{{Infobox Film | name = Casablanca | image = Casablanca poster.jpg | imdb_id = 0034583 | writer = [[Julius J. Epstein]],
[[Philip G. Epstein]],
[[Howard Koch (screenwriter)|Howard Koch]] | starring = [[Humphrey Bogart]],
[[Ingrid Bergman]],
[[Paul Henreid]],
[[Claude Rains]],
[[Conrad Veidt]],
[[Sydney Greenstreet]],
[[Peter Lorre]]
[[S.Z. Sakall]]| director = [[Michael Curtiz]] | producer = [[Hal B. Wallis]] | distributor = [[Warner Brothers]] | released = [[November 26]], [[1942]] | runtime = 102 min. | language = English | music = | awards = | budget = $950,000 (est.) }} {{dablink|This article is about the 1942 film. For other uses, see [[Casablanca (disambiguation)]].}} '''''Casablanca''''' is a [[1942 in film|1942]] [[romantic film]] set during [[World War II]] in the [[Vichy France|Vichy]]-controlled [[Morocco|Moroccan]] city of [[Casablanca]]. The film was directed by [[Michael Curtiz]], and stars [[Humphrey Bogart]] as Rick Blaine and [[Ingrid Bergman]] as Ilsa Lund. It focuses on Rick's conflict between, in the words of one character, [[love]] and [[virtue]]: he must choose between his love for Ilsa and his need to do the right thing by helping her husband, [[Resistance movement#World War II|Resistance]] hero Victor Laszlo, escape from Casablanca and continue his fight against the [[Nazism|Nazis]]. The film was an immediate hit, and it has remained consistently popular ever since. [[Film critic|Critic]]s have praised the charismatic performances of Bogart and Bergman, the chemistry between the two leads, the depth of [[Fictional character|characterisation]], the taut [[Film director|direction]], the witty [[screenplay]] and the emotional impact of the work as a whole. ==Plot== {{spoiler}} [[Humphrey Bogart]] plays Rick Blaine, the owner of an upscale club and gambling den in the [[Moroccan]] city of [[Casablanca]] which attracts a mixed clientele of [[Vichy French]] and [[Nazism|Nazi]] officials, refugees and thieves. Rick is a bitter and cynical man, who professes to be neutral in all matters, but still displays a clear dislike for the [[fascism|fascist]] part of his clientele. A petty crook, Guillermo Ugarte ([[Peter Lorre]]), arrives in Rick's club with "letters of transit" he has obtained by killing two German couriers. The papers allow the bearer to travel freely around German-controlled Europe, including to neutral [[Lisbon]], [[Portugal]], and from there to the [[United States of America|United States]]. They are almost priceless to any of the continual stream of refugees who end up stranded in Casablanca. Ugarte plans to make his fortune by selling them to the highest bidder, who is due to arrive at the club later that night. However, before the exchange can take place, Ugarte is arrested by the local police, under the command of Rick's friend Captain Renault ([[Claude Rains]]). As a corrupt Vichy official, Renault accommodates the Nazis, but remains ambivalent about their influence in Casablanca. Unbeknownst to either Renault or the Nazis, Ugarte had left the letters with Rick for safekeeping, because "...somehow, just because you despise me, you are the only one I trust." At this point, the reason for Rick's bitterness re-enters his life. His Norwegian ex-lover, Ilsa Lund ([[Ingrid Bergman]]) arrives with her husband, Victor Laszlo ([[Paul Henreid]]), to purchase the letters. Laszlo is a famous [[Resistance movement#World War II|Resistance]] leader from [[Czechoslovakia]] with a huge price placed on his head by the Nazis, and they must have the letters to escape to America to continue his work. At the time Ilsa first met and fell in love with Rick in Paris, she believed her husband had been killed by the Nazis. When she discovered that he was in fact still alive, she left Rick abruptly without explanation and returned to Laszlo, leaving Rick feeling betrayed. After the bar closes, Ilsa returns to try and explain all this, but he bitterly refuses to listen. The next night, Laszlo, suspecting Rick has the letters, speaks privately with him about obtaining them, but they are interrupted when a group of [[Germany|German]] officers, led by Major Strasser ([[Conrad Veidt]]), begins to sing "[[Die Wacht am Rhein|Wacht am Rhein]]", a German patriotic song from the [[nineteenth century]] (the producers wanted to use the more Nazi-oriented "[[Horst-Wessel-Lied]]", but it was copyrighted by a German publisher). Infuriated, Laszlo orders the house band to play "[[La Marseillaise]]". The band leader looks to Rick for permission; he nods his head. Laszlo starts singing, alone at first; growing patriotic fervor overtakes the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser orders Renault to close the club. That night, Ilsa confronts Rick in the deserted cafe. Despite his initial refusal to give her the documents, even when threatened with a gun, Rick eventually decides to help Laszlo. He and Ilsa reaffirm their love for each other and she is led to believe that she will stay with Rick when Laszlo leaves. Renault is forced at gunpoint to assist in the escape. At the last moment, Rick makes Ilsa get on the plane with Laszlo, telling her that she would regret it if she stayed. "Maybe not today. Maybe not tomorrow, but soon and for the rest of your life." Major Strasser drives