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![Casablanca - Trailer [1942] [16th Oscar Best Picture]](http://web.archive.org./web/20120711221209im_/http://i.ytimg.com/vi/EJvlGh_FgcI/0.jpg "During World War II, Europeans who were fleeing from the Germans, sought refuge in America. But to get there they would first have to go Casablanca and once they get there, they have to obtain exit visas which are not very easy to come by. Now the hottest spot in all of Casablanca is Rick's Cafe which is operated by Rick Blaine, an American expatriate, who for some reason can't return there, and he is also extremely cynical. Now it seems that two German couriers were killed and the documents they were carrying were taken. Now one of Rick's regulars, Ugarte entrusts to him some letters of transit, which he intends to sell but before he does he is arrested for killing the couriers. Captain Renault, the Chief of Police, who is neutral in his political views, informs Rick that Victor Laszlo, the European Resistance leader, is in Casablanca and will do anything to get an exit visa but Renault has been \"told\" by Major Strasser of the Gestapo, to keep Laszlo in Casablanca. Laszlo goes to Rick's to meet Ugarte, because he was the one Ugarte was going to sell the letters to. But since Ugarte was arrested he has to find another way. Accompanying him is Ilsa Lund, who knew Rick when he was in Paris, and when they meet some of Rick's old wounds reopen. It is obvious that Rick's stone heart was because of her leaving him. And when they learn that Rick has the letters, he refuses to give them to him, because \"he doesn't stick his neck out for anyone\". Written by rcs0411@yahoo.com [IMDB <b>...</b>")
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- Casablanca n 1: a port on the Atlantic and the largest city of Morocco
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Bulgaria ( , Balgariya, ), officially the Republic of Bulgaria (, Republika Balgariya, ), is a country in Southern Europe. Bulgaria borders five other countries: Romania to the north (mostly along the Danube), Serbia and the Republic of Macedonia to the west, and Greece and Turkey to the south. The Black Sea defines the extent of the country to the east.
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Burbank is a city in Los Angeles County, California, United States. The estimated population in 2007 was 107,921.
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The Cahuenga Pass ( in English, from the indigenous Tongva language) (el. . / 227 m) is a mountain pass through the eastern end of the Santa Monica Mountains in the Hollywood district of the City of Los Angeles, California.
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Harvard University is a private Ivy League university located in Cambridge, Massachusetts, established in 1636 by the Massachusetts legislature. Harvard is the oldest institution of higher learning in the United States and the first corporation (officially The President and Fellows of Harvard College) chartered in the country.
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Hollywood is a neighborhood in Los Angeles, California - situated west-northwest of Downtown Los Angeles. Due to its fame and cultural identity as the historical center of movie studios and movie stars, the word "Hollywood" is often used as a metonym of American cinema, and is often interchangeably used to refer to the greater Los Angeles area in general. The nicknames StarStruck Town and Tinseltown refer to Hollywood and its movie industry. Today, much of the movie industry has dispersed into surrounding areas such as the Westside neighborhood, but significant auxiliary industries, such as editing, effects, props, post-production, and lighting companies remain in Hollywood, as does the backlot of Paramount Pictures.
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The Library of Congress is the research library of the United States Congress, de facto national library of the United States, and the oldest federal cultural institution in the United States. Located in three buildings in Washington, D.C., it is the largest library in the world by shelf space and number of books. The head of the Library is the Librarian of Congress, currently James H. Billington.
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:For other meanings, see Szczecin (disambiguation) and Stettin (disambiguation).
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Washington, D.C. (), formally the District of Columbia and commonly referred to as Washington, the District, or simply D.C., is the capital of the United States, founded on July 16, 1790. Article One of the United States Constitution provides for a federal district, distinct from the states, to serve as the permanent national capital. The City of Washington was originally a separate municipality within the federal territory until an act of Congress in 1871 established a single, unified municipal government for the whole District. It is for this reason that the city, while legally named the District of Columbia, is known as Washington, D.C. The city shares its name with the U.S. state of Washington, which is located on the country's Pacific coast.
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The White House is the official residence and principal workplace of the President of the United States. Located at 1600 Pennsylvania Avenue NW in Washington, D.C., the house was designed by Irish-born James Hoban, and built between 1792 and 1800 of white-painted Aquia sandstone in the Neoclassical style. It has been the residence of every U.S. President since John Adams. When Thomas Jefferson moved into the house in 1801, he (with architect Benjamin Henry Latrobe) expanded the building outward, creating two colonnades that were meant to conceal stables and storage.
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Alan Walbridge Ladd (September 3, 1913 – January 29, 1964) was an American film actor.
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Andrew Sarris (born 31 October 1928, Brooklyn, New York City) is a U.S. film critic and a leading proponent of the auteur theory of criticism.
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Ann Sheridan
Ann Sheridan (February 21, 1915 – January 21, 1967) was an American film actress.
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Buddy DeSylva
George Gard "Buddy" DeSylva (January 27, 1895 - July 11, 1950) was an American songwriter, film producer and record executive. He wrote or co-wrote many popular songs and along with Johnny Mercer and Glenn Wallichs he founded Capitol Records.
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Bugs Bunny
Bugs Bunny is an American fictional character who starred in the Looney Tunes and Merrie Melodies series of animated films produced by Leon Schlesinger Productions, which became Warner Bros. Cartoons in 1944. In 2002, he was named by TV Guide as the greatest cartoon character of all time. Bugs starred in 163 shorts in the Golden Age of American animation, and made cameos in three others along with a few appearances in non-animated films.
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Casey Robinson
Casey Robinson (October 17, 1903 - December 6, 1979) was an American producer and director of mostly B movies and a screenwriter responsible for some of Bette Davis' most revered films. Film critic Richard Corliss once described him as "the master of the art - or craft - of adaptation."
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Cecil Mack (November 6, 1883, Norfolk, Virginia – August 1, 1944, New York, New York) was an American composer, lyricist and music publisher.
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Curt Bois
Curt Bois (5 April 1901 – 25 December 1991) was a German actor. He is best remembered for his performance as the Pickpocket in Casablanca (1942).
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Dan Seymour
Dan Seymour (February 22, 1915 – May 25, 1993) was a character actor who frequently played villains in Warner Bros. films. He appeared in several Humphrey Bogart films, including Casablanca, Key Largo, and To Have and Have Not.
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David O. Selznick
David O. Selznick, born David Selznick (May 10, 1902 – June 22, 1965), was an American film producer. He is best known for producing Gone with the Wind (1939) and Rebecca (1940), both of which earned him an Oscar for Best Picture.
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Don Siegel
Donald Siegel (October 26, 1912 - April 20, 1991) was an influential American film director and producer. His name appeared in the credits of his films as both Don Siegel and Donald Siegel.
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Dooley Wilson
Arthur "Dooley" Wilson (April 3, 1886? – May 30, 1953) was an American actor and singer. He was born in Tyler, Texas, and is remembered as piano-player "Sam" who sings "As Time Goes By" at the request of Ilsa Lund (Ingrid Bergman) in the 1942 film Casablanca.
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Edgar Brau
Edgar Brau is an Argentine writer, stage director and artist.
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Ella Fitzgerald
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Enemy alien
In law, an enemy alien is a citizen of a country which is in a state of conflict with the land in which he or she is located. Usually, but not always, the countries are in a state of declared war.
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Frank Capra
Frank Russell Capra (May 18, 1897 – September 3, 1991) was a Sicilian-born American film director and a creative force behind a number of films of the 1930s and 1940s, including It Happened One Night (1934), Mr. Deeds Goes to Town (1936), Lost Horizon (1937), ''You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), Arsenic and Old Lace (1944) and It's a Wonderful Life'' (1946).
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François Truffaut
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Freudian
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Friz Freleng
Isadore "Friz" Freleng (August 21, 1905 – May 26, 1995) was an animator, cartoonist, director, and producer best known for his work on the Looney Tunes and Merrie Melodies series of cartoons from Warner Bros. He introduced and/or developed several of the studio's biggest stars, including Bugs Bunny, Porky Pig, Tweety Bird, Sylvester the cat, Yosemite Sam (to whom he was said to bear more than a passing resemblance) and Speedy Gonzales. The senior director at Warners' Termite Terrace studio, Freleng directed more cartoons than any other director in the studio (a total of 266), and is also the most honored of the Warner directors, having won four Academy Awards. After Warners shut down the animation studio in 1963, Freleng and business partner David DePatie founded DePatie-Freleng Enterprises, which produced cartoons (notably The Pink Panther Show), feature film title sequences, and Saturday morning cartoons through the early 1980s. The nickname "Friz" came from how "frizzly" his hair was at one time.
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George Raft
George Raft (September 26, 1901 – November 24, 1980) was an American film actor identified with portrayals of gangsters in crime melodramas of the 1930s and 1940s. Today George Raft is mostly known for his role in Billy Wilder's 1959 comedy Some Like it Hot and also Scarface (1932), Bolero (1934), and They Drive by Night (1940).
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Georges Renavent
Georges Renavent (April 23, 1894 - January 2, 1969) was an actor in American classic films, Broadway plays and operator of American Grand Guignol. He was born in Paris, France.
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Glen Gabbard
Glen Owens Gabbard (born 1949) is an American psychiatrist known for authoring professional teaching texts for the field. He is Brown Foundation Chair of Psychoanalysis and Professor of Psychiatry at Baylor College of Medicine in Houston. He is also training and supervising analyst at the Houston/Galveston Psychoanalytic Institute.
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Gregory Gaye
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Gus Kahn
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Hal B. Wallis
Hal B. Wallis, C.B.E. (born Harold Brent Wallis; September 14, 1898 – October 5, 1986) was an American motion picture producer.
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Hal Wallis
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Hazel Scott
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Helmut Dantine
Helmut Dantine (7 October 1917 – 2 May 1982) was a film actor remembered for playing many Nazis in thriller films of the 1940s. The Vienna-born actor appeared uncredited in Casablanca early in his career (he played the desperate newlywed gambling to obtain visa money).
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Herman Hupfeld
Herman Hupfeld (February 1, 1894June 8, 1951) was an American songwriter whose most notable composition was "As Time Goes By."
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Homer
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Hugh Hefner
Hugh Marston Hefner (born April 9, 1926) is an American magazine publisher, founder and chief creative officer of Playboy Enterprises.
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Humphrey Bogart
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Ingrid Bergman
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Irene Diamond
Irene Diamond (May 7, 1910 – January 21, 2003) was a Hollywood talent scout and later in life a prominent philanthropist.
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Isham Jones
Isham Jones (January 31, 1894 – October 19, 1956) was a United States bandleader, saxophonist, bassist and songwriter.
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Jack Benny
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Jack Warner
:This article is about Jack Warner, the head of Warner Brothers. For other people named Jack Warner, see Jack Warner (disambiguation).
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Jean Renoir
Jean Renoir (; 15 September 1894 – 12 February 1979) was a French film director, screenwriter, actor, producer and author. As a film director and actor, he made more than forty films from the silent era to the end of the 1960s. As an author, he wrote the definitive biography of his father, the painter, Pierre-Auguste Renoir, Renoir, My Father (1962).
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Jerry Lacy
Gerald LeRoy Lacy (born March 27, 1936, in Sioux City, Iowa) is an American soap opera actor best known for playing the roles of Tony Peterson, Reverend Trask, Reverend Gregory Trask, Mr. Trask, and Lamar Trask on the cult TV serial Dark Shadows. He has also appeared on the soap operas, The Secret Storm, 'As The World Turns (as Simon Gilbey), Love of Life (as Rick Latimer), and The Young and The Restless'' (as
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Jew
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John Ford
Rear Admiral (reserve)
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John Loder (actor)
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John Qualen
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John Varley (author)
John Herbert Varley (born August 9, 1947 in Austin, Texas) is an American science fiction author.
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Joy Page
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Julius J. Epstein
Julius J. Epstein (August 22, 1909, New York City, New York – December 30, 2000, Los Angeles, California) was an American screenwriter, who had a long career, best remembered for the adaptation - in partnership with his twin brother, Philip, and others - of the unproduced play ''Everybody Comes to Rick's that became the screenplay for the film Casablanca'' (1942), for which its team of writers won an Academy Award. Following his brother's death in 1952, he continued writing, receiving two more Oscar nominations and, in 1998, a Los Angeles Film Critics Association career achievement award. His credits included Four Daughters (1938), The Bride Came C.O.D. (1941), The Man Who Came to Dinner (1942), Mr. Skeffington (1944), The Tender Trap (1955), Light in the Piazza (1962), Send Me No Flowers (1964), ''Pete 'n' Tillie (1972), and Reuben, Reuben'' (1983).
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Lauren Bacall
Lauren Bacall (born Betty Joan Perske September 16, 1924) is an American film and stage actress and model, known for her distinctive husky voice and sultry looks.
