Casablanca

Personally The Third Man is the best film ever, but this is up there. As innovative as Citizen Kane was, I'm gonna put this one ahead of it.

But in one way this film beats all others - the dialogue. Yes, the cinematography is great, the acting is second to none, but how many eternal lines of dialogue came from this? 'Here's looking at you, kid,' 'This is the beginning of a beautiful friendship,' 'We'll always have Paris,' 'Round up the usual suspects,' 'The problems of three little people don't amount to a hill of beans in this crazy world,' 'I'm shocked to find out that gambling is going on,' 'Of all the gin joints in all the towns in all the world, she walks into mine'.

As much as I prefer a happy ending, I'm gonna go ahead and say the ending felt perfect. It had to go that way. I think I'll end by saying Humphrey Bogart just might be the most watchable actor in cinematic history.

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'...

While there's not anything new to be said about "Casablanca", it's good to see one of the classics still getting some attention. By most standards it is at least very good, and there are good reasons why so many still remember it so fondly. Not everyone who watches it today shares the opinion that it is a classic, but it's still good to see fans of modern movies giving it a try for themselves.

The cast is one of its main strengths, not just Bogart and Bergman but also the fine supporting cast. Rains, Greenstreet, Lorre, and the others are indispensable to the atmosphere and the story, and each has some very good moments. It does have its imperfections, but it was not expected to be a classic or blockbuster - everything you read about the production suggests that it was made in a rather slap-dash fashion, under constraints that would have wrecked most other films. It's not hard to see the little ways that this affected the finished product, such as the times when the plot strains credibility a bit, or the characters seem to behave somewhat oddly. (In particular, it might have been even more satisfying if Bergman's character had been a little stronger - Ilsa is charming, but that's entirely thanks to what Bergman does with her; the character herself as written seems somewhat shallow.)

But it turned out anyway to be an excellent combination of actors, characters, and story, a combination that more than makes up for everything else. Different viewers probably remember and enjoy "Casablanca" for different reasons, because it seemingly has a little of everything. While perhaps not perfect, it is well worth remembering and watching.

Probably the most legendary movie of all time, I finally got to see it, it was a great hole in my movie-viewing history. And finally I got to understand why a classic movie like this has made its mark in history. The intricate political plot comes first, and sets the movie on a melting pot of the second world war, where everyone hopes and dies for an opportunity to reach the USA via Lisbon. This would provide sufficient material for hundreds of movies, but enter Humphrey Bogart, Ingrid Bergman, magnificent cinematography, role model storytelling, a perfect supporting cast, some of the best dialogue ever commited to celluloid and Dooley Wilson singing THAT song, and history was made. More than 60 years of jaw-drops are sufficient to give the sceptics a good reason to make them understand that this is probably the greatest classic movie of all times, and one of the best ever made in the past, present and future.

There is a scene about halfway through the movie Casablanca that has become commonly known as 'The Battle of the Anthems' throughout the film's long history. A group of German soldiers has come into Rick's Café American and are drunkenly singing the German National Anthem at the top of their voice. Victor Lazlo, the leader of the French Resistance, cannot stand this act and while the rest of the club stares appalled at the Germans, Lazlo orders the band to play 'Le Marseilles (sic?)' the French National Anthem. With a nod from Rick, the band begins playing, with Victor singing at the top of HIS voice. This in turn, inspires the whole club to begin singing and the Germans are forced to surrender and sit down at their table, humbled by the crowd's dedication. This scene is a turning point in the movie, for reasons that I leave to you to discover.

As I watched this movie again tonight for what must be the 100th time, I noticed there was a much smaller scene wrapped inside the bigger scene that, unless you look for it, you may never notice. Yvonne, a minor character who is hurt by Rick emotionally, falls into the company of a German soldier. In a land occupied by the Germans, but populated by the French, this is an unforgivable sin. She comes into the bar desperately seeking happiness in the club's wine, song, and gambling. Later, as the Germans begin singing we catch a glimpse of Yvonne sitting dejectedly at a table alone and in this brief glimpse, it is conveyed that she has discovered that this is not her path to fulfillment and she has no idea where to go from there. As the singing progresses, we see Yvonne slowly become inspired by Lazlo's act of defiance and by the end of the song, tears streaming down her face, she is singing at the top of her voice too. She has found her redemption. She has found something that will make her life never the same again from that point on.

Basically, this is Casablanca in a nutshell. On the surface, you may see it as a romance, or as a story of intrigue, but that is only partially correct.

The thing that makes Casablanca great is that it speaks to that place in each of us that seeks some kind of inspiration or redemption. On some level, every character in the story receives the same kind of catharsis and their lives are irrevocably changed. Rick's is the most obvious in that he learns to live again, instead of hiding from a lost love. He is reminded that there are things in the world more noble and important than he is and he wants to be a part of them. Louis, the scoundrel, gets his redemption by seeing the sacrifice Rick makes and is inspired to choose a side, where he had maintained careful neutrality. The stoic Lazlo gets his redemption by being shown that while thousands may need him to be a hero, there is someone he can rely upon when he needs inspiration in the form of his wife, who was ready to sacrifice her happiness for the chance that he would go on living. Even Ferrai, the local organized crime leader gets a measure of redemption by pointing Ilsa and Lazlo to Rick as a source of escape even though there is nothing in it for him.

This is the beauty of this movie. Every time I see it (and I have seen it a lot) it never fails that I see some subtle nuance that I have never seen before. Considering that the director would put that much meaning into what is basically a throw away moment (not the entire scene, but Yvonne's portion) speaks bundles about the quality of the film. My wife and I watched this movie on our first date, and since that first time over 12 years ago, it has grown to be, in my mind, the greatest movie ever made.