'Casablanca' - a Classic for Everybody

When people think of truly classic movies there's one film that undoubtedly will come into their mind. 1942's "Casablanca" stands as one of the undisputed great films of all time. While most critics might not put it as their number one choice it will almost invariably make the list. But it's not just film critics, the film has continued to be loved by audiences to the point that much of the film has become part of the popular culture. Lines like "Here's looking at you kid" or scenes such as the finale of the film are embedded in the minds and memories of almost every movie goer. No matter who sees the film they will find something to love about it.

"Casablanca" is set in the titular city in the country of Morocco during World War II. Casablanca serves as a penultimate stop for many refugees fleeing Nazi controlled regions. Nearly everybody wants a visa to reach Lisbon and from there the free world, but attaining a visa is a lengthy, expensive and nearly impossible process. One person not bothering to seek a visa is Rick Blaine (Humphrey Bogart,) the owner of Rick's Cafe American. Rick is the very definition of a neutral man, refusing to get personally involved in people or politics and never sticking his neck out for anybody. His world is turned upside down when Ilsa (Ingrid Bergman,) a lover from his past who broke his heart, turns up in his cafe. Ilsa is with Victor (Paul Henreid,) her resistance leader husband and both are fleeing the Nazis so they can continue to battle against them. However Victor is a marked man with no hope of attaining a visa and and little hope of remaining alive if they aren't able to leave. Rick may be the only man able to help them, but doing so would mean seeing the love of his life leave him behind for the second time.

What has kept "Casablanca" as a classic and widely viewed film is that it's one of a very small number of films that truly lives up to the phrase "there's something here for everybody." While most think of Casablanca as a love story there's quite a bit of genre bending going on in the film. The stakes are far higher than most love stories. Things are quite literally life and death, a scale of drama rarely achieved in more modern "romantic" movies. Bogart lends his gruff demeanor to Rick in a way that attracts the kind of male audience who might otherwise shy away from a love story. The Nazis, as always, make for a great villain to the piece and help bring suspense and tension on par with any other war film. Finally there's the pervasive wit of the script. There are simply too many clever lines worthy of a full blown laugh than can be counted.

It's interesting that "Casablanca" is best remembered for its romance, because in some ways it's the weakest aspect of the film. Bogart and Bergman certainly have the chemistry to sell the romance but the flashback scenes of the two of them in Paris at times feel generic. Much of the dialogue in these scenes is also on the melodramatic side. Ultimately though even with the Paris romance perhaps played a little too heavy handed it works in the end because it's vitally important that audiences understand how much Rick and Ilsa were in love. There's only so much time that can be spent showing this so things had to be done a little over the top. Naturally the result is that subtle wit that dominates most of the script gives way to more on the nose material just to be sure that the point is made. It's a bit blunt but it certainly does the job, and ultimately serves the film as it needs to. Part of what has kept the romantic angle of the film at the forefront of viewer's memories is the ending. Given how iconic the conclusion is there is little fear of spoilers in talking about it. With their relationship left unresolved Rick and Ilsa's love became one of the great "what if" romances of film. That prevailing sense of "if only" for audiences that want them to be together even though they never can has cemented the love story in the popular imagination.

Of course the truly phenomenal performances across the board don't hurt things. The film has a magnificent supporting cast backing up the two leads. Dooley Wilson as Sam the piano player brings a great warmth to the film. Wilson is also wonderfully expressive in a way that Bogart deliberately is not, which means that the heart-broken look on Sam's face when he thinks about Rick's personal pain helps sell it all to the audience. Paul Henreid as Victor has occasionally be accused of being stiff, however it's really the character who's stiff and not the performance. Victor is a stalwart and steadfast man of principles and the performance reflects that extremely well. Syndey Greenstreet and Peter Lorre bother only appear briefly in the film but their screen presence and natural, preexisting rapport with Bogart help their characters leave the impact they should, even if they aren't on screen for very long. The film's secret weapon though is Claude Raines as Renault, the corrupt chief of police who has an antagonistic friendship with Rick. Raines has a wonderful charm to him which helps make his character, who could have easily come across as simply sleazy, roguishly endearing to viewers. Raines does wonderful work bringing his character's wit to the forefront, making him a joy to watch whenever he's on screen.

At the center of it all are Bogart and Bergman, and had the pair not been able to play a believable couple the entire film would have crumbled beneath them. Rick is a quintessential Bogart character, a loner who believes in self preservation and plays things extremely close to the chest. Of course Rick wasn't always that way, something remarked upon by several character, but the bad times of his life have beaten him down. Rick doesn't wear his pain on his sleeve, but rather in the lines of his face. Even when trying to hide his emotion the heartbreak that Rick has endured seems to have left lasting physical impressions that he can't cover up. Bergman as Ilsa brings great energy to the screen, which is a wonderful counterpoint to the beaten down Rick. It's refreshing also that the film doesn't try to ignore the 16 year age difference between the characters (it's mentioned implicitly in a fun line during the Paris flashback.) Her youth also actually makes sense for the character. Her youth and vitality are attractive to men in general and her youthful idealism means that her falling for a freedom fighter like Victor makes sense, even if she now finds herself torn between the two men.

On paper "Casablanca" really shouldn't work. It's a mix of genres that goes from witty comedy to life and death suspense to melodramatic romance in as little as once scene. Filmed almost entirely within Rick's Cafe there's a lingering feel of the stage to everything (which makes sense since it was originally an un-produced stage play.) There's a notable dose of wartime propaganda throughout the film. The leads have a sixteen year age difference and don't end up together at the end. Yet somehow it all works. The perfect cast was assembled who were able to find just the right emotional beats to make the dialogue sing. The director, Michael Curtiz, knew well enough to give some interesting shots but mostly that it was best to just let the actors do their thing. Finally the film is perfectly paced to have a clever line lift the movie out of melodrama before things get too bogged down or a choice show of force from the Nazis to keep the threat present. Some movies just manage to get all the important things right even if the parts shouldn't have fit together properly. This is such as film, and remains a timeless classic that has something for any viewer to enjoy.

Final Score: 4.5 out of 5