I have to admit that I was slightly nervous about watching this. I have never seen Casablanca before, but I know that it has a reputation of being one of the greatest films ever. Given my contrary nature, that is pretty much a set-up for big disappointment. In case I haven't done so already, I should make it clear that I have deliberately avoided doing research on the films I am watching. I don't want to know too much about them (because I think it would spoil it), so what I know in advance is purely what I happen to have picked up as part of life's rich tapestry.
Humphrey Bogart is in it, there's a piano player called Sam who plays 'As Time Goes By', there are some Nazis and there are some big classic lines. I actually knew very little of the plot detail, mainly because most commentary about Casablanca assumes that you already know it. Oh, and nobody says 'Play it again Sam'
Review
Like a true geek, I was taking note of even the opening credits. One of the first things that I noticed was that Sydney Greenstreet is in it. I know virtually nothing of Mr Greenstreet, other than the fact that for one reason or another he is the answer to quite a few questions in Trivial Pursuit - or at least I have been told that this is the case. This is an amazingly pointless fact, but I thought I should mention it. The second thing that I noticed is that Casablanca is based on a play! I had no idea that this was the case, but having seen the film, it makes a lot of sense.
The opening scenes were something of a disappointment to be honest. The instruction "Round up all suspicious characters" seems to amount to hassling everybody in the market wearing a suit and hat. If I notice it, it has to be pretty bad film making. After this, however, things improve dramatically.
I was pre-disposed to not like Humphrey Bogart. Despite never actually having seen one of his films (that I remember) I have heard so many great things about him and seen short clips and lots of photos, which all combined to give me a bad impression. I thought he was over-hyped and not that good looking, so I couldn't really see what all the fuss was about. In the course of watching
Casablanca, I am happy to say that my prejudice was proved entirely wrong. Bogey showed real talent. His delivery was solid and measured, but with a real edge to it. Perhaps it's just my sense of humour, but some of the lines really worked for me -
"I don't mind a parasite. I object to a cut-rate one.". The only thing that put me off slightly was how much Bogey reminded me of Richard Nixon. :) Of course, much of this is down to the script, but I really wasn't expecting Bogart to be funny. He really is. The delivery is dry, quite understated in places and almost deadpan - but it works.
As for Ingrid Bergman - I don't know what to say really. The first thing that struck me was that she was almost always shown in soft focus, which became quite annoying. Again, if I notice it, it must be quite obvious. She was clearly a very attractive woman, but I'm not sure that she added a while lot in terms of acting - perhaps I need to watch it again to fully appreciate her contribution.
The first 30 minutes of the film are basically one extended scene set in Rick's Cafe (which makes sense on the basis of it being based on a play which was set entirely in the cafe) and whereas in many cases this would be a dragging, plodding opening, in this case it works well, setting up the rest of the film in good style without being too heavy-handed about it.
When it comes to the flashback scenes, I don't buy it entirely. By this point, I've already come to like and appreciate the world-weary and cynical Rick, so I don't entirely buy the love-happy and carefree version. The contrast makes the current Rick more solid perhaps, but it seems too distinct a difference to me. In addition, Bogart appears to have aged since Paris, whereas Bergman hasn't aged at all (I can only assume that this was deliberate, and because she didn't want to reduce her appeal).
Apart from a couple of exceptions, there isn't a whole lot of action - nothing physically dramatic happens. This formed the basis of most of the discussion that I had with Mrs Worm. Films these days (in general) don't really work like this. Modern films are broadly about what happens rather than what is said. Casablanca is an example of a different school of film-making (possibly because it's based on a play) which holds that it is the dialogue that is central. I can't help but think that this is a big plus point.
Perhaps because of the era that the film was made, there are certain things that remain implied rather than explicitly stated (such as the 'deal' between Renault and Annina Brandel (the Bulgarian girl), and there is also a general assumption that the situation with Germany, France and the general political situation in the Second World War is understood by the audience - this is probably the only thing that really dates the film. We now have whole generations (and I include myself in this) that really don't understand what war is like, and I don't think that we necessarily pick up on a lot of the implied social consciousness that is implicit in films like Casablanca.
There are some very confusing plot moments in the course of the film, moments that stand out for me that is. For example, why does Ugarte give the transit papers to Rick? It seems forced to me. And when Laszlo leaves the hotel for the meeting of the Underground, he doesn't seem to make any effort to conceal his departure (this is perhaps deliberate?).
That said, there are also some very stirring moments. The sentimental part of me really liked the scene in the bar where Laszlo orchestrates the singing of 'La Marseillaise', as well as the final scene in the airport. The latter can be explained by the fact that I know it's an iconic scene, but I have no prior knowledge of the singing scene at all.
The music is used to good effect, perhaps more obtrusively than is the current vogue, but never in an overbearing way. It binds everything together without doing so in an obvious way (in my opinion)
Mention must be made of Claude Rains as
Captain Louis Renault. I previously only knew of Rains because he is mentioned in the
Rocky Horror Picture Show, but I came to really like his portrayal of Renault, who is a great foil for Rick.
Overall, while I thoroughly enjoyed Casablanca - I wasn't exactly blown away. Consequently, I'm not entirely sure why Casablanca is rated so highly. It is certainly a very good film, and Bogart steals the show entirely. I will definitely watch this again, if only to try and understand why everyone loves it so much. And so that I can see Bogart do his thing again - he is very cool.
Rating : Buy it
Mrs Worm's Opinion
"I'm not impressed" (she's a tough audience)
Useful links
The film centres around Holly Martins (Jospeh Cotten) who arrives in Vienna to start working with/for an old friend Harry Lime (Orson Welles) only to find that Harry died a few days before. His suspicions are raised, and he starts to do some investigating to see if he can find out 'what really happens'. There are plenty of ins-and-outs, not the least of which is Holly meeting, and falling for, Harry's girldfriend - Anna Schmidt (Alida Valli).
There are also solid performances from Trevor Howard as Major Calloway and Bernard Lee as Serjeant Paine, but frankly the whole film is stolen by Orson Welles when he finally turns up. This is not simply becuase it is a great performance (although it is); it is also because there has been a steady but building myhtology built up about Harry Lime. There is almost a great big hole in the film until he actually enters the action, and it is a beautiful entrance. While there are some good action sequences (such as the chase through the sewers), it is the dialogue that really drives this film, and it is nicely done, without being overbearing.
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