lorre to be arrested never lifting a finger to help him. He tells the Nazi's he has no dog in the fight; he couldn't care less. The movie is the existential transformation of Rick into the man who risks everything for a woman he still desperately loves but who belongs to another. On top of that, the Nazis want her husband in the worst way. Anyone who interferes is very likely to get shot. We see Rick, in agony, with Sam, drinking and listening to the timeless song that tortures him so. It is a long painful path to the plane at the end. The movie's realism about the transformation is what gives it the power it possesses. Both the love and the danger push Rick to keep Ilsa there with him.
The movie's power comes from the duty that goes to the hardest part of all real love; he lets go of her. He risks his life and everything he has to see that she and Victor make it to safety. The scene at the end of the plane has the power it has because of its moral depth. The movie has great acting, music and has touches of levity. I love when Captain Renault says,"I was shocked, shocked to discover that gambling is taking place here." This is followed by one of Rick's workers saying here are your winnings, Sir; Renault quickly hides them in his uniform. There is very witty, well written dialog; look at this cast: Bogart, Lorre, Greenstreet, Henried, Bergman what a cast. Yet, for all these things: the movie endures for one reason: The depiction of Real Love that risks everything even when it must let go of the loved one. Rick has a long road to his awakening. I would have like it better without Curtiz adding to the end Captain Renault telling Rick not to worry he has a patsy all picked out for their escape. I think Curtiz was worried the ending would be too bleak without it. It would have been like Casualties Of War, which I adore, but did not break any box office records.
A masterpiece of real love: it gives all it has, risking its own life and releasing the object of love. Within the current Zeitgeist, of thinking happy thoughts, contrast this to this delineation of the real thing. See, the towering differential. Real Love.
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.
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 ***
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.
I am not getting into the "The greatest picture of all-time" debate.
It's too subjective but if I forced to cast a vote, I would give this
the most serious consideration. I mean, what aspect of this film isn't
The dialog is superb, one of the best ever put on film. The acting is great, cinematography first-rate and the story offers an interesting mix of drama, action, romance, music...you name it. This film has everything but color, which might prohibit of a lot of younger folks from ever checking this classic out. That would be a shame because film- making doesn't get much better than "Casablanca."
All of this doesn't mean it's my favorite film of all-time. It isn't even in my top ten but I always find it very, very enjoyable and the latest 2-disc DVD transfer makes it even better to view.
Humphrey Bogart and Ingrid Bergman, of course, are the stars but I always found Claude Raines' character the best to watch. His witty dialog as the police chief always makes me smile. He has many clever lines and isn't a guy you can figure out. He and Bogart's character are similar, essentially coming across as people who only care about themselves but deep inside are good-hearted people.
The ending is much discussed and very famous and helps make the movie so revered. There has been so much written about this film that there I won't add more except to make one negative statement but that's about a line in the story and not a reflection on the quality of the film. I wasn't impressed that Bergman, despite being married, was willing to run off with Bogart, claiming she "doesn't know" what's right or wrong! Are you serious? Well, judging by the marriage records of Hollywood over the years, maybe they don't know adultery just might be wrong. Anyway, other than that, this is a great movie with many, many classic scenes. Bergman never looked prettier, albeit the aid of soft lens shots on her closeups, and Bogey was never more, well, Bogey, than in here. Add Paul Henreid, Sydney Greenstreet, Peter Lorre and other fine actors and wow, what a cast!
An added bonus is hearing "As Time Goes By" throughout the film, a haunting song. Actually, there are several songs played, mainly by pianist Dooley Wilson, and they're all fun to hear. As I said, one could go on and on about this movie. 'Nuff said.
Love and sacrifice during WWII underlie the story about a café owner
named Rick (Humphrey Bogart), and his link to two intellectual refugees
from Nazi occupied France. Ilsa (Ingrid Bergman) and Victor Laszlo
(Paul Henreid) seek asylum here in politically neutral Casablanca and,
like other European refugees, gravitate to Rick's upscale café, near
the city's airport, with its revolving searchlight.
Rick is a middle-aged cynic who also has a touch of sentimentalism, especially for people in need, like Ilsa and Victor. The film's story is ideal for romantics everywhere.