up, tipped off by Renault, but Rick shoots him when he tries to intervene. When the police arrive, Renault saves his life by telling them to "[[Round up the usual suspects]]". He then suggests to Rick that they both go join the [[Free French]]. They disappear into the fog with one of the most memorable exit lines in movie history: "Louis, I think this is the beginning of a beautiful friendship." {{endspoiler}} ==Production== [[Image:Casabl meetrick.jpg|left|thumb|300px|The main characters, from left to right: Rick Blaine, Captain Renault, Victor Laszlo and Ilsa Lund]] The film was based on [[Murray Burnett]] and [[Joan Alison]]'s then-unproduced [[play]] ''[[Everybody Comes to Rick's]]''. The story analyst at [[Warner Brothers]] who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum", and story editor Irene Diamond convinced [[film producer|producer]] [[Hal Wallis]] to buy the rights for $20,000, the most anyone in [[Hollywood]] had ever paid for an unproduced play. The project was renamed ''Casablanca'', apparently in imitation of the 1938 hit ''[[Algiers (film)|Algiers]]''.Harmetz p. 30. Shooting began on [[May 25]], [[1942]] and was completed on [[August 3]]. The entire film was shot in the studio, except for the sequence filmed at [[Van Nuys Airport]] showing the arrival of Major Strasser. The street used for the exterior shots had recently been built for another film, ''[[The Desert Song]]'', and was redecorated and used for the [[Paris]] [[flashback (literary technique)|flashback]]s. It remained on the Warners [[backlot]] until the 1960s. The set for Rick's cafe was built in three unconnected parts, so the internal layout of the building is indeterminate. In a number of scenes, the camera looks through a wall from the cafe area into Rick's office. The background of the final scene, which shows a [[Lockheed Model 12 Electra Junior]] airplane with personnel walking around it, was staged using [[midget]] [[extra (actor)|extra]]s and a proportionate cardboard plane because of budgetary and wartime rationing constraints. Fog was used to mask the model's unconvincing appearance. Bergman's height caused some problems. She was one and a half inches taller than Bogart, so he sometimes had to stand on boxes or sit on cushions in their scenes together. The film cost a total of $950,000, slightly over budget, but average for the time. Bogart was called in a month after shooting was finished to dub in the final line ("Louis, I think this is the beginning of a beautiful friendship.") Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies' 1942 invasion of North Africa; however it proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after [[David O. Selznick]] judged that "it would be a terrible mistake to change the ending."Harmetz pp. 280-81. ===Writing=== The original play was inspired by a 1938 trip to Europe by Murray Burnett, during which he visited [[Vienna]] shortly after the [[Anschluss]], as well as the south coast of [[France]], which had uneasily coexisting populations of Nazis and refugees. The latter locale provided the inspirations for both Rick's cafe (the nightclub Le Kat Ferrat) and the character of Sam (a black piano player Burnett saw in [[Juan-les-Pins]]). In the play, the Ilsa character was an American named Lois Meredith and did not meet Laszlo until after her relationship with Rick in Paris had ended; Rick was a lawyer. The first main writers to work on the script for Warners were the Epstein twins ([[Julius J. Epstein|Julius]] and [[Philip G. Epstein|Philip]]), who removed Rick's background and added more elements of [[comedy]]. The other credited writer, [[Howard Koch (screenwriter)|Howard Koch]], joined later, but worked in parallel with the Epsteins, despite their differing emphases (Koch highlighting the [[political]] and [[melodrama|melodramatic]] elements). Important scenes were also added by the uncredited [[Casey Robinson]], who contributed the series of meetings between Rick and Ilsa in the cafe. Curtiz seems to have favoured the [[Romantic love|romantic]] elements, insisting on retaining the [[flashback (literary technique)|flashback]] Paris scenes. One of the most famous lines— "here's looking at you"— is not in the draft screenplays, and has been attributed to the [[poker]] lessons Bogart was giving Bergman in between takes.Harmetz p. 187. The final line of the film was written by Wallis after shooting had been completed, and film critic [[Roger Ebert]] calls Wallis the "key creative force" for his attention to the details of production (down to insisting on a real [[parrot]] in the Blue Parrot bar).Ebert, Roger. Commentary to ''Casablanca'' (Two-Disc Special Edition DVD). Despite the many different writers, the film has what Ebert describes as a "wonderfully unified and consistent" script. Koch later said that it was the tension between his own approach and that of Curtiz which accounted for this: "surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance".Quoted in Sorel, Edward (1990). [http://www.americanheritage.com/articles/magazine/ah/1991/8/1991_8_92.shtml Footnotes to History”] in ''American Heritage'' February 19990. Julius Epstein would later note that the screenplay contained "more corn than in the states of Kansas and Iowa combined. But when