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*** This review may contain spoilers ***
Michael Curtiz's "Casablanca" opens on maps while a narrator gives a
detailed exposition of the many twists and turns of Casablanca in the
French Morocco, as a refugee route from wartime Europe...
The Nazi envoy, Major Heinrich Strasser puts it: 'Human life is cheap in Casablanca." Of course because a man may be executed in its crowded market before Marshal Pétain's portrait or where a charming girl may guarantee an exit visa by spending her night with the Prefect of Police...
Rick's Café is the point of intersection, the espionage center, the background for Allied offensive, the focal point as refugees from Nazi-occupied Europe seek to gain exit visas to Lisboa... The interesting club so well organized, leads to an open arena of conspiracy, counterspies, secret plans, black market transactions, in which the games and fights are between arrogant Nazis, patriotic French, idealists, murderers, pickpockets and gamblers around a roulette wheel, where a ball could rest on Rick's command against the settled number 22...
"Casablanca" is an adventure film which victory is not won with cannons and guns... The action, the fight, the war takes place inside Rick's walls rather than outside...
But who is this Rick? What is his magical power? His secret weapon? Rick is the anti-fascist with hard feelings, the former soldier of fortune who has grown tired of smuggling and fighting, and is now content to sit out the war in his own neutral territory... Even loyalty to a friend doesn't move him as he refuses to help Ugarte, a desperately frightened little courier who is fleeing from the police...
Emphatically, Rick says, "I stick my neck out for nobody." But we know he will do just that in a very short time, for into his quiet life comes a haunting vision from his past, the beautiful woman he still loves and bitterly remembers... She is married to an underground leader and she desperately needs those papers Rick conveniently now has in his possession... The cynical Rick's facade of neutrality begins to weaken as he recalls the bittersweet memories of his past love affair, memories triggered repeatedly when the strains of "As Time Goes By" come from Sam, his piano-playing confidante...
But "Casablanca" basic message is a declaration of self-sacrifice... War World II demanded all! The words stated by Rick at the airport had their impact: 'The problems of three people don't amount to a hill of beans in this crazy world.' It goes without saying that Bogart is incomparable when he seems most like himself... His way with a line makes "Casablanca" dialog part of the collective memory: 'I remember every detail. The Germans wore gray. You were blue.'
Intermixed in this intrigue are all the fascinating and beautifully acted supporting roles With his customary skill, Claude Rains plays Major Renault, a prefect of police who is like Bogart in many ways... He, too, claims neutrality, but is definitely against the Nazis... He is Rick's most devoted adversary, tauntingly calling the man a "sentimentalist" and delivering his share of cynically amusing lines... When he makes a small bet and is encouraged to make a bigger one, he remarks that he is only a "poor corrupt official."
Ingrid Bergman is fascinating as the lovely heroine, the mysterious impossible woman of an impossible love, the tender mood of every man, the love-affair, the quality of being romantic, the traditional woman enclosed by two rivals, symbol of a besieged Europe...
Paul Henreid is Victor Laszlo, the anti-Nazi resistance leader, seeking in Morocco the two letters of transit signed by General De Gaulle...
Sidney Greenstreet is the black marketeer on good terms with Rick, the rival owner of the 'Blue Parrot,' the acceptable face of corruption...
Peter Lorre is Ugarte, the racketeer, the dealer of anything illegal, the killer, driven into a corner by the Vichy police, who has given Rick two letter of transit...
Conrad Veidt is the very essence of German rigidity, unfeeling, unconcerned about life, but firmly believing in the foolish ideology of his Nazi compatriots...
"Casablanca" covers many highlights: The Marseillaise against the Horst Wessel song inspiring sequence; the blissful days in Paris; Ilsa's emotional words to Rick in occupied Paris; the champagne toast; Ilsa's request to Sam; the poetry of the magic words and the beautiful voice of Dooley Wilson; Captain Renault's words in the airport; and the farewell...
The magic that developed from the teaming of Bogart and Bergman is enough to make a new romantic figure out of the former tough guy... To his cynicism, his own code of ethics, his hatred of the phoniness in all human behavior, he now added the softening traits of tenderness and compassion and a feeling of heroic commitment to a cause... They helped him complete the portrayal of the ideal man who all men wished to rival...
