Victor singing at the top of HIS voice. This in turn, inspires the whole club to begin singing and the Germans are forced to surrender and sit down at their table, humbled by the crowd's dedication. This scene is a turning point in the movie, for reasons that I leave to you to discover. As I watched this movie again tonight for what must be the 100th time, I noticed there was a much smaller scene wrapped inside the bigger scene that, unless you look for it, you may never notice. Yvonne, a minor character who is hurt by Rick emotionally, falls into the company of a German soldier. In a land occupied by the Germans, but populated by the French, this is an unforgivable sin. She comes into the bar desperately seeking happiness in the club's wine, song, and gambling. Later, as the Germans begin singing we catch a glimpse of Yvonne sitting dejectedly at a table alone and in this brief glimpse, it is conveyed that she has discovered that this is not her path to fulfillment and she has no idea where to go from there. As the singing progresses, we see Yvonne slowly become inspired by Lazlo's act of defiance and by the end of the song, tears streaming down her face, she is singing at the top of her voice too. She has found her redemption. She has found something that will make her life never the same again from that point on. Basically, this is Casablanca in a nutshell. On the surface, you may see it as a romance, or as a story of intrigue, but that is only partially correct.The thing that makes Casablanca great is that it speaks to that place in each of us that seeks some kind of inspiration or redemption. On some level, every character in the story receives the same kind of catharsis and their lives are irrevocably changed. Rick's is the most obvious in that he learns to live again, instead of hiding from a lost love. He is reminded that there are things in the world more noble and important than he is and he wants to be a part of them. Louis, the scoundrel, gets his redemption by seeing the sacrifice Rick makes and is inspired to choose a side, where he had maintained careful neutrality. The stoic Lazlo gets his redemption by being shown that while thousands may need him to be a hero, there is someone he can rely upon when he needs inspiration in the form of his wife, who was ready to sacrifice her happiness for the chance that he would go on living. Even Ferrai, the local organized crime leader gets a measure of redemption by pointing Ilsa and Lazlo to Rick as a source of escape even though there is nothing in it for him. This is the beauty of this movie. Every time I see it and I have seen it a lot it never fails that I see some subtle nuance that I have never seen before. Considering that the director would put that much meaning into what is basically a throw away moment not the entire scene, but Yvonne's portion speaks bundles about the quality of the film. My wife and I watched this movie on our first date, and since that first time over 12 years ago, it has grown to be, in my mind, the greatest movie ever made.

film well, most of us do . But then again, its also a drama involving terror, murder and flight. One can call it a character study, centering on Rick. And there are quite a few moments of comedic delight, just think of the pickpocket "This place is full of vultures, vultures everywhere!" or the elderly couple on the last evening before their emigration to the US "What watch?" .But 'Casablanca' is not only great as a whole, it still stands on top if we break it apart and look at single lines of dialog, scenes or performances alone. Is there any other film which has more quotable dialog than 'Casablanca'? 'Pulp Fiction' is on my mind here, and 'All About Eve' and 'Sunset Blvd.' come close, too, but still I think 'Casablanca' tops everything else. And not only is the dialog great, it's unforgettably delivered, especially by Humphrey Bogart "I was misinformed." and Claude Rains "I am shocked, shocked to find that gambling is going on here" . Many of scenes have become a part of film history; the duel of 'Die Wacht am Rhein' and 'La Marseillaise' is probably one of the greatest scenes ever shot the only I can think of that would rival it for the #1 spot is Hynkel and the globe from Chaplin's 'The Great Dictator' , and the last scene is probably even familiar to the few people who've never seen 'Casablanca'. Am I the only one who is absolutely convinced that the film wouldn't have become what it is today if Rick and Ilsa would have ended up as the lucky couple?About the performances: So much has been said about the uniqueness of Humphrey Bogart's and Ingrid Bergman's chemistry as Rick and Ilsa, about Claude Rains' terrific turn as Renault, about the scene-stealing performances by Peter Lorre one of the 10 all-time greatest actors as Ugarte and Sydney Greenstreet as Ferrari and about Dooley Wilson stopping the show as Sam. I'd love to emphasize here two other performances, one that is not mentioned quite as often and one which is blatantly overlooked: Conrad Veidt as Major Strasser had a really difficult task here, as his character is the only evil one, but still Strasser is not a one-dimensional character, and it took more than 50 years until another actor gave an equally maybe even more impressive performance as a Nazi, Ralph Fiennes in 'Schindler's List'. But why no one ever mentions S. K. Sakall, who plays Carl, the jolly waiter at Rick's Café Américain, is beyond me. He has definitely more screen time than Lorre, Greenstreet and Wilson, and probably about as much as Veidt, and he's a joy whenever he's on the screen. I simply love his reaction when the pickpocket "Vultures everywhere!" accidentally bumps into him, or the reaction to the "What watch"-dialog. Or how he says he gave Strasser the best table, "being a German, he would have taken it anyway". His performance is simply criminally overlooked.So is there a weakest link in 'Casablanca'? Every film, no matter how close to perfection, has a minor flaw or two, so one can find them in 'Casablanca', too, if one really tries hard. So yes, one might ask how much sense the entire mumbo jumbo about the letters of transit makes. One might point out that Paul Henreid, although his performance is certainly good, doesn't come close to the greatness of any of his co-stars. However, the film is so close to perfection that I'm almost ashamed that I'm so desperately trying to find less-than-perfect elements.So whatever films will come, how many sequels will overflow the screen, and how much junk we will have to sit through, one thing is certain if we're desperate to see a great film: We'll always have Casablanca!