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Leo White
Leo White (November 10, 1882 - September 20, 1948) was a stage performer and appeared as a character actor in many Charlie Chaplin films. He started his film career in 1911 and in 1913 moved to the Essanay Studios. In 1915, he began appearing in Chaplin's comedies and continued through Chaplin's Mutual Film comedies. His last appearance in a Chaplin film was a small role in The Great Dictator, released in 1940.
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Leonid Kinskey
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Lew Brown
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Louis V. Arco
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Madeleine LeBeau
Madeleine LeBeau (born either Marie Madeleine Berthe Lebeau on 10 June 1923 in Antony, Hauts-de-Seine, France or as Marie Therese Ernestine on 22 February 1921 in Bourg-la-Reine, France) is a French actress.
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Marcel Dalio
Marcel Dalio (17 July 1900 – 20 November 1983) was a French character actor. He had major roles in two of Jean Renoir's most famous films, Grand Illusion and The Rules of the Game.
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Marx Brothers
http://wn.com/Marx_Brothers -
Max Steiner
http://wn.com/Max_Steiner -
Maxime Weygand
Maxime Weygand (21 January 1867 - 28 January 1965; ) was a French military commander in World War I and World War II.
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Michael Curtiz
Michael Curtiz (December 24, 1886 — April 10, 1962) was a Hungarian-American director. He had early credits
http://wn.com/Michael_Curtiz -
Michael Dirda
Michael Dirda (born 1948), a Fulbright Fellowship recipient, is an award-winning book critic for the Washington Post. Having studied at Oberlin College for his undergraduate degree, Dirda took a Ph.D. from Cornell University in comparative literature. In 1978 Dirda started writing for the Washington Post; in 1993 he won the Pulitzer Prize for his criticism.
http://wn.com/Michael_Dirda -
Michèle Morgan
http://wn.com/Michèle_Morgan -
Neil Simon
Neil Simon (born July 4, 1927) is an American playwright and screenwriter. His numerous Broadway successes have led to his work being among the most regularly performed in the world.
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Norma Varden
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Olivia de Havilland
Olivia Mary de Havilland (born July 1, 1916) is a British American film and stage actress. She won the Academy Award for Best Actress for 1946 and 1949. She is the elder sister of actress Joan Fontaine. Along with her sister, de Havilland is one of the last surviving leading ladies from Hollywood of the 1930s. She is also the last living lead cast member from Gone with the Wind.
http://wn.com/Olivia_de_Havilland -
Paul Henreid
Paul Henreid (10 January 1908 – 29 March 1992), whose birthname was Paul Georg Julius Henreid Ritter von Wassel-Waldingau, was an Austrian actor and film director. Henreid's most famous showing was that of Victor Laszlo in Casablanca.
http://wn.com/Paul_Henreid -
Pauline Kael
Pauline Kael (June 19, 1919 –September 3, 2001) was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Earlier in her career her works were published by City Lights, ''McCall's and The New Republic''.
http://wn.com/Pauline_Kael -
Peter Lorre
Peter Lorre (26 June 1904 – 23 March 1964) was an Austrian-American actor frequently typecast as a sinister foreigner.
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Philip G. Epstein
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Ray Liotta
Raymond Allen "Ray" Liotta (born December 18, 1954) is an American actor, best known for his portrayal of Henry Hill in the crime-drama Goodfellas, directed by Martin Scorsese and his role as Shoeless Joe Jackson in Field of Dreams. He has won an Emmy Award and been nominated for a Golden Globe Award.
http://wn.com/Ray_Liotta -
Robert McKee
Robert McKee, born 1941, is a creative writing instructor who is widely known for his popular "Story Seminar", which he developed when he was a professor at the University of Southern California. McKee is the author of a "screenwriters' bible" called Story: Substance, Structure, Style and the Principles of Screenwriting. Many of Hollywood's active screenwriters claim him as an inspiration. Rather than simply handling "mechanical" aspects of fiction technique such as plot or dialogue taken individually, McKee examines the narrative structure of a work and what makes the story compelling or not. This could work equally as well as an analysis of any other genre or form of narrative, whether in screenplay or any other form, and could also encompass nonfiction works as long as they attempt to "tell a story".
http://wn.com/Robert_McKee -
Roger Ebert
Roger Joseph Ebert (; born June 18, 1942) is an American film critic and screenwriter. Forbes has described him as "the most powerful pundit in America".
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Ronald Haver
Ronald Haver (Jan. 14, 1939-May 18, 1993) was a film historian, preservationist and author. For over twenty years, he was director of Film Programs at the Los Angeles County Museum of Art. He managed the restoration of deleted scenes from the classic Judy Garland version of the film A Star is Born (1954). These scenes, including two musical numbers, were cut by the studio shortly after its premiere due to distributor complaints about the film's length. Warner Bros. made the deletions without the cooperation of its director, George Cukor, and the scenes were lost for years, much to the disappointment of Garland fans and film historians. A "restored" version of the film was released in 1983.
http://wn.com/Ronald_Haver -
Ronald Reagan
http://wn.com/Ronald_Reagan -
S. Z. Sakall
http://wn.com/S_Z_Sakall -
Scatman Crothers
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Spanish Civil War
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Stephen Hunter
Stephen Hunter (born March 25, 1946) is an American novelist, essayist, and Pulitzer Prize-winning film critic. He currently resides in Columbia, Maryland.
http://wn.com/Stephen_Hunter -
Sydney Greenstreet
Sydney Hughes Greenstreet (27 December 1879 – 18 January 1954) was an English actor. He was best known for his work with Humphrey Bogart and Peter Lorre in the 1940s.
http://wn.com/Sydney_Greenstreet -
Ted Turner
Robert Edward "Ted" Turner III (born November 19, 1938) is an American media mogul and philanthropist. As a businessman, he is known as founder of the cable news network CNN, the first dedicated 24-hour cable news channel. In addition, he founded WTBS, which pioneered the superstation concept in cable television. As a philanthropist, he is known for his $1 billion gift to support UN causes, which created the United Nations Foundation, a public charity to broaden support for the UN. Turner serves as Chairman of the United Nations Foundation board of directors.
http://wn.com/Ted_Turner -
Terry Gilliam
Terrence Vance "Terry" Gilliam (; born 22 November 1940) is a screenwriter, film director, animator, actor and member of the Monty Python comedy troupe. Gilliam is also known for directing several films, including Time Bandits (1981), Brazil (1985), The Fisher King (1991), and 12 Monkeys (1995). He is the only "Python" not born in Britain, and took British citizenship in 1968.
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Todd Gitlin
Todd Gitlin (born 1943) is an American sociologist, political writer, novelist, and cultural commentator. He has written widely on the mass media, politics, intellectual life and the arts, for both popular and scholarly publications.
http://wn.com/Todd_Gitlin -
Torben Meyer
Torben Emil Meyer (1 December 1884 – 22 May 1975) was a Danish character actor who appeared in over 190 films in a 55 year career.
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Umberto Eco
Umberto Eco (born 5 January 1932) is an Italian medievalist, semiotician, philosopher, literary critic and novelist, best known for his novel The Name of the Rose (Il nome della rosa, 1980), an intellectual mystery combining semiotics in fiction, biblical analysis, medieval studies and literary theory. He has also written academic texts, children's books and many essays.
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Vincent Rose
Vincent Rose (born 1880 in Palermo, Italy; died 1944 in Rockville Center, NY, USA) was a musician and band leader.
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William Keighley
William Jackson Keighley (August 4, 1889, Philadelphia, Pennsylvania - June 24, 1984, New York, New York) was an American stage actor and Hollywood film director.
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William T. Orr
William T. Orr (September 27, 1917 - December 25, 2002) was an American television producer associated with a series of western and detective programs of the 1950s-1970s.
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William Wyler
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Winston Churchill
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Wolfgang Zilzer
Wofgang Zilzer (January 20, 1901 – June 26, 1991) was a German-American stage and film actor.
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Woody Allen
Woody Allen (born Allan Stewart Konigsberg; December 1, 1935) is an American screenwriter, director, actor, comedian, jazz musician, author and playwright.
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Casablanca (1942)
"Casablanca (1942)" Actors
- Humphrey Bogart
- Ingrid Bergman
- Claude Rains
- Paul Henreid
- Dooley Wilson
- Conrad Veidt
- Sydney Greenstreet
- Peter Lorre
- S.z. Sakall
- Madeline Lebeau
- Joy Page
- John Qualen
- Leonid Kinskey
- Curt Bois
- Leon Belasco
"Casablanca (1942)" Director
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Play it, Sam
- Order: Reorder
- Duration: 4:07
- Published: 08 Mar 2008
- Updated: 23 Jun 2012
From 'Casablanca'
http://wn.com/Play_it,_Sam
Casablanca - trailer
- Order: Reorder
- Duration: 2:15
- Published: 12 Feb 2008
- Updated: 21 Jun 2012
A movie preview.
http://wn.com/Casablanca_trailer
Casablanca - Trailer [1942] [16th Oscar Best Picture]
- Order: Reorder
- Duration: 2:10
- Published: 24 Apr 2009
- Updated: 19 Jun 2012
During World War II, Europeans who were fleeing from the Germans, sought refuge in America. But to get there they would first have to go Casablanca and once they get there, they have to obtain exit visas which are not very easy to come by. Now the hottest spot in all of Casablanca is Rick's Cafe which is operated by Rick Blaine, an American expatriate, who for some reason can't return there, and he is also extremely cynical. Now it seems that two German couriers were killed and the documents they were carrying were taken. Now one of Rick's regulars, Ugarte entrusts to him some letters of transit, which he intends to sell but before he does he is arrested for killing the couriers. Captain Renault, the Chief of Police, who is neutral in his political views, informs Rick that Victor Laszlo, the European Resistance leader, is in Casablanca and will do anything to get an exit visa but Renault has been "told" by Major Strasser of the Gestapo, to keep Laszlo in Casablanca. Laszlo goes to Rick's to meet Ugarte, because he was the one Ugarte was going to sell the letters to. But since Ugarte was arrested he has to find another way. Accompanying him is Ilsa Lund, who knew Rick when he was in Paris, and when they meet some of Rick's old wounds reopen. It is obvious that Rick's stone heart was because of her leaving him. And when they learn that Rick has the letters, he refuses to give them to him, because "he doesn't stick his neck out for anyone". Written by rcs0411@yahoo.com [IMDB <b>...</b>
http://wn.com/Casablanca_Trailer_1942_16th_Oscar_Best_Picture_
Casablanca (1942) HD trailer
- Order: Reorder
- Duration: 2:21
- Published: 11 Jul 2010
- Updated: 13 Jun 2012
Casablanca (1942) trailer
http://wn.com/Casablanca_1942_HD_trailer
Casablanca
- Order: Reorder
- Duration: 102:34
- Published: 03 Oct 2011
- Updated: 29 May 2012
Casablanca: easy to enter, but much harder to leave, especially if you're wanted by the Nazis. Such a man is Resistance leader Victor Laszlo (Paul Henreid), whose only hope is Rick Blaine (Humphrey Bogart), a cynical American who sticks his neck out for no one, especially Victor's wife Ilsa (Ingrid Bergman), the ex-lover who broke his heart. Ilsa offers herself in exchange for Laszlo's transport out of the country and bitter Rick must decide what counts more - personal happiness or countless lives hanging in the balance. MPAA Rating: No Rating (c) Warner Bros. Entertainment, Inc.