One can look at hundreds of films produced during this period without finding any whose composite pieces fall so perfectly into place... Its photography is outstanding, the music score is inventive, the editing is concise and timed perfectly... Bogart's and Bergman's love scenes create a genuinely romantic aura, capturing a sensitivity between the two stars one would not have believed possible...
"Casablanca" is a masterpiece of entertainment, an outstanding motion picture which brought Bogart his first Academy Award nomination (he lost to Paul Lukas for "Watch On the Rhine") and won Awards for Best Picture of the Year, Best Director and Best Screenplay...
*** This review may contain spoilers ***
CASABLANCA is the best treatment ever of the ancient theme of the love
triangle. Set in World War II Casablanca, a Moroccan city under the control
of the collaborationist Vichy French government, the movie starts with a
news wire that two German couriers have been murdered and their letters of
transit stolen. Each letter will permit one person to leave Casablanca to a
Enter Humphrey Bogart as Rick Blaine, owner of the shady but cheerful Cafe Americaine. Rick is a cynical and hard-nosed man whose motto is, "I stick my neck out for nobody." Like many a cynic, Rick is an embittered ex-idealist, still nursing his wounds from being abandoned by his lover Ilsa (Ingrid Bergman). By chance he falls into possession of the missing letters of transit.
Enter Ilsa, who comes to Casablanca on the arm of Czech Resistance leader Victor Laszlo (Paul Henreid), a few steps ahead of the Nazi police. We now have three people and two letters of transit. Who will reach America, and who will stay in Casablanca?
I know no other movie that so perfectly balances humor, romance, and drama. The soul of good drama lies in presenting characters with hard choices, and few choices are as hard, or as illuminating of the protagonists' makeup, as the choices in CASABLANCA. All of the characters must decide what they will give up for love, for honor, and for themselves. The scenes of Rick and Ilsa's love, years ago in Paris, are some of the finest romantic scenes in cinema. And the humor, particularly in the person of Casablanca's Prefect of Police, Louis Renault, has contributed dozens of dry witticisms to our everyday language - "I am shocked! Shocked! - "The Germans wore gray, you wore blue." - "I was misinformed." - "It would take a miracle to get you out of Casablanca, and the Germans have outlawed miracles." So perfectly blended are these three major elements that you cannot point to a single shot or scene that should have been eliminated from the movie. Never try to watch only one scene from CASABLANCA; you will inevitably be absorbed until the very end of the film. It is little short of miraculous that the chaotically mismanaged shooting of this movie resulted in such a magnificent final product; it speaks volumes for luck and for Owen Marks' and Michael Curtiz' post-production editing.
I have never encountered a movie whose supporting cast was so perfectly realized. Every minor character is a fleshed-out, realistic individual, from Sasha to Carl the headwaiter to Rick's competitor Ferrari to the self-effacing criminal Ugarte. Claude Rains' Captain Renault ("I'm only a poor corrupt official") steals scene after scene, and Dooley Wilson's Sam is a refreshingly loyal, charismatic and sympathetic conception from an era when almost all black characters were rendered as demeaning stereotypes. The only character who tastes of the cliche is the villainous Major Strasser, which can be forgiven in a wartime production.
The only film I have ever seen as tautly effective as CASABLANCA is GLORY. Although the 54th Mass.'s story is arguably superior even to CASABLANCA for sheer dramatic power and acting talent, GLORY lacks CASABLANCA's wonderful humor and romance, which causes me to give the edge to Curtiz' classic as the better-rounded movie. I have yet to see CASABLANCA surpassed.
Rating: **** out of ****.
While my personal Bogey favorite is still his Sam Spade in 'The Maltese
Falcon', his cynical nightclub owner, Rick, in 'Casablanca', is also a
standout. Rather than some "off the cuff" comments, I'll quote instead from
my article on Claude Rains (from March 2000 issue of CLASSIC IMAGES) that
pretty well sums up the film:
"It was 1943's 'Casablanca', bustling with melodramatic wartime intrigue, that really put him (Claude Rains) in the forefront as one of the screen's smoothest character actors, almost--but not quite--stealing the film from Humphrey Bogart and Ingrid Bergman, as the uniformed Captain Louis Renault who investigates the goings-on at Rick's notorious cafe.