corn works, there's nothing better."Quoted in [http://archives.cnn.com/2001/SHOWBIZ/News/01/01/euroshorts/ 'Casablanca' writer dies at 91] on CNN.com, [[January 1]] [[2001]]. The film ran into some trouble from [[Joseph Breen]] of the [[production code|Production Code Administration]] (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favours from his supplicants and that Rick and Ilsa had slept together in Paris. Both, however, remained strongly implied in the finished version. ===Direction=== Wallis' first choice for [[Film director|director]] was [[William Wyler]], but when Wyler was unavailable, Wallis turned to his close friend [[Michael Curtiz]].Harmetz p. 75. Curtiz was a [[Hungary|Hungarian ]] [[Jew]]ish emigre; he had come to the U.S. in the 1920s, but some of his family were refugees from Nazi Europe. [[Roger Ebert]] has commented that in Casablanca "very few [[Shot (filming)|shot]]s ... are memorable as shots", Curtiz being concerned to use images to tell the story rather than for their own sake. However, he had relatively little input into the development of the plot: Casey Robinson said that Curtiz "knew nothing whatever about story... he saw it in pictures, and you supplied the stories".Quoted in Ebert commentary. Critic [[Andrew Sarris]] called the film "the most decisive exception to the [[auteur theory]]",Sarris, Andrew (1968). ''The American Cinema: Directors and Directions 1929-1968'' (New York: Dutton, 1968), p. 176. to which [[Aljean Harmetz]] responded that, "nearly every Warner Bros. picture was an exception to the auteur theory".Harmetz p. 75. Other critics give more credit to Curtiz: Sidney Rosenweig, in his study of the director's work, sees the film as a typical example of Curtiz's highlighting of moral dilemmas.Rosenzweig pp 158-159. The [[second unit]] [[Film editing|montage]]s, such as the opening sequence of the refugee trail and that showing the invasion of France, were directed by [[Don Siegel]].Harmetz p. 264. ===Cinematography=== [[Image:Cross of Lorraine.jpg|right|thumb|100px|The [[Cross of Lorraine]], emblem of the Free French]]The [[cinematographer]] was [[Arthur Edeson]], a veteran who had previously shot ''[[The Maltese Falcon#1941 Film|The Maltese Falcon]]'' and ''[[Frankenstein (1931 film)|Frankenstein]]''. Particular attention was paid to photographing Bergman: she was shot mainly from her preferred left side, often with a softening gauze filter and with [[catch light]]s to make her eyes sparkle. The whole effect was designed to make her face seem "ineffably sad and tender and nostalgic". Bars of shadow across the characters and in the background variously imply imprisonment, the [[crucifix]], the [[Free French]] symbol and emotional turmoil. Dark ''[[film noir]]'' and [[expressionist]] lighting is used in several scenes, particularly towards the end of the picture. Rosenzweig argues that these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.Rosenzweig p. 7. ===Music=== The [[Film score|score]] was written by [[Max Steiner]], who was best known for the musical score for ''[[Gone with the Wind (film)|Gone with the Wind]]''. The song "[[As Time Goes By (song)|As Time Goes By]]" by [[Herman Hupfeld]] had been part of the story from the original play; Steiner wanted to write his own song to replace it, but he had to abandon his plan because Bergman had already cut her hair short for her next role and could not re-shoot the scenes which mentioned the song. So Steiner based the entire score on it (and "[[La Marseillaise]]"), transforming them to reflect the changing moods of the movie.Harmetz pp. 257-58. Particularly notable is the "duel of the songs", in which "La Marseillaise" is played by a full [[orchestra]] rather than just the small band actually present in Rick's club, competing against the Germans singing "[[Die Wacht am Rhein]]" at the piano. Other songs include "It Had to Be You" from 1924 with lyrics by [[Gus Kahn]] and music by [[Isham Jones]], "Knock on Wood" with music by [[M.K. Jerome]] and lyrics by [[Jack Scholl]] and [[Shine_(Cecil_Mack_song)|Shine]] from 1910 by Cecil Mack and Lew Brown with music by Ford Dabney. ==Reception== Reaction to the film at previews before release was described as "beyond belief". It premiered at the Hollywood Theater in [[New York City]] on [[November 26]] [[1942]], to coincide with the Allied invasion of North Africa and the capture of Casablanca; it went into general release on [[January 23]] [[1943]], to take advantage of the [[Casablanca conference]], a high-level meeting between Churchill and Roosevelt in the city. It was a substantial but not spectacular box-office success, taking $3.7 million on its initial U.S. release (making it the seventh best-selling film of 1943).Harmetz p. 12. Initial critical reaction was generally positive, with [[Variety (magazine)|Variety]] describing it as "splendid anti-Axis propaganda"; as Koch later said, "it was a picture the audiences needed... there were values... worth making sacrifices for. And it said it in a very entertaining way." Other reviews were less enthusiastic: ''[[The New Yorker]]'' rated it only "pretty tolerable".Harmetz pp. 12-13. The [[United States Office of War Information|Office of War Information]] prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.Harmetz