Here’s some thoughts after having watched Casablanca for the millionth time.
The scene in which the Germans’ singing of Die Wacht am Rhein is overpowered by Laszlo leading everyone else in a stirring rendition of La Marseillaise is for me one of the best in cinema. It helps that some of the extras were refugees from Europe and were shedding real tears. How powerful it must have been for contemporary audiences!
It’s a small role by my goodness Peter Lorre is excellent as the slimy Ugarte. He was a brilliant actor and if anything underrated. He plays the scene with Rick beautifully as he acknowledges the American “despises” him but suggests Rick might be impressed that he has the letters of transit. Like with a lot of great actors there’s so much going on with his eyes. Also note his eyes when he is being arrested.
It always bothers me that Ilsa Lund refers to Sam the African American piano player and singer as “boy.” It’s racist but appropriate to the time. It’s reflective of the time that Dooley Wilson — who played Sam — wasn’t featured in more films.
In the middle of the film Victor Lazlo goes to a meeting of the local underground with Carl. I’ve always wondered if someone at the meeting was in charge of refreshments. Were cookies served? Tea? Or alcohol? What topics were covered?
One thing that has made Casablanca such a great film is the supporting cast. I’m not just referring to Claude Rains, Paul Henreid, Conrad Veidt, Sydney Greentstreet and the aforementioned Lorre who were all excellent but the secondary supporting players: Leonid Kinskey, SZ Sakall, John Qualen and Marcel Dalio. The first three were regular supporting players in Hollywood for decades who appeared between them in dozens of excellent films. Dalio had been a star in France with featured roles in Grand Illusion and Rules of the Game. He had barely gotten out of Paris before the Nazi occupation. In the 1950s he played the Claude Rains character of Captain Renaud in a short-lived TV series based on the film. Charles McGraw played Rick in the kind of casting that doomed what little chance the show had.
There are a couple of scenes in which and Italian and French officer are arguing. Both are speaking in their native tongues which is, of course, nonsense. I suppose its supposed to provide a bit of comic relief but I find it overly silly, hardly enough to ruin a classic film but still…..
Ingrid Bergman may have never looked more beautiful on screen than she did in Casablanca. Indeed few actresses ever looked as radiant as she did as Ilsa.
During the Paris flashbacks Rick and Ilsa remind one another that “we said no questions.” Has that ever been a thing between couples having a fling? Seems odd. Rather hard to have conversations without any questions. Can’t be healthy for a relationship.
If they had to do a remake of Casablanca — and for the love of god I pray they never do — who the hell could you get to play Rick? Years ago I thought Kenneth Brannagh could pull it off. Later I thought maybe Leonardo DiCaprio. Now I think Jon Hamm could have a decade or so ago. Daniel Craig maybe when he was younger. Maybe Glenn Powell. Tom Hiddleston would be a good bet. Really it would be impossible though so why did I put myself through the exercise?
Conrad Veidt as Major Strasser is one of the better big screen Nazis of all time. He oozes a kind of slimy sophistication. Well-spoken, loves his caviar and pure evil. I imagine most Nazi officers were more officious but for cinematic purposes you can hardly do better than Veidt.
Many decades ago when I first saw Casablanca I wondered how they managed to film on location (I was more young than stupid, to be fair). This speaks to the magic of Golden Age Hollywood. They created worlds from the other side of the Earth on their backlots — without the benefits of CGI. Watching Casablanca it’s hard to imagine that you’re NOT transported to Morocco in 1941. Movie magic.
Among so much else, ya know what else is perfect about Casablanca? The musical score. It was never melodramatic. It never got in the way but did what it was supposed — added to the experience.
The working title for the movie was Everybody Comes to Rick's. Not bad but Casablanca worked better.
Notice that twice when we break away from Sydney Greensreet’s character Ferrari, he’s employing a flyswatter with seeming effectiveness. Interesting.
My main impression after my zillionth viewing of Casablanca is that it is as flawless a film as was ever made. The label classic absolutely applies. I never tire of it and never will.
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