Nobody associated with the film guessed that it would become a screen classic, least of all its director, Michael Curtiz, the prolific WB director to whom it was just another assignment. It went on to win the Oscar for Best Film of 1943 with an award for Curtiz' taut direction.
Oddly enough, the film's memorable airport ending was written and conceived just shortly before filming wrapped up, with neither Bergman nor Bogart knowing whether or not she would leave him for husband Paul Henried. Wartime audiences loved the film. Sydney Greenstreet, Conrad Veidt, Victor Francen and Peter Lorre all gave sterling performances and Rains was again nominated for Best Supporting actor."
And by the way, I disagree with a former comment indicating the black and white photography of this film was primitive as compared to today's. Incredible nonsense!! As a matter of fact, the film's black and white cinematography was nominated for an Oscar!
Ingrid Bergman was at the peak of her radiant beauty in this one--and Bogey was firing on all six cylinders. Great chemistry!
As time goes by, we still have 'Casablanca'...
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.
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.
Lauren Bacall was wonderful as Ilsa...in a parallel universe. Too bad
it was Ingrid Bergman who ended up with the role, I just couldn't buy
the Bogie'n Bergman love story and would have loved to see Lauren
instead! So I gave this movie a 4, as soon as I was done watching.
Because Bergman failed to convince me and I cringed at their Paris
scenes. I mean Bogie, romantic?! Are you kiddin' me?! (I was even more
shocked to see Bogie smile!) I was bored through the story, the men's
thick black eyeliner looked like an ethnic joke, their white eyeliner
was a little less distracting, but I've seen worse, so I decided what
the heck, I'm 1/4th through this movie might as well keep going since
it's not like it's starring *insert your most insipid actress and
buffoon of an actor here* And OK, since I'm well-endowed in the
"suspend disbelief" department, I'll pretend I'll buy Ingmar Bergman or
whatever as the love interest.
Since some of the dialog was amazing, I thought I'd actually give this a 7. For effort. Plus the "last night was so long ago/tonight? I don't plan that far ahead" exchange was awesome. (I'm gonna have to memorize these lines, I'm sure to use them sometime!) And the music was not bad. So what the heck, it doesn't deserve a 7 but I'm not in a bad mood tonight and it's Christmas, right?! But what the **** happened to "Play it again, Sam!"? I never once heard it and I felt ripped off throughout the movie! I heard "Play it, Sam" Who misquotes a movie, really? OUTRAGEOUS!!! Just for that, I felt like I needed a refund, and let me tell you, that 7 was quickly turning into a 5. Plus I'd seen the final scene, the Bogie/Bergman exchange, final scene, it says so on You Tube. Right? So who cares, I already know how it ends.
It wasn't the final scene after all! WTH??! After years of believing that's how it ended, now they ripoff the ending too by adding some insipid action? Couldn't they have been done at that scene since it's *supposed* to be the only end anyone cares about? (After all, it's the only one "they" ever show!! What else could there be, really?!) Well, in the end--and sorry to put it this way if you kinda like this film--but what do you think I could possibly give this sorry little B&W film maker's menial effort of a wanna-be movie? Well, if you should know I only gave it a mere TEN! That's right! Was I glad I stuck with it till the end! It got better and better until it became one of the best movies ever! I didn't expect the surprise ending, that's for sure! Blown away!
This one is definitely worth a re-watch sometime soon, minus my "Dancing-with-the-Stars-judge-raising-score-on-a-panel-every-5-secs" attitude. I don't think I've ever seen a movie where I went from "who gives a c^^p about you?" to absolutely blown away by the characters and their turn of events. In a sense I went from caring about Rick just about as little as Rick himself did to making a 180 degree turnabout. Sort of like Rick did at the end! Amazing!! And Ingrid Bergman was indeed good, certainly not my first choice for Ilsa--still would have loved to see Bacall--but she held her own. Here's looking at you, Kid! It's like after the movie was over, I came to the realization that I had been a Rick of sorts throughout. And the movie took me through my own 180.
Does everyone feel like this when watching this movie? Is it supposed to turn us all into Ricks and then flip-flop us around leaving us utterly dazed and not knowing what hit us there for a second? Or is it just me? It almost felt like a spiritual experience! Almost! It was simply amazing! 10/10. Come what may, I'll always have Casablanca in my DVD collection!
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