Much of the plot takes place inside Rick's café, an ornate nightclub with archways and high ceilings. Rick's is a gathering place for an eclectic mix of patrons, from locals to those who have arrived from countries throughout Europe. It's this deliciously international ambiance of Rick's café that renders this film so appealing, with a variety of interesting accents, clothes, and uniforms. And, of course, there's Sam, the piano player, who plays all the favorites, including "As Time Goes By".
All of the film's technical elements are excellent including the script, with its colorful characters, like the debonair Captain Renault (Claude Rains); and Signor Ferrari (Sydney Greenstreet), the articulate and portly "leader of all illegal activities in Casablanca". And a minor character that made an impression on me was the guitar playing female singer at Rick's (Corinna Mura), whose beautifully operatic voice was an unexpected delight in this smoke filled saloon.
The film's dialogue, though substantial, is clever and lively, like when Captain Renault observes Rick escorting an intoxicated woman out of the bar: "How extravagant you are, throwing away women like that; some day they may be scarce".
High-contrast B&W lighting renders a noir look. And that pounding score at the film's beginning is stunning; it evokes a feeling of far-off adventure.
"Casablanca" differs from traditional noir films, mostly as a result of its ending. Rick must make a choice between his own interests and the interests of others. The choice he makes enjoins viewers to a sense of courage and optimism, an individual's example of proper collective behavior in the war against Nazi Germany.
*** This review may contain spoilers ***
Arguably the greatest film ever made. It is a classic for a reason,
this film tells a great story, tells a love story and is a political
commentary at the same time, all while being supremely entertaining.
From start to finish this movie continues to pull you in, and makes remarkable references to world events at the time. You are introduced to Rick, played by the legendary Humphrey Bogart, an American who "sticks his neck out for nobody" but who was fought bravely in the past against the same type of enemy the other characters are up against. This is clearly a singular personification of the history and the stance America had in 1941 prior to Pearl Harbor. Early in the story we see the keys to salvation handed over to him by Ugarte, played by Jewish actor Peter Lorre, who himself fled from the Nazi's in 1933 to come to America. Ugarte who is killed summarily early on in the story is something of a representative of the heartless horrors that Jewish refugees were telling of what was happening to Jews in Nazi Europe at the time. Rick is now the safeguard of "letters of transit" which play an important role and overall become a character in their own.
Taking place in what can only be described as purgatory we are introduced to a host of characters that need help to get out and the ones that prey on those needing that help. In this place the Vichy French, under influence of the Nazi's rule the land, and their prefect, the corrupt but still somehow noble in a way, Captain Renault, who becomes a representative of all French who wish to be free of Nazi rule, mainly because he doesn't like being told what to do more than anything. It is into this we see the great conflict as Victor Laslo, a legendary Czech freedom fighter against Nazi rule is brought into the story. Victor becomes a representative of all of Europe that needs the help of America, and as the singular American in the story, speaking for all of us he seeks out Rick, who now holds the key to Victors, and his wife's freedom. With the introduction of Victor Laslo we meet his wife Ilsa Lund, played by Ingrid Bergman, who we learn has had a past with Rick, a past that has scarred them both, but their feelings still remain. Here we see the American past with Europe personified, we have a past with that continent and most of us love that past but we want our own future and now our past love needs our help, so Rick has to come to the rescue. This relationship is summed up in one line Ilsa says to Rick "you have to think for both of us, for all of us" where we see the desperation and the need for salvation.
The climax to the movie is a masterful one, where a race to get Victor and Ilsa on the last plane out of Casablanca is taking place, where Rick has weaved a web of decit that bravely ensures they will get out alive if all goes according to plan. Prior to their escape one of the most famous monologues takes place that almost brings tears to the eyes of all who see it. And after the dust has settled Rick, the American, and Captain Renault the Frenchmen who has realigned his allegiances and saved Rick from the Nazi's walk off into the foggy night in what is "the beginning of a beautiful friendship" where side by side the Americans will stand with the French against the Nazi's.
In the end we see it as a highly critical editorial commentary made by Warner Brothers of the stance America had before entering the war. It also stands as a noble and optimistic beacon for events to come.
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