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Casablanca (1942)

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A cynical American expatriate struggles to decide whether or not he should help his former lover and her fugitive husband escape French Morocco.

Director:

Michael Curtiz

Writers:

Julius J. Epstein (screenplay), Philip G. Epstein (screenplay) | 3 more credits »
Popularity
1,027 ( 142)
Top Rated Movies #35 | Won 3 Oscars. Another 5 wins & 9 nominations. See more awards »

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Cast

Complete credited cast:
Humphrey Bogart ... Rick Blaine
Ingrid Bergman ... Ilsa Lund
Paul Henreid ... Victor Laszlo
Claude Rains ... Captain Louis Renault
Conrad Veidt ... Major Heinrich Strasser
Sydney Greenstreet ... Signor Ferrari
Peter Lorre ... Ugarte
S.Z. Sakall ... Carl (as S.K. Sakall)
Madeleine Lebeau ... Yvonne (as Madeleine LeBeau)
Dooley Wilson ... Sam
Joy Page ... Annina Brandel
John Qualen ... Berger
Leonid Kinskey ... Sascha
Curt Bois ... Pickpocket
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Storyline

The story of Rick Blaine, a cynical world-weary ex-patriate who runs a nightclub in Casablanca, Morocco during the early stages of WWII. Despite the pressure he constantly receives from the local authorities, Rick's cafe has become a kind of haven for refugees seeking to obtain illicit letters that will help them escape to America. But when Ilsa, a former lover of Rick's, and her husband, show up to his cafe one day, Rick faces a tough challenge which will bring up unforeseen complications, heartbreak and ultimately an excruciating decision to make. Written by Kyle Perez

Plot Summary | Plot Synopsis

Taglines:

Where Love Cuts as Deep as a Dagger! See more »

Genres:

Drama | Romance | War

Motion Picture Rating (MPAA)

Rated PG for mild violence | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

USA

Language:

English | French | German | Italian

Release Date:

23 January 1943 (USA) See more »

Also Known As:

Everybody Comes to Rick's See more »

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Box Office

Budget:

$950,000 (estimated)

Opening Weekend USA:

$181,494, 12 April 1992, Limited Release

Gross USA:

$1,024,560, 16 November 2017
See more on IMDbPro »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

| (cut)

Sound Mix:

Mono (RCA Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Prior to the film's release, gossip items circulated that Humphrey Bogart was taking Swedish lessons from Ingrid Bergman and that Paul Henreid had adopted his father's gardener's two daughters, refugees from Europe. Neither story, as it happens, was true. See more »

Goofs

When the Germans start singing, the bar behind them is empty. Moments later as Rick steps out of his office, a French officer has appeared at the end of the bar. Moments later the camera pans from the singing Germans to the bar where two old men have suddenly appeared and the French officer has shifted further down the bar. See more »

Quotes

[first lines]
Narrator: With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas. Lisbon became the great embarkation point. But, not everybody could get to Lisbon directly, and so a tortuous, roundabout refugee trail sprang up - Paris to Marseilles... across the Mediterranean to Oran... then by train, or auto, or foot across the rim of Africa, to Casablanca in French Morocco. Here, the fortunate ones through money, or ...
[...]
See more »

Alternate Versions

In the Italian version, the sequence where the Italian Officer Tonnelli meets Strasser is cut. See more »

Connections

Featured in AFI's 100 Years... 100 Heroes & Villains (2003) See more »

Soundtracks

Tango Delle Rose
(1928) (uncredited)
aka "The Song of the Rose"
Written by Filippo Schreier and Aldo Bottero
Performed by Corinna Mura (vocal and guitar)
See more »

Frequently Asked Questions

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User Reviews

 
The Fundamental Things Apply...
16 January 2005 | by slokesSee all my reviews

"Casablanca" remains Hollywood's finest moment, a film that succeeds on such a vast scale not because of anything experimental or deliberately earthshaking in its design, but for the way it cohered to and reaffirmed the movie-making conventions of its day. This is the film that played by the rules while elevating the form, and remains the touchstone for those who talk about Hollywood's greatness.

It's the first week in December, 1941, and in the Vichy-controlled African port city of Casablanca, American ex-pat Rick Blaine runs a gin joint he calls "Rick's Cafe Americaine." Everybody comes to Rick's, including thieves, spies, Nazis, partisans, and refugees trying to make their way to Lisbon and, eventually, America. Rick is a tough, sour kind of guy, but he's still taken for a loop when fate hands him two sudden twists: A pair of unchallengeable exit visas, and a woman named Ilsa who left him broken-hearted in Paris and now needs him to help her and her resistance-leader husband escape.

Humphrey Bogart is Rick and Ingrid Bergman is Ilsa, in roles that are archetypes in film lore. They are great parts besides, very multilayered and resistant to stereotype, and both actors give career performances in what were great careers. He's mad at her for walking out on him, while she wants him to understand her cause, but there's a lot going on underneath with both, and it all spills out in a scene in Rick's apartment that is one of many legendary moments.

"Casablanca" is a great romance, not only for being so supremely entertaining with its humor and realistic-though-exotic wartime excitement, but because it's not the least bit mushy. Take the way Rick's face literally breaks when he first sees Ilsa in his bar, or how he recalls the last time he saw her in Paris: "The Germans wore gray, you wore blue." There's a real human dimension to these people that makes us care for them and relate to them in a way that belies the passage of years.

For me, and many, the most interesting relationship in the movie is Rick and Capt. Renault, the police prefect in Casablanca who is played by Claude Rains with a wonderful subtlety that builds as the film progresses. Theirs is a relationship of almost perfect cynicism, one-liners and professions of neutrality that provide much humor, as well as give a necessary display of Rick's darker side before and after Ilsa's arrival.

But there's so much to grab onto with a film like this. You can talk about the music, or the way the setting becomes a living character with its floodlights and Moorish traceries. Paul Henreid is often looked at as a bit of a third wheel playing the role of Ilsa's husband, but he manages to create a moral center around which the rest of the film operates, and his enigmatic relationship with Rick and especially Ilsa, a woman who obviously admires her husband but can't somehow ever bring herself to say she loves him, is something to wonder at.

My favorite bit is when Rick finds himself the target of an entreaty by a Bulgarian refugee who just wants Rick's assurance that Capt. Renault is "trustworthy," and that, if she does "a bad thing" to secure her husband's happiness, it would be forgivable. Rick flashes on Ilsa, suppresses a grimace, tries to buy the woman off with a one-liner ("Go back to Bulgaria"), then finally does a marvelous thing that sets the whole second half of the film in motion without much calling attention to itself.

It's not fashionable to discuss movie directors after Chaplin and before Welles, but surely something should be said about Michael Curtiz, who not only directed this film but other great features like "Captain Blood" and "Angels With Dirty Faces." For my money, his "Adventures Of Robin Hood" was every bit "Casablanca's" equal, and he even found time the same year he made "Casablanca" to make "Yankee Doodle Dandy." When you watch a film like this, you aren't so much aware of the director, but that's really a testament to Curtiz's artistry. "Casablanca" is not only exceptionally well-paced but incredibly well-shot, every frame feeling well-thought-out and legendary without distracting from the overall story.

Curtiz was a product of the studio system, not a maverick like Welles or Chaplin, but he found greatness just as often, and "Casablanca," also a product of the studio system, is the best example. It's a film that reminds us why we go back to Hollywood again and again when we want to refresh our imaginations, and why we call it "the dream factory." As the hawker of linens tells Ilsa at the bazaar, "You won't find a treasure like this in all Morocco." Nor, for that matter, in all the world.


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