http://wn.com/Casablanca
Casablanca 1942 ( Bertie Higgins - Casablanca )
- Order: Reorder
- Duration: 4:58
- Published: 24 Apr 2008
- Updated: 21 Jun 2012
film from Casablance 1942 Song by Bertie Higgins - Casablanca I fell in love with you watching Casablanca Back row of the drive-in show in the flickering light Popcorn and cokes beneath the stars became champagne and caviar Making love on a long hot summers night I thought you fell in love with me watching Casablanca Holding hands 'neath the paddle fans in Rick's candlelit cafe Hiding in the shadows from the spots Moroccan moonlight in your eyes Making magic at the movies in my old Chevrolet * Oh! A kiss is still a kiss in Casablanca But a kiss is not a kiss without your sigh Please come back to me in Casablanca I love you more and more each day as time goes by I guess there're many broken hearts in Casablanca You know I've never really been there So, I don't know I guess our love story will never be seen on the big wide silver screen But it hurt just as bad when I had to watch you go * I love you more and more each day as time goes by
http://wn.com/Casablanca_1942_Bertie_Higgins_Casablanca_
Best line in Casablanca
- Order: Reorder
- Duration: 0:12
- Published: 17 Jul 2008
- Updated: 22 Jun 2012
A classic scene from Casablanca
http://wn.com/Best_line_in_Casablanca
Here's Looking At You, Kid - Casablanca (5/6) Movie CLIP (1942) HD
- Order: Reorder
- Duration: 2:30
- Published: 27 May 2011
- Updated: 23 Jun 2012
Casablanca Movie Clip - watch all clips j.mp click to subscribe j.mp Rick (Humphrey Bogart) prepares the travel papers for Ilsa (Ingrid Bergman) and Victor instead of himself, and says goodbye. TM & © Warner Bros. Ent. (2012) Cast: Humphrey Bogart, Paul Henreid, Claude Rains, Ingrid Bergman Director: Michael Curtiz MOVIECLIPS YouTube Channel: j.mp Join our Facebook page: j.mp Follow us on Twitter: j.mp Buy Movie: j.mp Producer: Hal B. Wallis, Jack L. Warner Screenwriter: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson Film Description: One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of <b>...</b>
http://wn.com/Here's_Looking_At_You,_Kid_Casablanca_5_6_Movie_CLIP_1942_HD
Casablanca (1942) - 1992 50th Anniversary Trailer
- Order: Reorder
- Duration: 2:54
- Published: 04 Sep 2011
- Updated: 03 May 2012
Set in unoccupied Africa during the early days of World War II: An American expatriate meets a former lover, with unforeseen complications. Starring Humphrey Bogart, Ingrid Bergman and Paul Henreid. Directed by Michael Curtiz. * One of the most beloved and most quoted films ever made. Often considered to be one of the greatest films ever made and the greatest romance film ever made. * National Film Registry - 1989 * AFI 100 Movies: #3 * 6 Quotes on the AFI Quotes list, more than any other film. * AFI 100 Songs: #2 * AFI Passions: #1 * Academy Awards: - Best Picture - Best Director - Best Adapted Screenplay Copyright - Warner Bros. Buy the 2 Disc Special Edition DVD here: www.amazon.com Buy the Blu-Ray: www.amazon.com
http://wn.com/Casablanca_1942_1992_50th_Anniversary_Trailer
Joy Page with Humphrey Bogart in Casablanca (1942)
- Order: Reorder
- Duration: 2:21
- Published: 28 Apr 2008
- Updated: 21 Jun 2012
Joy Page, who recently passed away at the age of 83, is seen here in her very first role. For more information about classic cinema visit: www.classicfilmshow.com
http://wn.com/Joy_Page_with_Humphrey_Bogart_in_Casablanca_1942
3. Casablanca (1942)
- Order: Reorder
- Duration: 1:42
- Published: 01 Dec 2007
- Updated: 21 Jun 2012
AFI's 100 Greatest Movies: 3. Casablanca (1942)
http://wn.com/3_Casablanca_1942
Casablanca (1942) - Suite - Max Steiner
- Order: Reorder
- Duration: 7:09
- Published: 24 Dec 2010
- Updated: 29 May 2012
Prelude / Rick's Bar / Paris / The Airport / The Beginning of A Beautiful Friendship From "Gone With the Wind: The Classic Max Steiner" album - The Westminster Philharmonic Orchestra - conducted by Kenneth Alwyn (1993 re-recording).
http://wn.com/Casablanca_1942_Suite_Max_Steiner
Casablanca - As Time Goes By
- Order: Reorder
- Duration: 3:07
- Published: 26 Feb 2007
- Updated: 23 Jun 2012
Edited by gosinka555 Casablanca (1942) music: As Time Goes By (by Frank Sinatra)
http://wn.com/Casablanca_As_Time_Goes_By
Remembering Casablanca (1942)
- Order: Reorder
- Duration: 3:50
- Published: 17 Dec 2008
- Updated: 23 May 2012
A clip with scenes from the colour version of the classic film "Casablanca"
http://wn.com/Remembering_Casablanca_1942
Casablanca (4/6) Movie CLIP - I Still Love You (1942) HD
- Order: Reorder
- Duration: 2:37
- Published: 27 May 2011
- Updated: 22 Jun 2012
Casablanca Movie Clip - watch all clips j.mp click to subscribe j.mp Ilsa (Ingrid Bergman) pulls a gun on Rick (Humphrey Bogart) in an effort to get the travel papers, but ends up confessing her love for him. TM & © Warner Bros. Ent. (2012) Cast: Humphrey Bogart, Ingrid Bergman Director: Michael Curtiz MOVIECLIPS YouTube Channel: j.mp Join our Facebook page: j.mp Follow us on Twitter: j.mp Buy Movie: j.mp Producer: Hal B. Wallis, Jack L. Warner Screenwriter: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson Film Description: One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she <b>...</b>
http://wn.com/Casablanca_4_6_Movie_CLIP_I_Still_Love_You_1942_HD
"Casablanca" (1942) - Re-Release Theatrical Trailer (1992)
- Order: Reorder
- Duration: 2:53
- Published: 15 Sep 2010
- Updated: 15 Mar 2012
Original re-release theatrical trailer for "Casablanca" (1942), directed by Michael Curtiz and starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet and Peter Lorre. All rights reserved to the original owners.
http://wn.com/Casablanca_1942_Re-Release_Theatrical_Trailer_1992
Casablanca (1942) - Original Trailer
- Order: Reorder
- Duration: 2:24
- Published: 02 Sep 2010
- Updated: 01 May 2012
Rick Blaine (Humphrey Bogart), a callous nightclub owner in a wartime waystation, has his world turned upside down when his lost love, Ilsa (Ingrid Bergman), returns. Directed by: Michael Curtiz. Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre. Release Date: November 26, 1942.
http://wn.com/Casablanca_1942_Original_Trailer
Bertie Higgins_-_ Casablanca(1942)(with lyrics)
- Order: Reorder
- Duration: 4:10
- Published: 13 Jun 2009
- Updated: 22 May 2012
Love this movies and song.
http://wn.com/Bertie_Higgins_-_Casablanca1942with_lyrics
Casablanca 1942 - Sample (HD 720p x264)
- Order: Reorder
- Duration: 1:11
- Published: 25 Nov 2009
- Updated: 04 May 2012
Sample
http://wn.com/Casablanca_1942_Sample_HD_720p_x264
Casablanca 1942 Movie Clip I came for the waters
- Order: Reorder
- Duration: 0:12
- Published: 18 Jun 2009
- Updated: 25 May 2012
Living in a tropical seaport in an arid region (Mazatlan, Sinaloa) -- and having my own water tank go dry almost a week ago -- for some reason I thought of this Posted it here, to use on my own website as illustration (video-tion?) of an article on water quality and resource issues. Besides, who doesn't like Casablanca?
http://wn.com/Casablanca_1942_Movie_Clip_I_came_for_the_waters
Casablanca (1942) - Fan Trailer
- Order: Reorder
- Duration: 1:10
- Published: 25 Sep 2007
- Updated: 25 Aug 2010
Fan made trailer for the classic film; Casablanca.
http://wn.com/Casablanca_1942_Fan_Trailer
"Casablanca" (1942) - Theatrical Trailer
- Order: Reorder
- Duration: 2:17
- Published: 15 Sep 2010
- Updated: 11 May 2012
Original theatrical trailer for "Casablanca" (1942), directed by Michael Curtiz and starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet and Peter Lorre. All rights reserved to the original owners
http://wn.com/Casablanca_1942_Theatrical_Trailer
As Time Goes By From Casablanca (1942) Herman Hupfeld
- Order: Reorder
- Duration: 2:21
- Published: 09 Sep 2009
- Updated: 25 Dec 2011
Fall Concert 2009 A Musical Matinee Sunday, August 23, 2009 2:00pm Rhapsody Hall (Music Building Room 113) San Diego State University San Diego, CA Notre Temps String Ensemble presents a program featuring cinematic music, an enjoyable and memorable performance with something for everyone. Featured soloists: Katherine Stahl, Israel Platero, Joshua Chilton, Jarrod Chilton. Donations are appreciated. Visit us online at ntstrings.org for more information. mtagart@ntstrings.org
http://wn.com/As_Time_Goes_By_From_Casablanca_1942_Herman_Hupfeld
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US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.
US Coastguard / Petty Officer 3rd Class Victoria Bonk.![Leather tanning in Fes, Fes or Fez (Arabic: فاس [Fās], French: Fès) is the third largest city in Morocco —after Casablanca and Rabat— with a population of just over one million. It is the capital of the Fès-Boulemane region.](http://web.archive.org./web/20120711221209im_/http://cdn6.wn.com/pd/45/8d/68ee8ed8d8b55e057a71155205a3_small.jpg "Leather tanning in Fes, Fes or Fez (Arabic: فاس [Fās], French: Fès) is the third largest city in Morocco —after Casablanca and Rabat— with a population of just over one million. It is the capital of the Fès-Boulemane region.")
Creative Commons / Bgag
![Leather tanning in Fes, Fes or Fez (Arabic: فاس [Fās], French: Fès) is the third largest city in Morocco —after Casablanca and Rabat— with a population of just over one million. It is the capital of the Fès-Boulemane region.](http://web.archive.org./web/20120711221209/http://cdn0.wn.com/pd/45/8d/68ee8ed8d8b55e057a71155205a3_medium.jpg "Leather tanning in Fes, Fes or Fez (Arabic: فاس [Fās], French: Fès) is the third largest city in Morocco —after Casablanca and Rabat— with a population of just over one million. It is the capital of the Fès-Boulemane region.")
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09 Jul 2012
After months of waiting, Kourtney Kardashian and Scott Disick's baby girl has finally arrived! Penelope Scotland Disick was born on Sunday, July 8, weighing in at 7 pounds, 14 ounces, and joins big...
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08 Jul 2012
US Secretary of State Hillary Clinton has made a powerful plea for the rights of women in Afghanistan, using a global forum to insist they must be part of the country's future growth. Her...
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11 Jul 2012
The conflict in Syria is increasingly putting a strain on relations between Russia and the West. However, experts agree that at the heart of the matter is not just the future of Syria. It's become...
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09 Jul 2012
Article be WN.com Correspondent Dallas Darling "When does a war end?", asked a student. Such a question was really no surprise. After all, hundreds of students I instruct (and millions more just like...
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10 Jul 2012
Article by WN.com Guest Writer Gilad Atzmon Since we now have conclusive evidence that Arafat was poisoned by radioactive polonium 210 and since Israel is the prime suspect in Arafat's 2004...
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10 Jul 2012
Print this page Tweet Comcast is selling its stake in A&E for $3.03 billion to co-owners The Walt Disney Company and Hearst Corporation, according to public filings with the Securities and...
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10 Jul 2012
A decade ago Morocco seemed poised to be the first Arab country to undergo a meaningful transition to democracy. It had a young and dynamic new king, a new Association Agreement with the European...
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21 Jun 2012
Chinese Premier Wen Jiabao delivers a speech at the UN Conference on Sustainable Development (Rio+20 summit) in Rio de Janeiro, Brazil, June 20, 2012. (Xinhua/Li Xueren) RIO DE JANEIRO, June 21...
Goal
Raja Casablanca are poised to replace the Moroccan All-Stars team that was meant to face Barcelona in a friendly at the end of July More On : FC Barcelona, Raja...(size: 1.1Kb)
Ted Casablanca Mia in New E! Online Redesign
09 Jul 2012
IMDb
Ted Casablanca, longtime journalist and gossip columnist for E! Online, has ended his column,...(size: 0.6Kb)
Business Journal
Galen Moore Web Editor- Boston Business Journal Email | Twitter Having apparently failed to find a buyer, restaurateur Sari Abuljubein will reportedly close the doors on Casablanca, a Harvard Square fixture for nearly half a...(size: 1.5Kb)
CNN
July 8, 2012 -- Updated 0024 GMT (0824 HKT) This year marks the 70th anniversary of "Casablanca," the 1942 film starring Humphrey Bogart and Ingrid Bergman and directed by Michael Curtiz. In this still from the film, a plane flies over the upscale piano bar 'Rick's Cafe Americain.' Ilsa Lund...(size: 8.5Kb)
Casablanca - 1942 best picture, best director and best screen play by Warner Brothers with ...
