Casablanca (1942)

 

Referenced numerous times, spoofed to death, complete sections of dialogue that have entered the vernacular... I mean: what is there still left to be said about this film?

That it's a bloody marvel and fully deserving of the title 'masterpiece'. 

Yeah, I know: never would have expected me to enjoy a story about a love triangle in the middle of the Second World War. Yet here we are.

Set in the titular Moroccan city, 'Casablanca' is the tale of how this place became the most important waypoint for people wanting to escape the Nazis and head out to the United States. But because a lot of people are desperate and travel documents aren't easy to come by, the city quickly turns into the most wretched hive of scum and villainy. 

Rick (Bogart) is the proprietor of Rick's Café, where indeed illegal transactions are done and gambling is prevalent, but because the local head of police (Rains) is as corrupt as they come, things keep working nicely. There's even a gentleman's agreement with the head of the underground Ferrari (Sidney Greenstreet). 

And then into the story walk Victor Laszlo and his wife Ilsa. Victor is wanted by the Nazis because he is a prominent figure in the resistance. Ilsa however, has history with Rick. So much history in fact that our stoic Rick comes apart, because "out of all the gin joints in all the towns in all the world, she walks into mine".

To further make matters more difficult, a group of German soldiers has arrived in search of Laszlo and bent on either imprisoning him or killing him, whichever works best.

Tension mounts. Feelings rekindle. War changes people and there's no telling who is on whose side.

Let's start off by mentioning what a monumental feat it was to have this film about the war having been made while the actual war was still going on, and doing so in a remarkably understated fashion. It is always there, just out of reach, but seldom full frontal. Diplomacy still has its place, as the chief of police is an opportunist and at the moment his allegiance lies with the collaborating Vichy regime, but he is also looking out for himself first and foremost. Claude Rains nails the dubious character to a T. He's not evil, just a self centred prick who'll do anything to survive. Bogart actually plays somewhat against type, first starting out as the suave, cool guy, but showing more and more emotion as Ilsa manages to break through his veneer of toughness. And side characters like Peter Lorre's Ugarte or pianist Sam or heck: most of the crew and patrons of the bar make everything come alive. 

What else makes this film timeless is it's pacing and editing, which feels very modern and fast, especially considering the time it was made. No filler, all killer. Add to that the idea that the acting is less stilted than used to be the case and dialogue that is both sharp and refreshing and it could almost be a film made today.

Extremely impressive.

And the airport scene at the end has been done to death by others, but if there's one iconic scene here, it has to be the one where the Germans are singing a song and then Laszlo gets the rest of the bar to sing 'La Marseillaise'. It is absolutely poignant, especially considering the tears shed by people present are very real, as a lot of the actors here were people that fled from the Nazis prior to this. Goosebumps.

So here's looking at you, kid. Because this is most definitely a film you must have seen before you die.