p. 286. The film's theme song, "As Time Goes By", enjoyed its own success, spending 21 weeks on the [[hit parade]]. At the 1944 [[Academy Awards|Oscar]]s, the film won three awards; [[Best Adapted Screenplay]], [[Best Director]], and [[Best Picture]]. Wallis' resentment when Jack Warner rather than he collected the best picture award led to the severing of ties between him and the studio in April that year.Harmetz pp. 321-24. The film has maintained its popularity: Murray Burnett has called it "true yesterday, true today, true tomorrow". By 1955 the film had brought in $6.8 million dollars, although this still left it only the third most successful of Warners' wartime movies (behind ''[[Shine On, Harvest Moon]]'' and ''[[This is the Army]]'').Harmetz p. 283. On [[April 21]] [[1957]], the [[Brattle Theater]] of [[Cambridge, Massachusetts]] showed the film as part of a season of old movies. It was so popular that it began a tradition of screening ''Casablanca'' during the week of final exams at [[Harvard University]] which continues to the present day, and it is emulated by many colleges across the [[United States]]. [[Todd Gitlin]], a professor of sociology who himself attended one of these screenings, had said that the experience was, "the acting out of my own personal rite of passage".Harmetz p. 343. The tradition helped the movie remain popular while other famous films of the 1940s have faded away, and by 1977 ''Casablanca'' was the most frequently broadcast film on American television.Harmetz p. 346. However, there has been anecdotal evidence that Casablanca may have made a deeper impression among film-lovers than within the professional movie-making establishment. In the November/December 1982 issue of "American Film", Chuck Ross claimed that he had retyped the screenplay to Casablanca, using the play title ''Everybody Comes to Ricks''; submitting it to 217 agencies. 85 of them read it, of which 38 rejected it outright, 33 generally recognized it (but only eight specifically as Casablanca), three declared it commercially viable, and one suggested turning it into a novel. ===Critical response=== Critics have subjected ''Casablanca'' to many different readings. [[William Donelley]], in his ''Love and Death in Casablanca'', argues that Rick's relationship with Sam, and subsequently with Renault, is, "a standard case of the repressed homosexuality that underlies most American adventure stories".Rosenzweig p. 78. [[Harvey Greenberg]] presents a [[Freudian]] reading in his ''The Movies on Your Mind'', in which the transgressions which prevent Rick from returning to the US constitute an [[Oedipus complex]], which is resolved only when Rick begins to identify with the father figure of Laszlo and the cause which he represents.Rosenzweig p. 79. Sidney Rosenzweig argues that such readings are reductive, and that the most important aspect of the film is its ambiguity, above all in the central character of Rick; he cites the different names which each character gives Rick (Richard, Ricky, Mr Rick, Herr Blaine and so on) as evidence of the different meanings which he has for each person.Rosenzweig p. 81. Roger Ebert has claimed that the film is "probably on more lists of the [[Films that have been considered the greatest ever|greatest films of all time]] than any other single title, including ''[[Citizen Kane]]''", because of its wider appeal; while ''Citizen Kane'' is "greater", ''Casablanca'' is more loved. Behlmer also emphasises the variety in the picture: "it’s a blend of [[drama]], [[melodrama]], [[comedy]] [and] intrigue". Ebert says that he has never heard of a negative review of the film, even though individual elements can be criticised (he cites the unrealistic [[special effect]]s and the stiff character/portrayal of Laszlo). Ebert has also said that the film is popular because "the people in it are all so good". As the Resistance hero, Laszlo is ostensibly the most noble, although he is so stiff that he is hard to like. The other characters, in [[Rudy Behlmer]]'s words, are "not cut and dried": they come into their goodness in the course of the film. Renault begins the film as a collaborator with the Nazis, who extorts sexual favours from [[refugee]]s and has Ugarte killed. Rick, according to Behlmer, is "not a hero, ... not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody". Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end of the film, however, "everybody is sacrificing". A dissenting note comes from [[Umberto Eco]], who wrote that "by any strict critical standards... ''Casablanca'' is a very mediocre film". He sees the changes the characters undergo as inconsistency rather than complexity: "It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects". However, he argues that it is this inconsistency which accounts for the film's popularity by allowing it to include a whole series of [[archetype]]s: unhappy [[love]], flight, passage, waiting, [[Sexual attraction|desire]], the triumph of purity, the faithful servant, the [[love triangle]], [[beauty and the beast]], the enigmatic woman, the ambiguous adventurer and the redeemed [[drunkard]]. Centermost is the idea of [[sacrifice]]: "the [[mythology|myth]] of sacrifice runs through the whole film".Eco, Umberto (1994). ''Signs of Life in the USA: Readings on Popular Culture for Writers'' (Sonia Maasik and Jack Solomon, eds.) Bedford Books. ===Influence=== Many subsequent films have drawn on elements of ''Casablanca'': ''[[Passage to Marseille]]'' reunited Bogart, Rains, Curtiz, Greenstreet and Lorre in 1944, while there are many similarities between ''Casablanca'' and a later Bogart film, ''[[Sirocco (film)|Sirocco]]''. Parodies have included the [[Marx Brothers]]' ''[[A Night in Casablanca]]'' (1946), [[Woody Allen]]'s ''[[Play It Again, Sam]]'' (1972), [[Neil Simon]]'s ''[[The Cheap Detective]]'' (1978), and ''[[Barb Wire]]'' (1996), while it provided the title for the 1995 hit ''[[The Usual Suspects]]''. [[Warner Brothers]] produced its own parody of the film in ''[[Carrotblanca]]'', a 1995 [[Bugs Bunny]] [[cartoon]]. This is included on the special edition [[DVD]] release. The website [[angryalien.com]] produced a remake of Casablanca in its 30-Second Bunnies Theater. In the movie ''[[Adaptation]]'' (2002), Casablanca is referenced as the greatest screenplay of all time, and the aspect of two brothers writing the screenplay is an important thematic device used in the film Adaptation. ==Sequels and other versions== [[Image:Casablanca (colorized).jpg|right|thumb|Scenes from the controversial, colorized version.]] Almost from the moment ''Casablanca'' became a hit, talk began of producing a sequel. One entitled ''Brazzaville'' (in the final scene, Renault recommends that he and Rick flee to the Free French city) was planned, but never produced. There have been two short-lived [[television series]] based upon ''Casablanca'', both of which are considered [[prequel]]s to the movie. The first aired from 1955 to 1956 (with [[Charles McGraw]] as Rick and [[Marcel Dalio]], who played Emil the [[croupier]] in the movie, as Renault); it was aired on [[American Broadcasting Company|ABC]] as part of the [[wheel series]] ''[[Warner Bros. Presents]]''. Another series, briefly aired on [[NBC]] in 1983, starred [[David Soul]] as Rick and included [[Ray Liotta]] as Sacha and [[Scatman Crothers]] as a somewhat elderly Sam. Media reports have occasionally arisen about plans to either produce a sequel, or an outright remake of ''Casablanca'', but as of 2006 no studio has seriously put such plans into action. [[François Truffaut]] refused an invitation to remake the film in 1974, citing the "cult" status of the film among American students as his reason.Harmetz p. 342. To date, the only authorized sequel to ''Casablanca'' has been the novel, ''As Time Goes By'', written by [[Michael Walsh]] and published in 1998. Walsh picks up where the movie leaves off, and also tells of Rick's mysterious past in America. [[David Thomson (film critic)|David Thomson]] provided an unofficial sequel in his 1985 novel ''Suspects''. ''Casablanca'' was also part of the [[film colorization]] controversy during the 1980s when a color version of the film aired on [[Australia|Australian]] television. This was briefly made available on home video, but its unpopularity with fans caused the altered version to fade away, though the colorized version is still broadcast in other places, such as Hong Kong. A [[radio]] adaptation of the film was broadcast on [[April 26]] [[1943]], again starring Bogart, Bergman and Henreid, while a second version on [[January 24]] [[1944]] featured [[Hedy Lamarr]] as Ilsa. [[Julius Epstein]] made two attempts to turn the film into a [[Broadway musical]], in 1951 and 1967, but neither made it to the stage.Harmetz p. 338. The original play, ''Everybody Comes to Rick's'', was produced in [[Newport, Rhode Island]] in August 1946, and again in London in April 1991, but met with no success.Harmetz p. 331. In the Spanish dubbing during the [[Spain under Franco|Franco era]], the fact that Rick had worked for the [[Second Spanish Republic]] during the [[Spanish Civil War]] was edited out. ==Cast== [[Image:Bergman Casablanca.jpg|thumb|right|The iconic Ingrid Bergman [[close-up]] which became one of the most enduring stills from Casablanca ]] The cast is notable for its internationalism: only three of the credited actors were born in the U.S. The three top-billed actors were: *[[Humphrey Bogart]] as Rick Blaine. The [[New York City]]-born Bogart became a star with ''Casablanca''. Earlier in his career, he had been [[Typecasting (acting)|typecast]] as a [[gangster]], playing characters called Bugs, Rocks, Turkey, Whip, Chips, Gloves and Duke (twice). ''[[High Sierra]]'' (1941) had allowed him to play a character with some warmth, but Rick was his first truly romantic role. *[[Ingrid Bergman]] as Ilsa Lund. Bergman's official website calls Ilsa her "most famous and enduring role". The [[Sweden|Swedish]] actress's [[Hollywood]] debut in ''[[Intermezzo (1939 film)|Intermezzo]]'' had been well received, but her subsequent films were not major successes — until ''Casablanca''. Ebert calls her "luminous", and comments on the chemistry between her and Bogart: "she paints his face with her eyes". Other actresses considered for the role of Ilsa had included [[Ann Sheridan]], [[Hedy Lamarr]] and [[Michèle Morgan]]; Wallis obtained the services of Bergman, who was contracted to [[David O. Selznick]], by giving [[Olivia de Havilland]] in