Tuesday, November 20, 2007
From the Vault: Casablanca
It's still the same old story, a fight for love and glory, a case of do or die, and after 50 years, Casablanca retains its place as the quintessential Hollywood movie. Released originally in November 1942, the prints of Casablanca have been refurbished and re-released in honor of the Oscar-winning best picture of 1943.
The influence of the film on American culture and filmmaking cannot be overstated. It wasn't a technical groundbreaker like Citizen Kane or a stunning epic like Gone with the Wind, it was a movie more apt to be discovered on late-night television, whose poster adorns many a college student's wall and whose dialogue is recognized by people of all ages.
There were the obvious homages, like Woody Allen's Play It Again, Sam, Neil Simon's Bogart-tribute The Cheap Detective and the bad Sydney Pollack-Robert Redford collaboration Havana, but there also were subtler tributes. When Steven Spielberg traced Indiana Jones' route on a world map in Raiders of the Lost Ark, he took that from the opening of Casablanca. George Lucas copied the arrival of Major Strasser (Conrad Veidt) and his initial meeting with Capt. Renault (the incomparable Claude Rains) for Darth Vader's greeting of the Emperor in Return of the Jedi. When Julie Hagerty became obsessed with the number 22 on the roulette wheel in Albert Brooks' Lost in America, it was because Rick Blaine (Humphrey Bogart) rigged that number to allow the young couple to win on his gaming tables in Casablanca.
What should be remembered most about Michael Curtiz's film though are the wonderful cast and the sparkling dialogue by Julius J. Epstein, Philip G. Epstein and Howard Koch. Bogart was at the top of his form as the smooth cynic "who sticks his neck out for nobody," but who suffers from a broken heart and a violent past. Ingrid Bergman was stunningly beautiful as the woman who understandably left Bogart shattered. The cast was top-notch, from the waiters and bartenders at Rick's Cafe Americain to Peter Lorre as a "cut-rate parasite" and Sydney Greenstreet as the owner of the rival club, "The Blue Parrot."
However, in my opinion, the film's real star was Claude Rains as Capt. Louis Renault. His role is like the other roles, only more so. A self-proclaimed corrupt official, Rains' Louis sparks scenes with his sly wit. He could have been a villain but in Rains' hands, you can't help but love him.
Then, there is Dooley Wilson's Sam, singing his heart out on the now-classic "As Time Goes By. " Even the slightly hokey Paris flashbacks come off well.
Finally, there is possibly the most perfect ending of any Hollywood film. In the course of the film, a drunken Bogart lashes out at Bergman and tells her about stories with "wow endings." Curtiz's film delivers one of its own.
When things are looking hopeless in this plot, one character wishes for a miracle to which Rains replies, "The Germans have outlawed miracles." Fortunately, Hollywood used to be able to produce some miracles of its own and Casablanca was one of the greatest.
Labels: 40s, Claude Rains, Spielberg
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I sat up to 2:00 a.m. last night, when I stumbled on Graydon Carter chosing this on TCM as one of his picks from the vault.
It's #2 on my alltime favorite list. What struck me on this particular viewing were the tight shots, particularly on Bogart, and how beautifully he could hold them.
It's #2 on my alltime favorite list. What struck me on this particular viewing were the tight shots, particularly on Bogart, and how beautifully he could hold them.
I've always loved the unifying visual theme of spinning -- globes spinning in the opening sequence, overhead fans spinning, the propellers spinning. The rhythm of spinning and the sense that the world might spin off its axis (and Axis), is really thrilling, on top of the lovely performances and quotable dialogue. I'm shocked, shocked, that's it's not # 1 on everyone's list. But then again, it may not be the best movie ever, but it is the best friend among movies.
# posted by 
: 7:19 PM
: 7:19 PM
M.A., I had the TCM broadcast playing in the background last night while I was programming. It's not a good movie to write code to; I kept paying too much attention to the dialogue. (You know a good movie to write software to: 1974's The Texas Chainsaw Massacre.)
This is going to sound like sacrilege--well maybe not from the guy who dislikes Rear Window--but I used to think Casablanca was seriously overrated. "It's a nice three-star movie," I wrote back in 1985. Chalk it up to being young and foolish (put that pitchfork back, Ed Copeland!); I now see it for the masterpiece it is.
Here's Looking at You, Kid.
This is going to sound like sacrilege--well maybe not from the guy who dislikes Rear Window--but I used to think Casablanca was seriously overrated. "It's a nice three-star movie," I wrote back in 1985. Chalk it up to being young and foolish (put that pitchfork back, Ed Copeland!); I now see it for the masterpiece it is.
Here's Looking at You, Kid.
Rick: (to Ugarte)If I gave you any though I might (hate you).
I'll never forget that line and also:
Renault: Why attracted you to Casablanca?
Rick: the waters
Renault: Waters? Why we're surrounded by miles of desert.
rick: I was misinformed
The Epstein's script is just wonderful.
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I'll never forget that line and also:
Renault: Why attracted you to Casablanca?
Rick: the waters
Renault: Waters? Why we're surrounded by miles of desert.
rick: I was misinformed
The Epstein's script is just wonderful.
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