05 Jul 2012
The Examiner
Tweet 0 Email Report Casablanca - starring Ingrid Bergman as Ilsa Lund http://www.examiner.com/article/casablanca-celebrates-70th-anniversary-with-packed-theaters Credit: Warner Brothers - the movie - Casablanca (1942) Winner of the best picture, best director and best screen play Casablanca -...(size: 3.8Kb)
Catch classic 'Casablanca'
04 Jul 2012
my SA
Any opportunity to see "Casablanca" on the big screen is a very...(size: 0.4Kb)
First Gay Cruise To Visit Casablanca Turned Away
02 Jul 2012
Gadling
Currently sailing on what was promoted as "the first gay cruise to visit Casablanca," gay and lesbian passengers on a chartered cruise were turned away by Moroccan authorities over the weekend. The Problem? Morocco's Islamic religion and the laws of the North...(size: 1.7Kb)
Film events: 'Dark Shadows,' 'Casablanca'
28 Jun 2012
Detroit Free Press
Cass City Cinema: "Dark Shadows," 7 & 9:15 p.m. Thu.-Sat., 5:15 p.m. Sun. 3420 Cass, Detroit. 313-473-9238. www.casscitycinema.com. Circa 1890 Saloon: Works in Progress: Focus Night will feature Matt Jones' music video "Hand Out the Drugs," a clip from Jacob Hurwitz-Goldman's documentary "Tamale...(size: 2.7Kb)
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 Trailer title card |
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| Directed by | Michael Curtiz |
| Produced by | Hal B. Wallis |
| Screenplay by | Julius J. Epstein Philip G. Epstein Howard Koch Casey Robinson (uncredited) |
| Based on | Everybody Comes to Rick's by Murray Burnett Joan Alison |
| Starring | Humphrey Bogart Ingrid Bergman Paul Henreid |
| Music by | Max Steiner |
| Cinematography | Arthur Edeson |
| Editing by | Owen Marks |
| Studio | Warner Bros. |
| Distributed by | Warner Bros. |
| Release date(s) |
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| Running time | 102 minutes |
| Country | United States |
| Language | English |
| Budget | $964,000 |
| Box office | $3.7 million (initial US release) |
Casablanca is a 1942 American romantic drama film directed by Michael Curtiz, starring Humphrey Bogart, Ingrid Bergman and Paul Henreid, and featuring Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre and Dooley Wilson. Set during World War II, it focuses on a man torn between, in the words of one character, love and virtue. He must choose between his love for a woman and helping her and her Czech Resistance leader husband escape from the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis.
Although it was an A-list film, with established stars and first-rate writers—Julius J. Epstein, Philip G. Epstein and Howard Koch received credit for the screenplay—no one involved with its production expected Casablanca to be anything out of the ordinary;[1] it was just one of hundreds of pictures produced by Hollywood every year. The film was a solid, if unspectacular, success in its initial run, rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier.[2] Despite a changing assortment of screenwriters frantically adapting an unstaged play and barely keeping ahead of production, and Bogart attempting his first romantic lead role, Casablanca won three Academy Awards, including Best Picture. Its characters, dialogue, and music have become iconic, and the film has grown in popularity to the point that it now consistently ranks near the top of lists of the greatest films of all time.
Contents |
Plot[link]
Rick Blaine (Humphrey Bogart) is a cynical American expatriate living in Casablanca in early December 1941. His upscale nightclub and gambling den, "Rick's Café Américain", attracts a mixed clientele: Vichy French, Italian, and Nazi officials; refugees desperately seeking to reach the United States, as yet uninvolved in the war; and those who prey on them. Although Rick professes to be neutral in all matters, it is later revealed he ran guns to Ethiopia to combat the 1935 Italian invasion and fought on the Loyalist side in the Spanish Civil War.
Petty crook Signor Ugarte (Peter Lorre) shows up and boasts to Rick of "letters of transit" he obtained through the murder of two German couriers. The papers allow the bearer to travel freely around German-controlled Europe and to neutral Portugal. The letters are almost priceless to the continual stream of refugees who end up stranded in Casablanca. Ugarte plans to sell them to the highest bidder at the club later that night. Before the exchange can take place, however, Ugarte is arrested by the local police under the command of Vichy Captain Louis Renault (Claude Rains), a self-confessed corrupt official. Ugarte dies in custody without revealing that he had entrusted the letters to Rick.
At this point, the reason for Rick's bitterness re-enters his life. His ex-lover, Norwegian Ilsa Lund (Ingrid Bergman), walks into his establishment. Upon spotting Rick's friend and house pianist, Sam (Dooley Wilson), Ilsa asks him to play "As Time Goes By". When Rick storms over, furious that Sam has disobeyed his order never to perform that song, he is shocked to see Ilsa. She is accompanied by her husband, Victor Laszlo (Paul Henreid), a renowned fugitive Czech Resistance leader who has escaped from a Nazi concentration camp. They need the letters to leave for America, where he can continue his work. German Major Strasser (Conrad Veidt) arrives in Casablanca to see to it that Laszlo does not succeed.
When Laszlo makes inquiries, Signor Ferrari (Sydney Greenstreet), a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. In a private meeting, Rick refuses to sell at any price, telling Laszlo to ask his wife for the reason. They are interrupted when Strasser leads a group of officers in singing "Die Wacht am Rhein". Laszlo orders the house band to play "La Marseillaise". When the band looks to Rick for guidance, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser has Renault close the club.
That night, Ilsa confronts Rick in the deserted café. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they first met and fell in love in Paris, she believed that her husband had been killed attempting to escape from the concentration camp. Later, while preparing to flee with Rick from the imminent fall of the city to the German army, she learned that Laszlo was in fact alive and in hiding. She left Rick without explanation to tend to her ill husband.
With the revelation, the lovers are reconciled. Rick agrees to help, leading her to believe that she will stay behind with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl (S. K. Sakall) spirit Ilsa away.
Laszlo reveals he is aware of Rick's love for Ilsa and tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a minor, trumped-up charge, Rick convinces Renault to release him by promising to set him up for a much more serious crime: possession of the letters of transit. To allay Renault's suspicions, Rick explains he and Ilsa will be leaving for America.
When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with her husband, telling her she would regret it if she stayed, "Maybe not today, maybe not tomorrow, but soon and for the rest of your life."
Major Strasser, tipped off by Renault, drives up alone. Rick shoots Strasser when he tries to intervene. When his men arrive, Renault pauses, then tells them to "round up the usual suspects." Once they are alone, Renault suggests to Rick that they join the Free French at Brazzaville as they walk away into the fog.
Cast[link]
The play's cast consisted of 16 speaking parts and several extras; the film script enlarged it to 22 speaking parts and hundreds of extras.[3] The cast is notable for its internationalism: only three of the credited actors were born in the U.S. The top-billed actors were:
- Humphrey Bogart as Rick Blaine. Earlier in his career, he had been typecast as a gangster. High Sierra (1941) had allowed him to play a character with some warmth, but Rick was his first truly romantic role.
- Ingrid Bergman as Ilsa Lund. Bergman's official website calls Ilsa her "most famous and enduring role".[4] The Swedish actress's Hollywood debut in Intermezzo had been well received, but her subsequent films were not major successes—until Casablanca. Film critic Roger Ebert calls her "luminous", and comments on the chemistry between her and Bogart: "she paints his face with her eyes".[5] Other actresses considered for the role of Ilsa included Ann Sheridan, Hedy Lamarr and Michèle Morgan. Wallis obtained the services of Bergman, who was contracted to David O. Selznick, by lending Olivia de Havilland in exchange.[6]
- Paul Henreid as Victor Laszlo. Henreid, an Austrian actor who emigrated in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to Pauline Kael[7]), until he was promised top billing along with Bogart and Bergman. Henreid did not get on well with his fellow actors; he considered Bogart "a mediocre actor", while Bergman called Henreid a "prima donna".[8]
The second-billed actors were:
- Claude Rains as Captain Louis Renault. Rains was an English actor born in London. He had previously worked with Michael Curtiz on The Adventures of Robin Hood. He later appeared in Alfred Hitchcock's Notorious with Ingrid Bergman.
- Conrad Veidt as Major Heinrich Strasser. He was a German actor who had appeared in The Cabinet of Dr. Caligari before fleeing from the Nazis and ironically was best known for playing Nazis in U.S. films.
- Sydney Greenstreet as Signor Ferrari, a rival nightclub owner. Another Englishman, Greenstreet had previously starred with Lorre and Bogart in his film debut in The Maltese Falcon.
- Peter Lorre as Signor Ugarte. Lorre, who was born in Austria-Hungary, had left Germany in 1933.
Also credited were:
- Curt Bois as the pickpocket. Bois was a German Jewish actor and another refugee. He had one of the longest careers in film, making his first appearance in 1907 and his last in 1987.
- Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. He was actually born in Russia.
- Madeleine LeBeau as Yvonne, Rick's soon-discarded girlfriend. The French actress was Marcel Dalio's wife until their divorce in 1942.
- Joy Page as Annina Brandel, the young Bulgarian refugee. The third credited American, she was studio head Jack Warner's stepdaughter.
- John Qualen as Berger, Laszlo's Resistance contact. He was born in Canada, but grew up in America. He appeared in many of John Ford's movies.
- S. Z. Sakall (credited as S. K. Sakall) as Carl, the waiter. He was a Hungarian actor who fled from Germany in 1939. His three sisters later died in a concentration camp.
- Dooley Wilson as Sam. He was one of the few American members of the cast. A drummer, he could not play the piano. Hal Wallis had considered changing Sam to a female character (Hazel Scott and Ella Fitzgerald were candidates), and even after shooting had been completed, Wallis considered dubbing over Wilson's voice for the songs.[9][10]
Notable uncredited actors were:
- Leon Belasco as a dealer in Rick's Cafe. A Russian-American character actor, he appeared in 13 films the year Casablanca was released.[11]
- Marcel Dalio as Emil the croupier. He had been a star in French cinema, appearing in Jean Renoir's La Grande Illusion and La Regle de Jeu, but after he fled the fall of France, he was reduced to bit parts in Hollywood. He had a key role in another of Bogart's films, To Have and Have Not.
- Helmut Dantine as Jan Brandel, the Bulgarian roulette player married to Annina Brandel. Another Austrian, he had spent time in a concentration camp after the Anschluss, the annexation of Austria.
- William Edmunds as a contact man at Rick's. He usually played characters with heavy accents, such as Martini in It's a Wonderful Life (1946).
- Gregory Gaye as the German banker who is refused entry to the casino by Rick. Gaye was a Russian-born actor who went to the United States in 1917 after the Russian Revolution.
- Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam". Meyer was a Danish actor.
- George London sings the Marseillaise. London was a Los Angeles born bass-baritone opera singer.
- Georges Renavent as Conspirator.
- Dan Seymour as Abdul the doorman. He was an American actor who, at 265 pounds, often played villains, including the principal one in To Have and Have Not, and one of the secondary ones in Key Largo, both opposite Bogart.
- Norma Varden as the Englishwoman whose husband has his wallet stolen. She was a famous English character actress.
- Jean Del Val as the French police radio announcer who (following the opening montage sequence) reports the news of the murder of the two German couriers.
- Leo White as the waiter Emile (not to be confused with the croupier Emil), from whom Renault orders a drink when he sits down with the Laszlos. White was a familiar face in many Charlie Chaplin two-reelers in the 1910s, usually playing an upper-class antagonist.
- Jack Benny may have had an unbilled cameo role (claimed by a contemporary newspaper advertisement[12] and reportedly in the Casablanca press book[13]). When asked in his column "Movie Answer Man", critic Roger Ebert first replied, "It looks something like him. That's all I can say."[13] In response to a follow-up question in his next column, he stated, "I think you're right."[14]
Part of the emotional impact of the film has been attributed to the large proportion of European exiles and refugees among the extras and in the minor roles. A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying and "realized that they were all real refugees".[15] Harmetz argues that they "brought to a dozen small roles in Casablanca an understanding and a desperation that could never have come from Central Casting".[16] The German citizens among them nevertheless had to keep curfew as enemy aliens. Ironically, they were frequently cast as the Nazis from whom they had fled.
Some of the exiled actors were:
- Louis V. Arco as another refugee in Rick's. Born Lutz Altschul in Austria, he moved to America shortly after the Anschluss and changed his name.
- Trude Berliner as a baccarat player in Rick's. Born in Berlin, she was a famous cabaret performer and film actress. Being Jewish, she left Germany in 1933.
- Ilka Grünig as Mrs. Leuchtag. Born in Vienna, she was a silent movie star in Germany who came to America after the Anschluss.
- Lotte Palfi as the refugee trying to sell her diamonds. Born in Germany, she played stage roles at a prestigious theater in Darmstadt, Germany. She journeyed to America after the Nazis came to power in 1933. She later married another Casablanca actor, Wolfgang Zilzer.
- Richard Ryen as Strasser's aide, Captain Heinze. The Austrian Jew acted in German films, but fled the Nazis.
- Ludwig Stössel as Mr. Leuchtag, the German refugee whose English is "not so good". Born in Austria, the Jewish actor was imprisoned following the Anschluss, the annexation of Austria. When he was released, he left for England and then America. Stössel became famous for doing a long series of commercials for Italian Swiss Colony wine producers. Dressed in an Alpine hat and lederhosen, Stössel was their spokesman with the slogan, "That Little Old Winemaker, Me!"
- Hans Twardowski as a Nazi officer who argues with a French officer over Yvonne. He was born in Stettin, Germany (now Szczecin, Poland).
