Casablanca

Casablanca was made and released in 1942, just 15 years after the introduction of synchronized sound in motion pictures. Here, some 67 years later, it is still considered one of the best films ever created. The “Golden Age” of Hollywood was beginning and the dawn of color was at hand. This film however, is Black & White. This added to the drama and tension that would elevate the story in uncountable ways. With an all-star cast of Humphrey Bogart, Ingrid Bergman, Claude Rains, Paul Henreid, and Sydney Greenstreet, and a host of recognizable faces in minor roles, the film was thought to be a sure success. Michael Curtiz (one of Warner Brothers most well-known directors) led the picture. Warner Brothers however, felt differently. It was a middle-of-the-pack picture for Jack L. Warner and was the baby for Producer Hal B. Wallis. Without Wallis, the film would not be what it is. He took care of the film. Warner paid little attention to it … until it suited him.

From the start there are trademarks of history and early Hollywood. A maybe obvious/maybe poignant voice-over sets the stage for the film. We are in a world of uncertainty and we are thrust into Rick Blaine’s (Bogart) world almost immediately. French Morocco is teeming with crime, masses of people caught in mid-journey and corrupt officers who take advantage of both. And enter Café Americain…the most popular (or perhaps 2nd most popular) club in Casablanca. Immediately, lighting sets a cynical mood. Throughout the opening scenes one sees the trouble many have getting out of town. Each takes the viewer to a time and place where trouble lurks around every corner. Rick hovers over his domain not like a king, but a God and we so immediately. Bogart’s acting chops are so finely tuned here that every twitch he makes is multi-layered. He’s slick, suave, and cold. He sticks his neck out for no one and he shows it. Captain Louis Renault (Claude Rains) is the closest thing Rick has to a friend, although it is in reality a peaceful coexistence between law and chaos as he allows Rick to run his club without much interference from local officials. The banter is terrific and has humor sprinkled throughout the film. Then without warning, she arrives-with someone else. Any man who’s been left with no explanation understands this “insides ripped out” feeling. She isn’t there to see him and is there for a purpose. Victor Laszlo (Henreid), her companion is there for a purpose. His presence is the catalyst for the film. What will happen to him in Casablanca? Rick has to decide whether to deal with his past or remain the cynic he has become. This sets the viewer up for a series of events that bring about some of the best and most memorable dialog in film history. Major Heinrich Strasser (Conrad Veidt) is a particular thorn in the side of many in Casablanca. Although Veidt himself escaped his homeland Germany and was feverishly against the Nazi regime personally, he played the part of a Nazi soldier well. He’s rude, conceited, and arrogant. The tightrope that Rick walks between Renault, Ilsa and Laszlo, and Strasser is a very tight one and uses his cleverness to the best of his ability. What does he do? Try and win Ilsa back, help them get away, or just leave it all alone to play out? And then, there’s Sam, Rick’s conscience, employee, and best friend. Their relationship is more brotherly than anything else and the film takes advantage of that many times.

The lighting is used extremely well by Curtiz. In shot after shot the characters exude emotion and the lighting captures this is many ways. In Renault/Rick’s banter, you see the good-natured ribbing and possible dark implications behind them. When Rick runs into Ilsa (Bergman) throughout the film, the lighting accentuates his pain. Ilsa looks flawless and Laszlo looks confident and rigid. The 1980s colorized version loses this edge. Casablanca is meant for Black & White. The screenplay is amazingly solid considering it was plagued by conflicts and problems throughout the filming and there were numerous writers adding and eliminating text. The result however, was magic. The balance between humor, politics, and tension is excellent. Line after line is performed with some manner of depth that makes the viewer wonder what will happen next. The editing was done very well by Owen Marks. He weaves several montages together to capture the proper emotions of the moment. The film isn’t perfect as there are several continuity issues and some of the few special effects are not done correctly. But many of them are so minute that they may have to be pointed out to be seen. However, a keen eye sees them immediately.

Routinely among the Top 5 in “Best Films” lists, Casablanca is a film that every movie fan should see. While the younger generations might have to be tempted or pressured to see older films, this is simply a necessity. The World War II era is one that should never be forgotten and although there are plenty of WWII films, this one has moments that showcase just how important winning was. They are moving and deep. While not perfectly historically accurate (nothing is really), it does relay the immediate need to fight. Beautifully shot, tremendous acting and direction, and an impressive screenplay took this film from being a run-of-the-mill picture for Warner Brothers to being a Classic to being a legendary film. The Box Office receipts of the time were average at best, but as they say…the cream rises to the top and Casablanca has. It deserves its reputation. No movie ever has 100% of its viewership like it, but most who see it can do nothing but simply smile when Bogart closes the film with ”… I think this is the beginning of a beautiful friendship.” After it’s over, you may just want to play it again; maybe not today or tomorrow-but soon.