exchange.Harmetz pp 88, 89, 92, 95. *[[Paul Henreid]] as Victor Laszlo. Henreid, an [[Austria]]n actor who fled Nazi Germany in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to [[Pauline Kael]]Harmetz p. 99.), until he was promised top billing along with Bogart and Bergman. Henreid did not get on well with his fellow actors (he considered Bogart "a mediocre actor", while Bergman called Henreid a "prima donna").Harmetz p. 97. The second-billed actors were: *[[Claude Rains]] as Captain Louis Renault. Rains was an [[England|English]] actor, born in [[London]]. He had previously worked with Michael Curtiz on ''[[The Adventures of Robin Hood (film)|The Adventures of Robin Hood]]''. *[[Sydney Greenstreet]] as Signor Ferrari, the rival clubowner. Another Englishman, Greenstreet had made his film debut with Lorre and Bogart in ''[[The Maltese Falcon]]''. *[[Peter Lorre]] as Signor Ugarte. Lorre was a Hungarian character actor who left Germany in 1933. *[[Conrad Veidt]] as Major Strasser of the [[SS]]. He was a German actor who had appeared in ''[[The Cabinet of Dr. Caligari (1920 film)|The Cabinet of Dr. Caligari]]'' (1920) before fleeing from the Nazis and ending his career playing Nazis in U.S. films. Also credited were: *[[Dooley Wilson]] as Sam. He was one of the few American members of the cast. A [[drummer]], he could not play the piano. Hal Wallis had considered changing the role of Sam to a female character ([[Hazel Scott]] and [[Ella Fitzgerald]] were candidates), and even after shooting had been completed, Wallis considered dubbing over Wilson's voice for the songs. Harmetz pp. 139-40, 260. *[[Joy Page]] as Annina Brandel, the young [[Bulgaria]]n refugee, the third, credited American, was studio head [[Jack Warner]]'s step-daughter. *[[Madeleine LeBeau]] as Yvonne, Rick's soon-discarded girlfriend. The French actress was Marcel Dalio's wife until their [[divorce]] in 1942. *[[S.Z. Sakall|S.Z. (or S. K.) "Cuddles" Sakall]] as Carl, the waiter, was a Hungarian actor who fled from Germany in 1939. A friend of Curtiz's since their days in Budapest, his three sisters died in a concentration camp. *[[Curt Bois]] as the pickpocket, was a German [[Jew]]ish actor and another refugee. He may have a claim to the longest film career of any actor, making his first appearance in 1907 and his last in 1987. *[[John Qualen]] as Laszlo's Resistance contact, Berger, was born in [[Canada]], but grew up in America. He appeared in many of [[John Ford]]'s movies. *[[Leonid Kinskey]] as Sascha, was born in [[Russia]]. Notable uncredited actors were: * [[Marcel Dalio]] as Emil the [[croupier]]. He had been a star in French cinema, appearing in [[Jean Renoir]]'s ''[[La Grande Illusion]]'' and ''[[The Rules of the Game|La Regle de Jeu]]'', but after he fled the fall of France, he was reduced to bit parts in Hollywood. He also was a key performer in another of Bogart's films, ''[[To Have and Have Not (film)|To Have and Have Not]]''. * [[Helmut Dantine]] as Jan Brandel, the Bulgarian roulette player. Another Austrian, he had spent time in a [[concentration camp]] after the [[Anschluss]]. * [[Norma Varden]] as the befuddled Englishwoman. She was a famous English character actress. Part of the emotional impact of the film has been attributed to the large proportion of European exiles and [[refugee]]s among the [[extra]]s and in the minor roles. A witness to the filming of the "duel of the songs" sequence said he saw many of the actors crying, and, "realised that they were all real refugees". Harmetz p. 213. Harmetz argues that these refugees, "brought to a dozen small roles in ''Casablanca'' an understanding and a desperation that could never have come from Central Casting".Harmetz p. 214. The German citizens among them nevertheless had to keep curfew as [[enemy alien]]s, and they were frequently cast as the Nazis from whom they had fled. Some of the exiled foreign actors were: * [[Wolfgang Zilzer]] who is shot in the opening scene of the movie, was a silent movie actor in Germany who left when the Nazis took over. He later married Casablanca actress Lotte Palfi. * [[Hans Twardowski]] as a Nazi officer who argues with a French officer over Yvonne. Born in Stettin, Germany (today [[Szczecin]], [[Poland]]), he fled Germany not because he was Jewish, but because he was a homosexual. * [[Ludwig Stössel]] as Mr. Leuchtag, the German refugee whose English is not so good. Born in Austria, the Jewish actor was imprisoned following the Nazi [[Anschluss]]. When he was released, he left for England and then America. Stössel became famous for doing a long series of commercials for Gallo wine producers. Dressed in an Alpine hat and [[lederhosen]], Stössel was their spokesman. His motto was, "That Little Old Winemaker, Me!" * [[Ilka Grünig]] as Mrs. Leuchtag. Born in [[Vienna]], she was a silent movie star in Germany who came to America after the Anschluss. * [[Lotte Palfi]] as the refugee trying to sell her diamonds. Born in Germany, she played stage roles at a prestigious theater in [[Darmstadt]], Germany. She journeyed to America after the Nazis came to power in 1933. She later married another Casablanca actor, Wolfgang Zilzer. * [[Trude Berliner]] as a [[baccarat]] player in Rick's. Born in Berlin, she was a famous