- Wolfgang Zilzer as a Free French agent who is shot in the opening scene of the movie, was a silent movie actor in Germany who left when the Nazis took over. He later married Casablanca actress Lotte Palfi.
Production[link]
The film was based on Murray Burnett and Joan Alison's then-unproduced play Everybody Comes to Rick's.[17] The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum",[18] and story editor Irene Diamond convinced producer Hal Wallis to buy the rights in January 1942 for $20,000,[19] the most anyone in Hollywood had ever paid for an unproduced play.[20] The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers.[21] Although an initial filming date was selected for April 10, 1942, delays led to a start of production on May 25.[22] Filming was completed on August 3, and the production cost $1,039,000 ($75,000 over budget),[23] above average for the time.[24] The film was shot in sequence, mainly because only the first half of the script was ready when filming began.[25]
The entire picture was shot in the studio, except for the sequence showing Major Strasser's arrival, which was filmed at Van Nuys Airport, and a few short clips of stock footage views of Paris.[26] The street used for the exterior shots had recently been built for another film, The Desert Song,[27] and redressed for the Paris flashbacks. It remained on the Warners backlot until the 1960s. The set for Rick's was built in three unconnected parts, so the internal layout of the building is indeterminate. In a number of scenes, the camera looks through a wall from the cafe area into Rick's office. The background of the final scene, which shows a Lockheed Model 12 Electra Junior airplane with personnel walking around it, was staged using midget extras and a proportionate cardboard plane.[28] Fog was used to mask the model's unconvincing appearance.[29] Nevertheless, the Disney's Hollywood Studios theme park in Orlando, Florida purchased a Lockheed 12A for its Great Movie Ride attraction, and initially claimed that it was the actual plane used in the film.[30] Film critic Roger Ebert called Hal Wallis the "key creative force" for his attention to the details of production (down to insisting on a real parrot in the Blue Parrot bar).[5]
The difference between Bergman's and Bogart's height caused some problems. She was some two inches (5 cm) taller than Bogart, and claimed Curtiz had Bogart stand on blocks or sit on cushions in their scenes together.[31]
Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies' 1942 invasion of North Africa; however, it proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged "it would be a terrible mistake to change the ending."[32]
Writing[link]
The original play was inspired by a trip to Europe made by Murray Burnett in 1938, during which he visited Vienna shortly after the Anschluss, where he saw discrimination by Nazis first-hand. In the south of France, he came across a nightclub, which had a multinational clientele and the prototype of Sam, the black piano player.[33][34] In the play, the Ilsa character was an American named Lois Meredith and did not meet Laszlo until after her relationship with Rick in Paris had ended; Rick was a lawyer. To make Rick's motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the attack on Pearl Harbor.[35]
The first writers assigned to the script were the Epstein twins, Julius and Philip who, against the wishes of Warner Brothers, left the project after the attack on Pearl Harbor to work with Frank Capra on the Why We Fight series in Washington, D.C..[36] While they were gone, the other credited writer, Howard Koch was assigned to the script and produced some thirty to forty pages.[36] When the Epstein brothers returned after a month, they were reassigned to Casablanca and—contrary to what Koch claimed in two published books—his work was not used.[36] In the final Warner Brothers budget for the film, the Epsteins were paid $30,416 and Koch $4,200.[37]
The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe.[38][39] Koch highlighted the political and melodramatic elements,[40][41] while Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks.[42] Wallis wrote the final line ("Louie, I think this is the beginning of a beautiful friendship.") after shooting had been completed. Bogart had to be called in a month after the end of filming to dub it.[42] Despite the many writers, the film has what Ebert describes as a "wonderfully unified and consistent" script. Koch later claimed it was the tension between his own approach and Curtiz's which accounted for this: "Surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance."[43] Julius Epstein would later note the screenplay contained "more corn than in the states of Kansas and Iowa combined. But when corn works, there's nothing better."[44]
The film ran into some trouble from Joseph Breen of the Production Code Administration (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favors from his supplicants, and that Rick and Ilsa had slept together in Paris.[45] Extensive changes were made, with several lines of dialogue removed and/or altered, and all direct references to sex in the film removed. Additionally, when Sam played "As Time Goes By" in the original script, Rick had remarked "What the —— are you playing?"[46] This line implying a curse word was removed at the behest of the Hays Office, and both Renault's selling of visas for sex, and Rick and Ilsa's previous sexual relationship were implied elliptically rather than referenced explicitly.[47]
Direction[link]
Wallis' first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz.[48] Curtiz was a Hungarian Jewish émigré; he had come to the U.S. in the 1920s, but some of his family were refugees from Nazi Europe. Roger Ebert has commented that in Casablanca "very few shots... are memorable as shots," Curtiz being concerned to use images to tell the story rather than for their own sake.[5] However, he had relatively little input into the development of the plot: Casey Robinson said Curtiz "knew nothing whatever about story...he saw it in pictures, and you supplied the stories."[49] Critic Andrew Sarris called the film "the most decisive exception to the auteur theory",[50] of which Sarris was the most prominent proponent in the United States, to which Aljean Harmetz responded, "nearly every Warner Bros. picture was an exception to the auteur theory".[48] Other critics give more credit to Curtiz; Sidney Rosenzweig, in his study of the director's work, sees the film as a typical example of Curtiz's highlighting of moral dilemmas.[51]
The second unit montages, such as the opening sequence of the refugee trail and that showing the invasion of France, were directed by Don Siegel.[52]
Cinematography[link]
The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem "ineffably sad and tender and nostalgic".[5] Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil.[5] Dark film noir and expressionist lighting is used in several scenes, particularly towards the end of the picture. Rosenzweig argues these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.[53]
Music[link]
The music was written by Max Steiner, who was best known for the score for Gone with the Wind. The song "As Time Goes By" by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (María in For Whom the Bell Tolls) and could not re-shoot the scenes which incorporated the song,[54] so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them to reflect changing moods.[55]
Particularly notable is the "duel of the songs" between Strasser and Laszlo at Rick's cafe. In the soundtrack, "La Marseillaise" is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the "Horst Wessel Lied", a Nazi anthem, but this was still under international copyright in non-Allied countries. Instead "Die Wacht am Rhein" was used. The opening bars of the "Deutschlandlied", the national anthem of Germany, is featured throughout the score as a motif to represent the Germans, much as "La Marseillaise" is used to represent the Allies.
Other songs in the film include "It Had to Be You" from 1924 (music by Isham Jones, lyrics by Gus Kahn), "Shine" from 1910 (music by Ford Dabney, lyrics by Cecil Mack and Lew Brown), "Avalon" from 1920 (music and lyrics by Al Jolson, Buddy DeSylva and Vincent Rose), "Perfidia" by Alberto Dominguez, "The Very Thought of You" by Ray Noble, and "Knock on Wood" (music by M.K. Jerome, lyrics by Jack Scholl), the only original song in the film.
Timing of release[link]
Although an initial release date was anticipated for spring 1943,[56] the film premiered at the Hollywood Theater in New York City on November 26, 1942, to coincide with the Allied invasion of North Africa and the capture of Casablanca.[2][57] In the 1,500-seat theater, the film grossed $255,000 over ten weeks.[58] It went into general release on January 23, 1943, to take advantage of the Casablanca conference, a high-level meeting between Churchill and Roosevelt in the city. It was a substantial but not spectacular box-office success, taking $3.7 million on its initial U.S. release, making it the seventh best-selling film of 1943.[58][59] The Office of War Information prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.[60]
Reception[link]
Initial response[link]
Casablanca received "consistently good reviews".[61] Bosley Crowther of The New York Times wrote, "The Warners... have a picture which makes the spine tingle and the heart take a leap." The newspaper applauded the combination of "sentiment, humor and pathos with taut melodrama and bristling intrigue". While he noted its "devious convolutions of the plot", he praised the screenplay quality as "of the best" and the cast's performances as "all of the first order".[62]
The trade paper Variety commended the film's "combination of fine performances, engrossing story and neat direction" and the "variety of moods, action, suspense, comedy and drama that makes Casablanca an A-1 entry at the b.o". The paper applauded the performances of Bergman and Henreid and analyzed Bogart's own: "Bogart, as might be expected, is more at ease as the bitter and cynical operator of a joint than as a lover, but handles both assignments with superb finesse." Variety wrote of the film's real-world impact, "Film is splendid anti-Axis propaganda, particularly inasmuch as the propaganda is strictly a by-product of the principal action and contributes to it instead of getting in the way."[63]
Some other reviews were less enthusiastic: The New Yorker rated it only "pretty tolerable".[64]
Lasting impact[link]
The film has grown in popularity. Murray Burnett called it "true yesterday, true today, true tomorrow".[65] By 1955, the film had brought in $6.8 million, making it only the third most successful of Warners' wartime movies (behind Shine On, Harvest Moon and This is the Army).[66] On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It was so popular that it began a tradition of screening Casablanca during the week of final exams at Harvard University which continues to the present day, and is emulated by many colleges across the United States. Todd Gitlin, a professor of sociology who himself attended one of these screenings, had said that the experience was, "the acting out of my own personal rite of passage".[67] The tradition helped the movie remain popular while other famous films of the 1940s have faded away, and by 1977, Casablanca was the most frequently broadcast film on American television.[68]
On the film's 50th anniversary, the Los Angeles Times called Casablanca's great strength "the purity of its Golden Age Hollywoodness [and] the enduring craftsmanship of its resonantly hokey dialogue". The newspaper believed the film achieved a "near-perfect entertainment balance" of comedy, romance, and suspense.[69]
According to Roger Ebert, Casablanca is "probably on more lists of the greatest films of all time than any other single title, including Citizen Kane" because of its wider appeal. Ebert opined that Citizen Kane is generally considered to be a "greater" film but Casablanca is more loved.[5] Ebert said that he has never heard of a negative review of the film, even though individual elements can be criticized, citing unrealistic special effects and the stiff character/portrayal of Laszlo.[49] Rudy Behlmer emphasized the variety in the picture: "it's a blend of drama, melodrama, comedy [and] intrigue".[49]
Ebert has said that the film is popular because "the people in it are all so good" and that it is "a wonderful gem".[5] As the Resistance hero, Laszlo is ostensibly the most noble, although he is so stiff that he is hard to like.[5] The other characters, in Behlmer's words, are "not cut and dried": they come into their goodness in the course of the film. Renault begins the film as a collaborator with the Nazis, who extorts sexual favors from refugees and has Ugarte killed. Rick, according to Behlmer, is "not a hero,... not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody". Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end of the film, however, "everybody is sacrificing."[49]
There are a few dissenting reviewers. According to Pauline Kael, "It's far from a great film, but it has a special appealingly schlocky romanticism..."[70] Umberto Eco wrote that "by any strict critical standards... Casablanca is a very mediocre film." He viewed the changes the characters undergo as inconsistent rather than complex: "It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects."[71]
There is anecdotal evidence that Casablanca may have made a deeper impression among film-lovers than within the professional movie-making establishment. In the November/December 1982 issue of American Film, Chuck Ross claimed that he retyped the screenplay to Casablanca, only changing the title back to Everybody Comes to Rick's and the name of the piano player to Dooley Wilson, and submitted it to 217 agencies. Eighty-five of them read it; of those, thirty-eight rejected it outright, thirty-three generally recognized it (but only eight specifically as Casablanca), three declared it commercially viable, and one suggested turning it into a novel.[72]
Hugh Hefner cited it as part of his motivation to open up the Playboy Club.[73]
Influence on later works[link]
Many subsequent films have drawn on elements of Casablanca. Passage to Marseille reunited Bogart, Rains, Curtiz, Greenstreet and Lorre in 1944, while there are many similarities between Casablanca and two later Bogart films, To Have and Have Not (1944) and Sirocco (1951). Parodies have included the Marx Brothers' A Night in Casablanca (1946), Neil Simon's The Cheap Detective (1978), Barb Wire (1996), and Out Cold (2001), while it provided the title for the 1995 hit The Usual Suspects. Woody Allen's Play It Again, Sam (1972) appropriated Bogart's Casablanca persona as the fantasy mentor for Allen's nebbishy character, featuring actor Jerry Lacy in the role of Bogart.