Americaine." Everybody comes to Rick's, including thieves, spies, Nazis, partisans, and refugees trying to make their way to Lisbon and, eventually, America. Rick is a tough, sour kind of guy, but he's still taken for a loop when fate hands him two sudden twists: A pair of unchallengeable exit visas, and a woman named Ilsa who left him broken-hearted in Paris and now needs him to help her and her resistance-leader husband escape.Humphrey Bogart is Rick and Ingrid Bergman is Ilsa, in roles that are archetypes in film lore. They are great parts besides, very multilayered and resistant to stereotype, and both actors give career performances in what were great careers. He's mad at her for walking out on him, while she wants him to understand her cause, but there's a lot going on underneath with both, and it all spills out in a scene in Rick's apartment that is one of many legendary moments."Casablanca" is a great romance, not only for being so supremely entertaining with its humor and realistic-though-exotic wartime excitement, but because it's not the least bit mushy. Take the way Rick's face literally breaks when he first sees Ilsa in his bar, or how he recalls the last time he saw her in Paris: "The Germans wore gray, you wore blue." There's a real human dimension to these people that makes us care for them and relate to them in a way that belies the passage of years.For me, and many, the most interesting relationship in the movie is Rick and Capt. Renault, the police prefect in Casablanca who is played by Claude Rains with a wonderful subtlety that builds as the film progresses. Theirs is a relationship of almost perfect cynicism, one-liners and professions of neutrality that provide much humor, as well as give a necessary display of Rick's darker side before and after Ilsa's arrival.But there's so much to grab onto with a film like this. You can talk about the music, or the way the setting becomes a living character with its floodlights and Moorish traceries. Paul Henreid is often looked at as a bit of a third wheel playing the role of Ilsa's husband, but he manages to create a moral center around which the rest of the film operates, and his enigmatic relationship with Rick and especially Ilsa, a woman who obviously admires her husband but can't somehow ever bring herself to say she loves him, is something to wonder at.My favorite bit is when Rick finds himself the target of an entreaty by a Bulgarian refugee who just wants Rick's assurance that Capt. Renault is "trustworthy," and that, if she does "a bad thing" to secure her husband's happiness, it would be forgivable. Rick flashes on Ilsa, suppresses a grimace, tries to buy the woman off with a one-liner "Go back to Bulgaria" , then finally does a marvelous thing that sets the whole second half of the film in motion without much calling attention to itself.It's not fashionable to discuss movie directors after Chaplin and before Welles, but surely something should be said about Michael Curtiz, who not only directed this film but other great features like "Captain Blood" and "Angels With Dirty Faces." For my money, his "Adventures Of Robin Hood" was every bit "Casablanca's" equal, and he even found time the same year he made "Casablanca" to make "Yankee Doodle Dandy." When you watch a film like this, you aren't so much aware of the director, but that's really a testament to Curtiz's artistry. "Casablanca" is not only exceptionally well-paced but incredibly well-shot, every frame feeling well-thought-out and legendary without distracting from the overall story.Curtiz was a product of the studio system, not a maverick like Welles or Chaplin, but he found greatness just as often, and "Casablanca," also a product of the studio system, is the best example. It's a film that reminds us why we go back to Hollywood again and again when we want to refresh our imaginations, and why we call it "the dream factory." As the hawker of linens tells Ilsa at the bazaar, "You won't find a treasure like this in all Morocco." Nor, for that matter, in all the world.