cabaret performer and film actress. Being Jewish, she left Germany in 1933. * [[Louis V. Arco]] as another refugee in Rick's. Born Lutz Altschul in Austria, he moved to America shortly after the Anschluss and changed his name. * [[Richard Ryen]] as Strasser's aide, Colonel Heinze. The Austrian Jew acted in German films, but fled the Nazis. ==Myths== Several myths have grown up around the film, one being that [[Ronald Reagan]] was originally chosen to play Rick. This originates in a press release issued by the [[movie studio|studio]] early on in the film's development, but by that time the studio already knew that he was due to go into the army, and he was never seriously considered.Harmetz p. 74. Another well-known myth is that the actors did not know until the last day of shooting how the film was to end. The original play (set entirely in the cafe) ended with Rick sending Ilsa and Victor to the [[airport]]. During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Behlmer points out, "there was only one dramatically viable real possibility: Ilsa and Laszlo take the plane". It was certainly impossible for Ilsa to leave Laszlo for Rick, as the [[production code]] forbade showing a woman leaving her husband for another man. Such dispute as there was concerned not whether Ilsa would leave with Laszlo, but how this result could be engineered.Harmetz p. 229. The confusion was most likely caused by Bergman's later statement that she didn't know which man she was meant to be in love with. While rewrites did occur during the filming, [[Aljean Harmetz]]' examination of the scripts has shown that many of the key scenes were shot after Bergman knew how the film would end: any confusion was, in Ebert's words, "emotional", not "factual". Perhaps the most famous myth is the belief that Ilsa says "Play it again, Sam." See [[Casablanca (film)#Quotes|Quotes]] for the actual wording. ==Errors== The film has several logical flaws, the foremost being the two "letters of transit" which enable their bearers to leave [[Vichy France|Vichy French]] territory. It is unclear whether Ugarte says the letters had been signed by Vichy General [[Maxime Weygand]] or [[Free French]] leader General [[Charles de Gaulle]]. The English subtitles on the official DVD read "de Gaulle", while the French ones specify "Weygand". ''{{Audio|Lettersoftransit.ogg|listen}}'' Weygand had been the Vichy Delegate-General for the [[French colonial empire|North African colonies]] until a month before the film is set (and a year after it was written). De Gaulle was at the time the head of the Free French government, the enemy of the Vichy regime controlling Morocco. A Vichy [[court martial]] had convicted De Gaulle of treason ''in absentia'' and sentenced him to life imprisonment on [[August 2]], [[1940]]. Thus, it seems implausible that a letter signed by him would have been of any benefit. A classic [[MacGuffin]], the letters were invented by Joan Allison for the original play and never questioned.Harmetz p. 55. Even within the film, Rick suggests to Renault that the letters would not have allowed Ilsa to escape, let alone Laszlo: "People have been held in Casablanca in spite of their legal rights." Also, Laszlo says the Nazis cannot arrest him as "This is still unoccupied France; any violation of neutrality would reflect on Captain Renault." However, "It makes no sense that he could walk around freely" in Casablanca, as Ebert points out: "He would be arrested on sight." Other difficulties include the airport [[searchlight]] pointing at the cafe rather than into the sky; a [[Continuity (fiction)|continuity]] error at the station in Paris (Rick's wet coat becomes dry when he gets on the train); and Renault's claim that "I was with [the Americans] when they blundered into [[Berlin]] in 1918." Curtiz's attitude toward these issues was clear — he said, "I make it go so fast, nobody notices". Finally, the movie depicts a flag of [[French Morocco]] that is incorrect, consisting of a [[Flag of France|French tricolour]] with an [[Islam]]ic crescent moon and star in the middle[http://flagspot.net/images/m/ma_fr!cb.gif]. In 1942, the flag of the French Protectorate of Morocco was the same as the current [[Flag of Morocco|Moroccan flag]], and the civil ensign consisted of a common Moroccan flag with white [[Fimbriation|fimbriated]] French flag in the canton[http://flagspot.net/images/m/ma_39f.gif]. The same flag had been used in earlier films about the [[French Foreign Legion]]. ==Awards== ''Casablanca'' won three [[Academy Awards|Oscar]]s: *[[Academy Award for Best Picture]] — [[Hal B. Wallis]], producer *[[Academy Award for Directing]] — [[Michael Curtiz]] *[[Academy Award for Writing Adapted Screenplay]] — [[Julius J. Epstein]], [[Philip G. Epstein]] and [[Howard Koch (screenwriter)|Howard Koch]] It was also nominated for another five Oscars: *[[Academy Award for Best Actor]] — [[Humphrey Bogart]] *[[Academy Award for Best Supporting Actor]] — [[Claude Rains]] *[[Academy Award for Best Cinematography]], black-and-white — [[Arthur Edeson]] *[[Academy Award for Film Editing]] — [[Owen Marks]] *[[Academy Award for Original Music Score]] — [[Max Steiner]] In 1989, the film was selected for preservation in the United States [[National Film Registry]], while in 1999, it was ranked by the [[American Film Institute]] as the 2nd [[AFI's 100 Years... 