Casablanca itself was a plot device in the science-fiction television movie Overdrawn at the Memory Bank (1983), based on John Varley's story, and made a similar, though much less pivotal, appearance in Terry Gilliam's dystopian Brazil (1985). Warner Bros. produced its own parody of the film in the homage Carrotblanca, a 1995 Bugs Bunny cartoon.[74] In Casablanca, a novella by Argentine writer Edgar Brau, the protagonist somehow wanders into Rick's Café Americain and listens to a strange tale related by Sam.[75]
Interpretation[link]
Casablanca has been subjected to many different readings. Semioticians account for the film's popularity by claiming that its inclusion of a whole series of stereotypes paradoxically strengthens the film.[76][77][78][79] Umberto Eco explained:
Thus Casablanca is not just one film. It is many films, an anthology. [...] When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichés make us laugh. A hundred clichés move us. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion.[80][81]
Eco also singled out sacrifice as one of the film's key themes: "the myth of sacrifice runs through the whole film."[82] It was this theme which resonated with a wartime audience that was reassured by the idea that painful sacrifice and going off to war could be romantic gestures done for the greater good.[83]
Koch also considered the film a political allegory. Rick was compared to President Franklin D. Roosevelt, who gambled "on the odds of going to war until circumstance and his own submerged nobility force him to close his casino (partisan politics) and commit himself—first by financing the Side of Right and then by fighting for it."[84] The similarity was reinforced by the film's title, as it was compared to its English equivalent: White House.[84]
William Donelley, in his Love and Death in Casablanca, argues that Rick's relationship with Sam, and subsequently with Renault, is, "a standard case of the repressed homosexuality that underlies most American adventure stories".[85] Harvey Greenberg presents a Freudian reading in his The Movies on Your Mind, in which the transgressions which prevent Rick from returning to the U.S. constitute an Oedipus complex, which is resolved only when Rick begins to identify with the father figure of Laszlo and the cause which he represents.[86] Sidney Rosenzweig argues that such readings are reductive, and that the most important aspect of the film is its ambiguity, above all in the central character of Rick; he cites the different names which each character gives Rick (Richard, Ricky, Mr Rick, Herr Blaine and so on) as evidence of the different meanings which he has for each person.[87]
Accolades[link]
Because of its November 1942 release, the New York Film Critics decided to include the film in its 1942 award season for best picture. Casablanca lost to In Which We Serve.[58] However, the Academy stated that since the film went into national release in the beginning of 1943, it would be included in that year's nominations.[88] Casablanca was nominated for eight Academy Awards, and won three. When the award for Best Picture was announced producer Hal B. Wallis got up to accept, only to find Jack Warner had rushed onstage to take the trophy. Wallis later recalled, "I had no alternative but to sit down again, humiliated and furious. ... Almost forty years later, I still haven't recovered from the shock."[89] This incident would lead Wallis to leave Warner Bros. in April.[90]
| Award | Category | Nominee | Result |
|---|---|---|---|
| 16th Academy Awards | Outstanding Motion Picture | Warner Bros. (Hal B. Wallis, Producer) | Won |
| Best Director | Michael Curtiz | Won | |
| Best Actor | Humphrey Bogart | Nominated | |
| Best Writing, Screenplay | Julius J. Epstein, Philip G. Epstein, and Howard Koch | Won | |
| Best Supporting Actor | Claude Rains | Nominated | |
| Best Cinematography | Arthur Edeson | Nominated | |
| Best Film Editing | Owen Marks | Nominated | |
| Best Music (Score of a Dramatic or Comedy Picture) | Max Steiner | Nominated |
In 1989, the film was selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant". In 2005, it was named one of the 100 greatest films of the last 80 years by Time.com (the selected films were not ranked). The famed teacher of screenwriting, Robert McKee, maintains that the script is "the greatest screenplay of all time".[6] In 2006, the Writers Guild of America, west agreed, voting it the best ever in its list of the 101 greatest screenplays.[91] The film has been selected by the American Film Institute for many of their lists.
| Year | Category | Nominee | Rank |
|---|---|---|---|
| 1998 | AFI's 100 Years... 100 Movies | 2 | |
| 2001 | AFI's 100 Years... 100 Thrills | 37 | |
| 2002 | AFI's 100 Years... 100 Passions | 1 | |
| 2003 | AFI's 100 Years... 100 Heroes and Villains | Rick Blaine (hero) | 4 |
| 2004 | AFI's 100 Years... 100 Songs | "As Time Goes By" | 2 |
| 2005 | AFI's 100 Years... 100 Movie Quotes | 5, 20, 28, 32, 43, and 67 (see Quotations section below) | |
| 2006 | AFI's 100 Years... 100 Cheers | 32 | |
| 2007 | AFI's 100 Years... 100 Movies (10th Anniversary Edition) | 3 |
Home media releases[link]
Casablanca was initially released on Betamax and VHS by Magnetic Video and later by CBS/Fox Video (as United Artists owned the rights at the time). It was next released on laserdisc in 1991, and on VHS in 1992—both from MGM/UA Home Entertainment (distributing for Turner Entertainment), which at the time was distributed by Warner Home Video. It was first released on DVD in 1997 by MGM, containing the trailer and a making-of featurette (Warner Home Video reissued the DVD in 2000). A subsequent two-disc special edition, containing audio commentaries, documentaries, and a newly remastered visual and audio presentation, was released in 2003.[92]
An HD DVD was released on November 14, 2006, containing the same special features as the 2003 DVD.[93] Reviewers were impressed with the new high-definition transfer of the film.[94][95]
A Blu-ray release with new special features came out on December 2, 2008; it is also available on DVD.[96] The Blu-ray was initially only released as an expensive gift set with a booklet, a luggage tag and other assorted gift-type items. It was eventually released as a stand-alone Blu-ray in September 2009. Warner Bros put the film into moratorium in 2011 for an eventual re-release in 2012.[97] On March 27, 2012, Warner released a new 70th Anniversary Ultimate Collector's Edition Blu-ray/DVD combo set. It includes a brand-new 4K restoration and new bonus material.[98][99]
Sequels and other versions[link]
Almost from the moment Casablanca became a hit, talk began of producing a sequel. One titled Brazzaville (in the final scene, Renault recommends fleeing to that Free French-held city) was planned, but never produced.[100] Since then, no studio has seriously considered filming a sequel or outright remake. François Truffaut refused an invitation to remake the film in 1974, citing its cult status among American students as his reason.[101] Attempts to recapture the magic of Casablanca in other settings, such as Caboblanco (1980), "a South American-set retooling of Casablanca",[102] and Havana (1990),[103] have been poorly received.
The novel As Time Goes By, written by Michael Walsh and published in 1998, was authorized by Warner.[104][105] The novel picks up where the film leaves off, and also tells of Rick's mysterious past in America. The book met with little success.[106] David Thomson provided an unofficial sequel in his 1985 novel Suspects.
There have been two short-lived television series based upon Casablanca, both considered prequels. The first aired from 1955 to 1956, with Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as Renault; it aired on ABC as part of the wheel series Warner Bros. Presents.[107] It produced a total of ten hour-long episodes. Another, briefly broadcast on NBC in 1983, starred David Soul as Rick, Ray Liotta as Sacha, and Scatman Crothers as a somewhat elderly Sam.[108] A total of five hour-long episodes were produced.
There were several radio adaptations of the film. The two best-known were a thirty-minute adaptation on The Screen Guild Theater on April 26, 1943, starring Bogart, Bergman, and Henreid, and an hour-long version on the Lux Radio Theater on January 24, 1944, featuring Alan Ladd as Rick, Hedy Lamarr as Ilsa, and John Loder as Victor Laszlo. Two other thirty-minute adaptations were aired: on Philip Morris Playhouse on September 3, 1943, and on Theater of Romance on December 19, 1944, in which Dooley Wilson reprised his role as Sam.
Julius Epstein made two attempts to turn the film into a Broadway musical, in 1951 and 1967, but neither made it to the stage.[109] The original play, Everybody Comes to Rick's, was produced in Newport, Rhode Island, in August 1946, and again in London in April 1991, but met with no success.[110] The film was adapted into a musical by the Takarazuka Revue, an all-female Japanese musical theater company, and ran from November 2009 through February 2010.[111]
Colorization[link]
Casablanca was part of the film colorization controversy of the 1980s,[112] when a colorized version aired on the television station WTBS. In 1984, MGM-UA hired Color Systems Technology to colorize the film for $180,000.[113] When Ted Turner of Turner Entertainment purchased MGM-UA's film library two years later, he canceled the request, before contracting American Film Technologies (AFT) in 1988. AFT completed the colorization in two months at a cost of $450,000.[113] Turner later reacted to the criticism of the colorization, saying, "[Casablanca] is one of a handful of films that really doesn't have to be colorized. I did it because I wanted to. All I'm trying to do is protect my investment."[113]
The Library of Congress deemed that the color change differed so much from the original film that it gave a new copyright to Turner Entertainment. When the colorized film debuted on WTBS, it was watched by three million viewers, not making the top-ten viewed cable shows for the week. Although Jack Matthews of the Los Angeles Times called the finished product "state of the art", it was mostly met with negative critical reception.[113] It was briefly available on home video. Gary Edgerton, writing for the Journal of Popular Film & Television criticized the colorization, "... Casablanca in color ended up being much blander in appearance and, overall, much less visually interesting than its 1942 predecessor."[113] Bogart's son Stephen said, "if you're going to colorize Casablanca, why not put arms on the Venus de Milo?"[101]
Rumors[link]
Several rumors and misconceptions have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. This originates in a press release issued by the studio early on in the film's development, but by that time the studio already knew that he was due to go work for the army, and he was never seriously considered.[114] George Raft claimed that he had turned down the lead role. Studio records make clear, however, that Wallis was committed to Bogart from the start.[115]
Another well-known story is that the actors did not know until the last day of shooting how the film was to end. The original play (set entirely in the cafe) ended with Rick sending Ilsa and Victor to the airport. During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Hal Wallis before filming began, the ending of the film "set up for a swell twist when Rick sends her away on the plane with Victor. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people."[116] It was certainly impossible for Ilsa to leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. The concern was not whether Ilsa would leave with Laszlo, but how this result could be engineered.[117] The problem was solved when the Epstein brothers, Julius and Philip, were driving down Sunset Boulevard and stopped for the light at Beverly Glen. At that instant the identical twins turned to each other and simultaneously cried out, "Round up the usual suspects!"[118] By the time they had driven past Fairfax and the Cahuenga Pass and through the Warner Brothers studio's portals at Burbank, in the words of Julius Epstein, "the idea for the farewell scene between a tearful Bergman and a suddenly noble Bogart" had been formed and all the problems of the ending had been solved.[119]
The confusion was probably caused by Bergman's later statement that she did not know which man she was meant to be in love with. While rewrites did occur during the filming, Aljean Harmetz's examination of the scripts has shown that many of the key scenes were shot after Bergman knew how the film would end: any confusion was, in Ebert's words, "emotional", not "factual".[5]
Errors and inaccuracies[link]
The film has several logical flaws, the foremost being the two "letters of transit" which enable their bearers to leave Vichy French territory. According to the 
audio (help·info), Ugarte says the letters had been signed by (depending on the listener) either Free French General Charles de Gaulle or Vichy General Maxime Weygand. The English subtitles on the official DVD read de Gaulle, while the French subtitles specify Weygand. Weygand had been the Vichy Delegate-General for the North African colonies until a month before the film is set (and a year after it was written). De Gaulle was the head of the Free French government in exile. A Vichy court martial had convicted de Gaulle of treason in absentia and sentenced him to life imprisonment on August 2, 1940, so a letter signed by him would have been of no benefit.[23] A classic MacGuffin, the letters were invented by Joan Allison for the original play and never questioned.[120] Even in the film, Rick suggests to Renault that the letters would not have allowed Ilsa to escape, let alone Laszlo: "People have been held in Casablanca in spite of their legal rights."
In the same vein, though Laszlo asserts that the Nazis cannot arrest him as "This is still unoccupied France; any violation of neutrality would reflect on Captain Renault," Ebert points out that "It makes no sense that he could walk around freely....He would be arrested on sight."[5] Harmetz, however, suggests that Strasser intentionally allows Laszlo to move about, hoping that he will tell them the names of Resistance leaders in occupied Europe in exchange for Ilsa being allowed to leave for Lisbon.
Other mistakes include the wrong version of the flag for French Morocco and the fact no uniformed German troops ever set foot in Casablanca during the Second World War.[23]
According to Harmetz, in reality few of the refugees depicted would actually have gone to Casablanca.[121] The usual route out of Germany was through Vienna, Prague, Paris, and London, although the film's technical advisor, Robert Aisner, did follow the path to Morocco given in Casablanca's opening scene.
Quotations[link]
One of the lines most closely associated with the film — "Play it again, Sam" — is a misquotation.[122][123] When Ilsa first enters the Café Americain, she spots Sam and asks him to "Play it once, Sam, for old times' sake." After he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By'." Later that night, alone with Sam, Rick says, "You played it for her, you can play it for me," and "If she can stand it, I can! Play it!"
