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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 ***
I didn't understand the film properly until I read Danny Peary's essay on it in the first of his three "Cult Movies" books (which, by the way, you MUST read, although you should be aware that Peary's complaints about "The Red Shoes" aren't even near the mark). The key (and, in retrospect, obvious) insight is this: all along, Captain Renault WANTED Rick to become a hero again. As long as Rick was content to adopt a cynical, self-serving attitude, Renault, a man made of lesser material, had an excuse to do the same - and he wanted that excuse to be denied him. When it WAS denied him he was delighted. THAT'S he joined the side of the angels, without even hesitating. (It's also why he spent so much time earlier poking fun of Rick's former idealism, in an attempt to get Rick to defend it.) This probably strikes many people as obvious; I regret to say I had to have it pointed out to me.
I don't have to argue that this is a great film. We all know it is. Peary calls it the ONLY film that's everything the old-style studio films were trying to be, and he's probably right. This doesn't, of course, mean that it's the BEST film of the 1940s; better still are the bolder, more ambitious productions made by more inspired directors: "Citizen Kane", "The Red Shoes", "Fantasia", and so forth. But "Casablanca" is probably as high as it is possible to fly without making a Philistine studio executive reach for his heart tablets. This is higher praise than it sounds. And if you think it IS the best film of the 1940s, after all ... well, I can see your point of view.
*** 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.
What makes Casablanca the greatest?
The detail. After Ugate is arrested Rick moves forward and picks up a small glass that has fallen over.
When Sam is playing 'As Time Goes by' and Rick is drinking to forget (the famous scene) he involuntarily moans from within. He shows the man's heartbreak - the reactions of emotion running through a body broken by booze and sorrow.
This is acting and film making at it's very finest.
The inner decency of Rick is moving as is Ingrid Bergmann's tear filled eyes - but the throat catcher is the singing of the Marselliase and Yvonne's impassioned 'Vive La France!'
This was war time, and the film makes us remember what it was all for. Hollywood should look at the script - how simply it is constructed - and learn - there is a public worldwide that wants scripts of this quality about real people.
*** 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.
I was thoroughly excited to see this movie because of all the positive reviews I've heard about it in the past. However, this movie in no way lives up to the hype. Everyone hails it as an undisputed masterpiece, but compared to the many movies that have come out after and even before it, this movie doesn't stand strong. The acting was stale, the characters were un-relatable, and the story was drug out too long. I found myself bored throughout at least 80% of it. Please don't assume that I don't like it just because it's an older film; most movies I have scene are older films, and a lot of them are far better than this one. Believe me, I wanted to love this film, but I just couldn't. Even if it was "great" for its time, that doesn't mean that it's great for this time. However, I will say that there were a few memorable lines, and some parts that were better than the rest, but other than that a cliché filled snoozer.
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