and the story, and each has some very good moments. It does have its imperfections, but it was not expected to be a classic or blockbuster - everything you read about the production suggests that it was made in a rather slap-dash fashion, under constraints that would have wrecked most other films. It's not hard to see the little ways that this affected the finished product, such as the times when the plot strains credibility a bit, or the characters seem to behave somewhat oddly. In particular, it might have been even more satisfying if Bergman's character had been a little stronger - Ilsa is charming, but that's entirely thanks to what Bergman does with her; the character herself as written seems somewhat shallow. But it turned out anyway to be an excellent combination of actors, characters, and story, a combination that more than makes up for everything else. Different viewers probably remember and enjoy "Casablanca" for different reasons, because it seemingly has a little of everything. While perhaps not perfect, it is well worth remembering and watching.

for children 15 and older, not because there's anything bad, but simply because I don't think younger children would understand it. You guys my age, this is a great Sit-down-and-watch-with-your-girl-on-a-rainy-afternoon type movie, and parents already love it, so everyone's happy.I always say when I write these things that, even though I liked it, you might not. CHeck it out for yourself and form your own opinion.

mannered his acting seemed.We have beautiful faces in other films, even this face which we still have in Isabella . But nothing seems to compete for the certain archetype of passionate commitment, of pathetic yearning, of immature desire, of refugee desperation.The interior sets -- and how they are photographed -- show a definite post `Citizen Kane' influence. In fact, one can see much of the Mercury Player flavor in these characters, particularly Greenstreet.But you know, this film has so melded with dreams that you don't need to screen it.

see his past lover Ilsa Lund Ingrib Bergman walk into his place. He has a flashback about what he and Ilsa used to get up to when they were in love, and now she is married after running away to Paris. He has other problems however, Ugarte Peter Lorre has given him important transit letters, Nazi officer Major Strasser Conrad Veidt is snooping around, and police Captain Renault Claude Rains tries to make the Nazi happy detaining Czech underground leader Victor Laszlo Paul Henreid . In the end, to save her husband's life, Rick forces Ilsa to board a plane leaving the country, the letters are given to the right people, and when Rick looked like he was going to be in trouble he was saved by his new friend. Also starring Sydney Greenstreet as Signor Ferrari, S.Z. Sakall as Carl, Madeleine Lebeau as Yvonne and Dooley Wilson as Sam. I personally think that this film is a little overrated, Bogart is really good, Bergman is beautiful and the supporting cast all do good too, and the score is great. My concern is that the only thing I will ever remember are the memorable catchphrases and little love story in amongst everything else which I find a little confusing and too political, but it's not a bad film at all, it is a classic wartime romantic drama to see. It won the Oscars for Best Writing, Screenplay and Best Picture, and it was nominated for Best Cinematography, Best Film Editing and Best Music for Max Steiner. It was on 100 Years, 100 Quotes at number 67 "Of all the gin joints in all the towns in all the world, she walks into mine." , number 43 "We've always got Paris." , number 32 "Round up all the suspects." , number 28 "Play it, Sam. Play 'As Time Goes By.'" , number 20 "Louis, I think this is the beginning of a beautiful friendship." , and number 5 "Here's looking at you kid." , "As Time Goes By" was number 2 on 100 Years, 100 Songs, Ingrid Bergman was number 68, and Humpherey Bogart number 36 on The 100 Greatest Movie Stars, Bogart was also number 1 on 100 Years, 100 Stars - Men, Bergman was also number 4 on 100 Years, 100 Stars - Women, Rick Blaine was number 4 on 100 Years, 100 Heroes & Villains, "As Time Goes By" was number 2 on 100 Years, 100 Songs, the film was number 35 on The 100 Greatest Tearjerkers, it was number 37 on 100 Years, 100 Thrills, it was number 30 on The 100 Greatest War Films, it was number 1 on 100 Years, 100 Passions, it was number 32 on 100 Years, 100 Cheers, it was number 2 on 100 Years, 100 Movies, and it was number 16 on The 100 Greatest Films. Very good!

found in my review of "The Libertine". Anyway, all of the most important details within the story seem to have been collected especially for my benefit, although I guess I'm not the only one, since the film continues to be popular right up to the present day. Truth is, this is a movie for anyone who inwardly looks upon themselves as a cynic with a heart of gold.The question I ask myself though is: Would I be brave and selfless enough to give up my one true love for the sake of humanity in general? I don't think so, although I still cling to memories of a faded love, I have no pretensions of being so noble about it. That is why we have indelible movie-stars and characters, though - Heroes who do the things we wish we could do, and are strong enough to take the consequences of the hardest choices. Rick Blaine and "Casablanca" are monuments to the notion of 'doing the decent thing', and it is this quality that makes the script and performances come alive. Watching it should be a magical experience.