Rick's toast to Ilsa, "Here's looking at you, kid", used several times, is not in the draft screenplays, but has been attributed to something Bogart said to Bergman as he taught her poker between takes.[124] It was voted the 5th most memorable line in cinema in AFI's 100 Years…100 Movie Quotes by the American Film Institute.[125]
Six lines from Casablanca appeared in the AFI list, the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). The other five are:
- "Louie, I think this is the beginning of a beautiful friendship" – 20th
- "Play it, Sam. Play 'As Time Goes By'" – 28th
- "Round up the usual suspects" – 32nd
- "We'll always have Paris" – 43rd
- "Of all the gin joints in all the towns in all the world, she walks into mine" – 67th
References[link]
Notes[link]
- ^ Ebert, Roger (September 15, 1996). "Casablanca (1942)". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19960915/REVIEWS08/401010308/1023. Retrieved 2010-03-18.
- ^ a b ""Howard Koch, Julius Epstein, Frank Miller Interview" May, 1995 By Eliot Stein of "STEIN ONLINE" on COMPUSERVE". vincasa.com. May 1995. http://www.vincasa.com/indexkoch.html. Retrieved 2008-06-11. Frank Miller: "There was a scene planned, after the ending, that would have shown Rick and Renault on an Allied ship just prior to the landing at CASABLANCA but plans to shoot it were scrapped when the marketing department realized they had to get the film out fast to capitalize on the liberation of North Africa."
- ^ Francisco 1980, p. 119
- ^ "From quintessential "good girl" to Hollywood heavyweight". The Family of Ingrid Bergman. http://www.ingridbergman.com/about/bio2.htm. Retrieved 2007-08-03.
- ^ a b c d e f g h i j Ebert, Roger. Commentary to Casablanca (Two-Disc Special Edition DVD).
- ^ a b Harmetz 1992, pp. 88–89,92,95
- ^ Harmetz 1992, p. 99
- ^ Harmetz 1992, p. 97
- ^ Harmetz 1992, pp. 139–140, 260
- ^ Behlmer 1985, p. 214
- ^ "Leon Belasco as a Dealer". mcgady.net. http://mcgady.net/Casab/evenmore/even_more_minor_characters.html. Retrieved 13 September 2010.
- ^ e.g. "Special Contest / Find Jack Benny in "Casablanca"". The Evening Independent. February 4, 1943. http://news.google.com/newspapers?nid=950&dat=19430204&id=PwlQAAAAIBAJ&sjid=DFUDAAAAIBAJ&pg=5175,4021701.
- ^ a b Roger Ebert (December 9, 2009). "Movie Answer Man". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091209/ANSWERMAN/912099991. Retrieved January 8, 2010.
- ^ Roger Ebert (December 23, 2009). "Movie Answer Man". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091223/ANSWERMAN/912239981. Retrieved January 8, 2010.
- ^ Harmetz 1992, p. 213
- ^ Harmetz 1992, p. 214
- ^ Behlmer 1985, p. 194
- ^ Harmetz 1992, p. 17
- ^ Harmetz 1992, p. 19
- ^ Francisco 1980, p. 33
- ^ Harmetz 1992, p. 30
- ^ Francisco 1980, p. 136
- ^ a b c Robertson, James C. (1993). The Casablanca Man: The Cinema of Michael Curtiz. London: Routledge. p. 79. ISBN 0-415-06804-5.
- ^ Behlmer 1985, p. 208
- ^ Francisco 1980, pp. 141–142
- ^ Francisco 1980, p. 139
- ^ Behlmer 1985, pp. 214–215
- ^ Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February 2, 2010. Event occurs at 21:09.
- ^ Harmetz 1992, p. 237
- ^ "The Plane Truth". Snopes. August 21, 2007. http://www.snopes.com/disney/parks/casablanca.asp. Retrieved 2007-12-06.
- ^ Harmetz 1992, p. 170
- ^ Harmetz 1992, pp. 280–281
- ^ Harmetz 1992, pp. 53–54
- ^ Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February 2, 2010. Event occurs at 4:36.
- ^ Francisco 1980, p. 121
- ^ a b c McGilligan 1986, pp. 185
- ^ Behlmer 1985, p. 209
- ^ Merlock, Ray (Winter 2000). "Casablanca". Journal of Popular Film & Television 27 (4): 2.
- ^ Harmetz 1992, pp. 175,179
- ^ Harmetz 1992, pp. 56–59
- ^ Francisco 1980, pp. 154–155
- ^ a b Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February 2, 2010. Event occurs at 29:57.
- ^ Sorel, Edward (December 1991). "Casablanca". American Heritage magazine. http://www.americanheritage.com/content/casablanca. Retrieved November 15, 2011.
- ^ "Casablanca writer dies". BBC News. January 2, 2001. http://news.bbc.co.uk/2/hi/entertainment/1097005.stm. Retrieved 2010-03-18.
- ^ "Censored Films and Television at University of Virginia online". .lib.virginia.edu. http://www2.lib.virginia.edu/exhibits/censored/film.html. Retrieved 2011-12-03.
- ^ Gardner 1988, p. 4
- ^ Gardner 1988, pp. 2–4
- ^ a b Harmetz 1992, p. 75
- ^ a b c d Quoted in Ebert commentary.
- ^ Sarris, Andrew (1968). The American Cinema: Directors and Directions 1929–1968 (New York: Dutton), p.176.
- ^ Rosenzweig, Sidney (1982). Casablanca and Other Major Films of Michael Curtiz. Ann Arbor, Mich: UMI Research Press. pp. 158–159. ISBN 0-8357-1304-0.
- ^ Harmetz 1992, p. 264
- ^ Rosenzweig, pp.6–7
- ^ "As Time Goes By" enjoyed a resurgence after the release of Casablanca, spending 21 weeks on the hit parade.
- ^ Harmetz 1992, pp. 253–258
- ^ Francisco 1980, p. 184
- ^ Francisco 1980, pp. 188–189
- ^ a b c Francisco 1980, p. 192
- ^ Harmetz 1992, p. 12
- ^ Harmetz 1992, p. 286
- ^ Stanley, John (April 5, 1992). "'Casablanca' Celebrates Its 50th". San Francisco Chronicle.
- ^ Crowther, Bosley (November 27, 1942). "'Casablanca', with Humphrey Bogart and Ingrid Bergman, at Hollywood". The New York Times: p. 27.
- ^ "Film reviews through the years: Casablanca". Variety. December 2, 1942. http://www.variety.com/index.asp?layout=variety100&content=jump&jump=review&reviewID=VE1117487980&category=1935. Retrieved January 1, 2009.
- ^ Harmetz 1992, pp. 12–13
- ^ Interviewed in Casablanca 50th Anniversary Special: You Must Remember This (Turner: 1992)
- ^ Harmetz 1992, p. 283
- ^ Harmetz 1992, p. 343
- ^ Harmetz 1992, p. 346
- ^ Strauss, Bob (April 10, 1992). "Still the best: Casablanca loses no luster over time". Los Angeles Times.
- ^ Pauline Kael. "Casablanca". geocities.com. Archived from the original on 2009-10-26. http://www.webcitation.org/5knvV3A24. Retrieved 2009-01-05.
- ^ Eco, Umberto (1985). "Casablanca, or the Clichés are Having a Ball". In Blonsky, Marshal. On Signs. JHU Press. pp. 35-38. ISBN 0-8018-3007-9. http://books.google.com/books?id=DRd1DZ-5MX0C&pg=PA35#v=onepage&q&f=false.
- ^ Zinman, David (April 10, 1983). The Magazine (Sunday supplement to The Province newspaper), p. 12
- ^ "http://www.nbc.com/the-playboy-club/video/hef-on-the-history-of-the-clubs/1347658/". Nbc.com. 2010-08-05. http://www.nbc.com/the-playboy-club/video/hef-on-the-history-of-the-clubs/1347658/. Retrieved 2011-12-03.
- ^ Casablanca-You Must Remember This...A Tribute to Casablanca (Blu-ray Disc). Warner Home Video. February 2, 2010. Event occurs at 31:56.
- ^ Michael Dirda (January 7, 2007). "For the first time in English, the Argentine labyrinths of Edgar Brau.". The Washington Post. http://www.washingtonpost.com/wp-dyn/content/article/2007/01/05/AR2007010500168.html.
- ^ Casablanca and the Paradoxical Truth of Stereotyping by James F. Pontuso in Political Philosophy Comes to Rick's: Casablanca and American Civic Culture by James F. Pontuso. Lexington Books, 2005. ISBN 0-7391-1113-2, ISBN 978-0-7391-1113-0
- ^ Archetypes: What You Need to Know About Them by Henry P. Raleigh in Art Times, April 2003
- ^ "We'll Always Have Casablanca" by Lance Morrow in Time, 27 December 1982
- ^ "Influence and Intertextuality in Literary History" by Jay Clayton and Eric Rothstein, University of Wisconsin Press, 1991. ISBN 0-299-13034-7, ISBN 978-0-299-13034-3
- ^ Umberto Eco, Travels in Hyperreality (1986)
- ^ Eco, Umberto. "Casablanca, or, The Clichés are Having a Ball". http://www.themodernword.com/eco/eco_casablanca.html. Retrieved May 20, 2009.
- ^ Eco, Umberto (1994). Signs of Life in the USA: Readings on Popular Culture for Writers (Sonia Maasik and Jack Solomon, eds.) Bedford Books.
- ^ Gabbard, Krin; Gabbard, Glen O. (1990). "Play it again, Sigmund: Psychoanalysis and the classical Hollywood text." Journal of Popular Film & Television vol. 18 no. 1 p. 6–17 ISSN 0195-6051
- ^ a b Koch 1973, p. 166
- ^ Donnelly, William (1968). "Love and Death in Casablanca" Persistence of Vision: A Collection of Film Criticisms, ed. Joseph McBride. Madison: Wisconsin Fim Society Press, pp. 103–7 quoted in Rosenzweig, p.78 and Harmetz, p. 347
- ^ Greenberg, Harvey (1975). The Movies on Your Mind New York: Saturday Review Press, p. 88 quoted in Rosenzweig, p. 79 and Harmetz, p. 348
- ^ Rosenzweig, p. 81
- ^ Francisco 1980, p. 195
- ^ Ronald Haver. "Casablanca: The Unexpected Classic". The Criterion Collection Online Cinematheque. http://www.criterion.com/current/posts/791. Retrieved January 8, 2010.
- ^ Harmetz 1992, pp. 321–324
- ^ "101 Greatest Sceenplays". Writers Guild of America, west. http://www.wga.org/subpage_newsevents.aspx?id=1807. Retrieved 2007-08-03.
- ^ "Casablanca: Two-Disc Special Edition". http://www.amazon.com/dp/B00009W0WM.
- ^ "Casablanca [HD-DVD] (1943)". http://www.amazon.com/dp/B000I0RR7Q.
- ^ "Casablanca — Humphrey Bogart". http://www.dvdbeaver.com/film2/DVDReviews27/casablanca.htm.
- ^ "HD DVD Review: Casablanca". http://hddvd.highdefdigest.com/casablanca.html.
- ^ "WHV Press Release: Casablanca Ultimate Collector's Edition (DVD/Blu-ray) – Home Theater". http://www.hometheaterforum.com/forum/thread/275515/whv-press-release-casablanca-ultimate-collector-s-edition-dvd-blu-ray.
- ^ "Casablanca, Lethal Weapon Blu-ray to Be Pulled from Shelves". http://www.blu-ray.com/news/?id=5904.
- ^ "Casablanca (70th Anniversary Limited Collector's Edition Blu-ray/DVD Combo)". http://www.amazon.com/Casablanca-Anniversary-Limited-Collectors-Edition/dp/B006BG7RI0/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1335405184&sr=1-2. Retrieved 2012-04-25.
- ^ Katz, Josh (25 April 2012). "Casablanca: 70th Anniversary Ultimate Collector's Edition Blu-ray (Updated)". blu-ray.com. http://www.blu-ray.com/news/?id=8054. Retrieved 2012-04-25.
- ^ Francisco 1980, p. 204
- ^ a b Harmetz 1992, p. 342
- ^ Yoram Allon, Hannah Patterson, Contemporary British & Irish Directors, Wallflower Press, 2001, p.332
- ^ Stephen Hunter (December 14, 1990). "We'll always have 'Casablanca'--so why see 'Havana'?". The Baltimore Sun. http://articles.baltimoresun.com/1990-12-14/entertainment/1990348013_1_robert-redford-havana-redford-plays.
- ^ "Borders.com presents Michael Walsh, Author of "As Time Goes By"". LiveWorld, Inc. January 8, 1999. Archived from the original on October 28, 2002. http://web.archive.org/web/20021028174808/http://www.liveworld.com/transcripts/borders/1-08-1999.1-1.html. Retrieved 2007-08-13.
- ^ Walsh, Michael (1998). "How Did I Write "As Time Goes By"?". Hachette Book Group USA. Archived from the original on 2008-05-13. http://web.archive.org/web/20080513160840/http://www.hachettebookgroupusa.com/authorslounge/articles/1999/april/article7805.html. Retrieved 2007-08-13.
