This repeat blog from 2012 flows from a conversation between Roger, our British blogging friend, and me the other day. It was nice to add to our blogging friendship that he also likes “Casablanca.”
When my wife has caught me stopping while channel surfing on a showing of “Casablanca” as I did Friday night, she invariably asks “How many times have you seen that?” I usually answer “Not enough” depending on her mood. I was encouraged to write about my favorite movie when I stopped by a blog yesterday where the blogger did a wonderful job of talking about her favorite book and movie “Pride and Prejudice.” I should note my wife will do the same with “Somewhere in Time,” but since I appreciate the story and seeing Jane Seymour’s classic beauty it is a more than a fair trade – she of course has a thing for Christopher Reeve, but that is another story.
To me, Casablanca takes me to another place in time. It is a great story told well, set at a crucial time with a backdrop of Nazi antagonism, and played by great actors under great direction. You can go to Wikipedia and see the Best Picture, Best Director and Best Screenplay Academy Awards and the numerous nominations, so it is acknowledged for its surprisingly unexpected brilliance. Also, the fact that the movie is included as one of the all-time best movies confirms it is a classic. Yet, to me it is the dialogue and interaction between the starring roles, supporting roles and the many smaller roles, that make it worthwhile.
I enjoy the banter between Carl and Sasha, the head waiter and bartender, and their patrons as much as the dialogue between the lead roles. And, the most moving part of the movie includes only the third star – Paul Heinreid as Victor Lazlo with a brief nod from Humphrey Bogart as Rick – as Lazlo directs the band to play “La Marseillaise” to drown out the Nazi sing along in Rick’s Americain Cafe. This scene never ceases to give me chills as it shows what a heroic figure Lazlo is and why people look to him to lead and why the Nazis are so wary of him.
Setting aside this emphatic moment, it is the dialogue and story that deserve the credit more so than anything. The movie is a compilation of conversations leading us to the inevitable climax. You have little reason to like Rick at first, so the dialogue helps paint a better picture of this gray character – why he is bitter and how he was not always this way. At the same time, we see the grayness of Claude Rains’ Captain Louis Renault’s character evolve into someone who gives a damn at the end. Even Ingrid Bergman’s Ilsa Lund is not perfect, as she is torn between Rick and her devotional love to Victor Lazlo. So, the grayness of these characters and others (such as Sydney Greenstreet’s Ferrari) shows how imperfect we all are in our daily struggles between survival and doing the right thing. In fact, the only true hero and villain are Victor Lazlo and Major Strasser with others having many shades of gray in-between.
The writers, primarily Julius and Phillip Epstein with help from Howard Koch, deserve the Best Screenplay award. The dialogue reveals the characters in this struggle. The movie is remembered for its six classic quotes being included among the 100 Best Movie Quotes, but those quotes should not overshadow the dialogue that give them meaning. The classic “round-up the usual suspects” after Major Strasser has been shot is based on earlier dialogue. It has extra meaning to me as the writers initially did not know how the movie should end even after filming began. When one of the Epsteins blurted out “round-up the usual suspects” they knew Strasser had to be killed and that led them to Lazlo getting on the plane with Ilsa as Rick had to be the one who shot him.
Greenstreet, Dooley Wilson as Sam, Peter Lorre as Ugarte and Conradt Veidt as the villainous Strasser all are ideally cast in their roles. Plus, the many dialogues and scenes expose us to Rick’s handling of the essential sub-story of the Bulgarian couple trying to win their way to America while the young wife considers sleeping with Renault and Rick’s relationship with his casino boss, Sam, Sasha, Carl, Ferrari and Ugarte among others.
Yet, we should not forget the role of Michael Curtiz and his other directors who helped him when the Academy Award (he was not the only director used on the film). Focusing on the sadness and beauty of Ingrid Bergman’s Ilsa shows that much can be said without a word even in this movie of words. And, it doesn’t stop with her as the facial expressions of the people listening to other people is very telling. There is a brief moment when the guitar playing female singer cannot hide a glimpse of her disgust over Major Strasser; note it is not overtly apparent, as in real life, he may have noticed it and said something to her. There are also classic scenes where the camera catches the silhouette of one of the actors in a dialogue, to let us see the other party. There are some very effective scenes like this in Rick’s office.
So, I watch again and again. Note, I do not stop every time, but I do enjoy parts of the movie so much, that I will at least catch a taste before I move on. If you have not seen it, I would encourage you to do so. I have seen it in a theatre and it is even more special as you can see more facial expressions than on a TV screen. If you have not watched it in a while, please check it out again and look at the facial expressions and listen to the dialogue. And, if you love it like I do, “This is the beginning of a beautiful friendship.” Please feel free to share your favorite moments, characters, etc.