100 Movies|greatest American film]] ever made (bested only by ''[[Citizen Kane]]''). In 2005, it was named one of the 100 greatest films of the last 80 years by [[Time]].com. In 2006, the [[Writers Guild of America]] voted the [[screenplay]] of ''Casablanca'' as the best of all time in its list of the 101 Greatest Screenplays. [http://www.wga.org/subpage_newsevents.aspx?id=1807] ==Quotes== {{wikiquote|Casablanca}} Ilsa says "Play it once, Sam, for old times' sake"; in response, Sam tries to lie, saying "I don't know what you mean, Miss Ilsa"; and she says "Play it, Sam. Play '[[As Time Goes By (song)|As Time Goes By]].' " When Rick hears the song, not realizing yet that Ilsa is there, he rushes up and says "I thought I told you never to play that." Later, alone with Sam, he says "You played it for her and you can play it for me. If she can stand it, I can! Play it!" In ''[[A Night in Casablanca]]'', all this dialogue was parodied using the line "Play it again, Sam" — a phrase which has incorrectly become associated with the original film. The line "[[Here's looking at you, kid]]", spoken by Rick to Ilsa, was voted in a 2005 poll by the [[American Film Institute]] as the [[100 Years Series#100 Years...100 Movie Quotes|fifth most memorable line]] in cinema history.{{cite news | title = 'Frankly, my dear...' named number one movie quote | url = http://www.abc.net.au/news/newsitems/200506/s1398449.htm | work = ABC News Online | publisher = [[American Broadcasting Company]] | pages = | page = | date = June 23, 2005 | accessdate = 2006-11-04 | language = }} Six lines from Casablanca appeared in the top 100, by far the most of any film (''[[Gone With The Wind (film)|Gone With The Wind]]'' and ''[[The Wizard of Oz (1939 film)|The Wizard of Oz]]'' were next, with three apiece). The others were: "Louis, I think this is the beginning of a beautiful friendship." (20th), "Play it, Sam. Play 'As Time Goes By.'" (28th), "Round up the usual suspects." (32nd), "We'll always have Paris." (43rd), and "Of all the gin joints in all the towns in all the world, she walks into mine." (67th). ==Notes==
==References== * [http://www.geocities.com/classicmoviescripts/script/casablanca.pdf Abbreviated Casablanca Movie Script] * ''Casablanca'' (Two-Disc Special Edition DVD) (1942) (with audio commentaries by [[Roger Ebert]] and [[Rudy Behlmer]] and documentary [http://www.imdb.com/title/tt0280526/ ''Casablanca 50th Anniversary Special: You Must Remember This''], narrated by [[Lauren Bacall]]). * Eco, Umberto (1994). ''Signs of Life in the USA: Readings on Popular Culture for Writers'' (Sonia Maasik and Jack Solomon, eds.) Bedford Books. ISBN 0-312-25925-5. * Harmetz, Aljean (1993). ''Round Up the Usual Suspects: The Making of Casablanca''. Warner Books Inc. ISBN 1-56282-761-8. *Rosenzweig, Sidney. ''Casablanca and Other Major Films of Michael Curtiz''. Ann Arbor, Mich.: UMI Research Press, 1982. * [http://www.cmgww.com/stars/bergman/ Ingrid Bergman Official Site] * [http://www.vincasa.com/ Vincent's Casablanca Homepage] * [http://www.serve.com/Lucius/Casablanca.index.html Genius Ignored: Chapter 9: Casablanca as Great Art] * [http://www.germanhollywood.com/casabl.html The German Hollywood Connection] *[http://www.filmsite.org/casa.html Greatest Films] *[http://www.ravecentral.com/casablanca.html RaveCentral] * {{fr}} [http://cinemaclassic.free.fr/casa/casablanca.htm '''Fiche film Casablanca'''] ==External links== *{{imdb title|id=0034583|title=Casablanca}} *{{tcmdb title|id=610|title=Casablanca}} *{{rotten-tomatoes|id=1003707-casablanca|title=Casablanca}} * {{Movie-Tome|id=21033|title=Casablanca}} *[http://www.moviemistakes.com/film241 Casablanca] at Moviemistakes.com *[http://www.casalinx.com/ Casalinx, Casablanca photos, posters, sounds, forum] {{featured article}} {{AcademyAwardBestPicture 1941-1960}} [[Category:1942 films]] [[Category:Best Picture Academy Award winners]] [[Category:Black and white films that have been colorized]] [[Category:Films based on plays]] [[Category:Films directed by Michael Curtiz]] [[Category:Films featuring a Best Actor Academy Award nominated performance]] [[Category:Films featuring a Best Supporting Actor Academy Award nominated performance]] [[Category:French-language films]] [[Category:German-language films]] [[Category:English-language films]] [[Category:Romance films]] [[Category:Gambling films]] [[Category:United States National Film Registry]] [[Category:Warner Bros. films]] [[Category:World War II films made in wartime]] {{Link FA|he}} [[ar:كازبلانكا (فيلم)]] [[bs:Casablanca]] [[da:Casablanca (film)]] [[de:Casablanca (Film)]] [[es:Casablanca (película)]] [[eo:Casablanca (filmo)]] [[fa:کازابلانکا (فیلم)]] [[fr:Casablanca (film)]] [[hr:Casablanca (1942)]] [[ilo:Casablanca (pelicula)]] [[id:Casablanca (film)]] [[it:Casablanca (film)]] [[he:קזבלנקה (סרט)]] [[lb:Casablanca (Film)]] [[hu:Casablanca (film)]] [[nl:Casablanca (film)]] [[ja:カサブランカ (映画)]] [[pl:Casablanca (film)]] [[pt:Casablanca (filme)]] [[ru:Касабланка (фильм)]] [[simple:Casablanca (film)]] [[sl:Casablanca (film)]] [[fi:Casablanca (elokuva)]] [[sv:Casablanca (film)]] [[vi:Casablanca (phim)]] [[tr:Casablanca (film)]] [[zh:北非谍影]]