- ^ Lawless, Jill (May 31, 2006). "'Mrs. Robinson' Returns in Sequel". CBS News. Archived from the original on October 12, 2007. http://web.archive.org/web/20071012203236/http://cbsnews.com/stories/2006/05/31/ap/entertainment/mainD8HUTL900.shtml. Retrieved 2007-08-13.
- ^ "Casablanca (1955)". Internet Movie Database Inc. http://www.imdb.com/title/tt0047719/. Retrieved 2007-08-06.
- ^ "Casablanca (1983)". Internet Movie Database Inc. http://www.imdb.com/title/tt0084994/. Retrieved 2007-08-06.
- ^ Harmetz 1992, p. 338
- ^ Harmetz 1992, p. 331
- ^ "『カサブランカ』". Takarazuka Revue Company. http://kageki.hankyu.co.jp/casablanca/. Retrieved 2009-10-03.
- ^ Krauthammer, Charles (January 12, 1987). "Casablanca In Color?". Time. http://www.time.com/time/magazine/article/0,9171,963207,00.html. Retrieved 2007-08-06.
- ^ a b c d e Edgerton, Gary R. (Winter 2000). "The Germans Wore Gray, You Wore Blue". Journal of Popular Film & Television 27 (4): 24.
- ^ Harmetz 1992, p. 74
- ^ Sklar, Robert (1992). City Boys: Cagney, Bogart, Garfield. New Jersey: Princeton University Press. p. 135. ISBN 0-691-04795-2.
- ^ Behlmer 1985, pp. 206–207
- ^ Harmetz 1992, p. 229
- ^ Epstein 1994, pp. 32–33
- ^ Epstein 1994, pp. 33–35
- ^ Harmetz 1992, p. 55
- ^ Harmetz 1992, p. 208
- ^ Fred R. Shapiro (January 15, 2010). "Movie Misquotations". The New York Times Magazine. http://www.nytimes.com/2010/01/17/magazine/17FOB-onlanguage-t.html.
- ^ Ben Child (11 May 2009). "Darth Vader line is the daddy of film misquotes, finds poll". guardian.co.uk. http://www.guardian.co.uk/film/2009/may/11/star-wars-movie-misquotes-poll.
- ^ Harmetz 1992, p. 187
- ^ "AFI's 100 Years…100 Movie Quotes". American Film Institute. http://www.afi.com/100years/quotes.aspx. Retrieved November 15, 2011.
Bibliography[link]
- Behlmer, Rudy (1985). Inside Warner Bros. (1935–1951). London: Weidenfeld and Nicolson. ISBN 0-297-79242-3.
- Casablanca (Two-Disc Special Edition DVD) (2003) (with audio commentaries by Roger Ebert and Rudy Behlmer and documentary Casablanca 50th Anniversary Special: You Must Remember This, narrated by Lauren Bacall).
- Epstein, Julius J. (1994). Casablanca. Imprenta Glorias: Fifty Copies Conceived and Illustrated by Gloria Naylor.
- Francisco, Charles (1980). You Must Remember This: The Filming of Casablanca. Englewood Cliffs, New Jersey: Prentice Hall. ISBN 0-13-977058-5.
- Gardner, Gerald (1988). The Censorship Papers: Movie Censorship Letters from the Hays Office, 1934 to 1968. New York: Dodd Mead. ISBN 0-396-08903-8.
- Harmetz, Aljean (1992). Round Up the Usual Suspects: The Making of Casablanca — Bogart, Bergman, and World War II. Hyperion. ISBN 1-56282-761-8.
- Koch, Howard (1973). Casablanca: Script and Legend. The Overlook Press. ISBN 0-87951-006-4.
- Lebo, Harlan (1992). Casablanca: Behind the Scenes. Fireside. ISBN 0-671-76981-2.
- McGilligan, Pat (1986). Backstory: Interviews with Screenwriters of Hollywood's Golden Age. Berkeley and Los Angeles: University of California Press. ISBN 0-520-05666-3.
- Miller, Frank (1992). Casablanca – As Times Goes By: 50th Anniversary Commemorative. Turner Publishing Inc. ISBN 1-878685-14-7.
- Robertson, James C. (1993). The Casablanca Man: The Cinema of Michael Curtiz London:Routledge. ISBN 0-415-06804-5
- Rosenzweig, Sidney (1982). Casablanca and Other Major Films of Michael Curtiz. Ann Arbor, Mich.: UMI Research Press. ISBN 0-8357-1304-0
External links[link]
Media related to Casablanca (film) at Wikimedia Commons 
Quotations related to Casablanca (film) at Wikiquote
- P.O.V. Number 14, December 2002 (pdf) – issue of a film studies journal that is entirely devoted to Casablanca
- Casablanca at the Internet Movie Database
- Casablanca at the TCM Movie Database
- Casablanca at AllRovi
- Casablanca at Rotten Tomatoes
- Casablanca at Box Office Mojo
Streaming audio
- Casablanca on Screen Guild Theater: April 26, 1943
- Casablanca on Lux Radio Theater: January 24, 1944
- Casablanca on Theater of Romance: December 19, 1944
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Related pages:
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| Bertie Higgins | |
|---|---|
| Birth name | Elbert Joseph Higgins |
| Born | (1944-12-08) December 8, 1944 (age 67) |
| Origin | Tarpon Springs, Florida |
| Genres | Country, pop, soft rock |
| Occupations | Singer-songwriter |
| Years active | 1982–present |
| Labels | Epic |
| Website | Official website |
Elbert Joseph "Bertie" Higgins (born December 8, 1944, Tarpon Springs, Florida) is an American singer-songwriter.[1] In 1982, he had his only Top 40 album with Just Another Day in Paradise. It spawned the Top 10 romantic ballad "Key Largo", which referenced the Humphrey Bogart movie of the same name and reached #8 in the U.S. Billboard Hot 100 record chart, number one in the adult contemporary charts, and a country hit as well. In 2009, his song was #75 on VH1's Greatest One Hit Wonders of the 80's. He also became a multi-platinum recording artist in the Pacific Rim countries including Japan and China due to the mega-hit, "Casablanca".
Contents |
Career[link]
Higgins is of Irish, German, and Portuguese descent; he is a direct descendant of the German author Johann Wolfgang Goethe.[2][3][4][5][6][7]
Higgins' musical career began with a teenage band, "The Romans" (later changed to "The Roemans"), which signed to ABC-Paramount Records in the early 1960s, and was temporarily backing singer Tommy Roe, hence the change of spelling from Romans. The band released three singles between 1964 and 1966. These achieved some radio airplay but did not reach any national charts.[7]
After Higgins failed to follow up the success of "Key Largo," he was plagued with personal and legal problems that included a divorce, alcoholism, a night in jail for making threatening phone calls to the mother of his ex-wife's boyfriend, and four months in prison for a 1995 DUI crash[8].
His eldest son, Damian Higgins, is a drum and bass DJ, producer and label head (Human Imprint), who goes by the moniker Dieselboy.
In recent years, Higgins has moved into film production with another son, Julian Higgins, producing The Wrath (distributed by Lions Gate) and a biker film, Poker Run, which was released in 2009. Higgins also co-wrote the screenplays, supervised the music and acted in major roles in both films.[6][9]
Discography[link]
Albums[link]
| Year | Album | US | Label |
|---|---|---|---|
| 1982 | Just Another Day in Paradise | 38 | Epic |
| 1983 | Pirates & Poets | — | Key Largo |
| 1994 | Back to the Island | — | Southern Tracks |
| 2003 | Island Bound | — | Sony |
| 2007 | The Ultimate Collection | — | Madacy |
| 2009 | Captiva | — | Toucan Cove |
Singles[link]
| Year | Single | Chart Positions | RIAA | Album | |||||
|---|---|---|---|---|---|---|---|---|---|
| US AC | US | US Country | CAN AC | CAN | CAN Country | ||||
| 1981 | "Key Largo" | 1 | 8 | 50 | 1 | 3 | 34 | Gold | Just Another Day in Paradise |
| 1982 | "Just Another Day in Paradise" | 10 | 46 | 90 | 12 | — | — | — | |
| 1988 | "You Blossom Me" | — | — | 72 | — | — | — | — | singles only |
| 1989 | "Homeless People" | — | — | 75 | — | — | — | — | |
References[link]
- ^ "Singer Songwriter Bertie Higgins Appears Monday At Pazzazz Lounge". Sarasota Herald-Tribune (Sarasota, Florida, USA: Diane McFarlin): p. 90. 16 December 1983. http://news.google.com/newspapers?id=Tm4fAAAAIBAJ&sjid=rmgEAAAAIBAJ&pg=4969,7526979&dq=bertie-higgins+singer+songwriter&hl=en. Retrieved 23 September 2010.
- ^ "Singer Bertie Higgins to perform". The Cedartown Standard (Cedartown, Georgia, USA): p. 3A. 12 July 1990. http://news.google.com/newspapers?id=0UEIAAAAIBAJ&sjid=4j8DAAAAIBAJ&pg=4417,359509&dq=bertie-higgins+goethe&hl=en. Retrieved 23 September 2010.
- ^ Atkins, Tony (16 October 1982). "Bertie Higgins Finds Success". Daytona Beach Morning Journal (Daytona Beach, Florida, USA): p. 34. http://news.google.com/newspapers?id=N-wwAAAAIBAJ&sjid=398FAAAAIBAJ&pg=4652,278672&dq=bertie-higgins+goethe&hl=en. Retrieved 23 September 2010.
- ^ "Bertie's Biography". Official Website of Bertie Higgins. http://www.bertiehiggins.com/biography.html. Retrieved 23 September 2010.
- ^ "'Trop Rocker ' performs at annual music event". Gadsden Times (Gadsden, Alabama, USA): p. 23. 12 May 1999. http://news.google.com/newspapers?id=07kfAAAAIBAJ&sjid=3NcEAAAAIBAJ&pg=3753,1643713&dq=bertie-higgins+goethe&hl=en. Retrieved 23 September 2010.
- ^ a b Reeves, Terri Bryce (16 July 2009). "Tarpon Springs' Bertie Higgins of 'Key Largo' fame joins son to make a horror flick". St. Petersburg Times (St. Petersburg, Florida, USA: Times Publishing Company). http://www.tampabay.com/news/humaninterest/article1018822.ece. Retrieved 23 September 2010.
- ^ a b Miller, Zell (1996). They heard Georgia singing. Mercer University Press. p. 138. ISBN 0-86554-504-9. http://books.google.com/books?id=7kv8EdRRkiQC&pg=PA138&dq=goethe+%22Bertie+Higgins+%22&hl=en&ei=zImbTLEIwpKzBuawzY0E&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCUQ6AEwAA#v=onepage&q=goethe%20%22Bertie%20Higgins%20%22&f=false.
- ^ Bertie Higgins: Where Is He Now?
- ^ "Poker Run on IMDB"
External links[link]
| Persondata | |
|---|---|
| Name | Higgins, Bertie |
| Alternative names | |
| Short description | |
| Date of birth | December 8, 1944 |
| Place of birth | |
| Date of death | |
| Place of death | |
http://wn.com/Bertie_Higgins
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Bertie_Higgins
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Joy Page | |
|---|---|
| Born | Joy Cerrette Paige (1924-11-09)November 9, 1924 Los Angeles, California, U.S. |
| Died | April 18, 2008(2008-04-18) (aged 83) Los Angeles, California, U.S. |
| Resting place | Forest Lawn Memorial Park (Hollywood Hills) |
| Occupation | Actress |
| Years active | 1942—1959 |
| Spouse | William T. Orr (1945-1970) |
Joy Page (November 9, 1924 – April 18, 2008) was an American actress best known for her role as the Bulgarian bride Annina Brandel in the film Casablanca (1942).
Born Joy Cerrette Paige,[1] she was the daughter of Mexican-American silent film star Don Alvarado (born José Paige) and Ann Boyar (1908–1990), the daughter of Russian Jewish immigrants. Her parents divorced when she was eight.
In 1936, her mother married Jack Warner, then head of Warner Bros. studios. Warner, however, did not encourage his stepdaughter's interest in acting. Page, who initially thought the script to Casablanca was "old fashioned" and "cliched", landed the role on her own and Warner reluctantly approved. She was only seventeen and fresh out of high school.
Warner, however, refused to sign Page to a contract, and she never appeared in another Warner Bros. film. She went on to act in a number of films for other studios, usually billed as Joanne Page, and made some television appearances. In 1945, Page married actor William T. Orr. He became a Warner Bros. executive, leading to accusations of nepotism. She retired from acting after appearing in the first season of Disney's miniseries The Swamp Fox in 1959.
She and Orr divorced in 1970. Their son, Gregory Orr, is a writer and producer.
Page died on April 18, 2008, of complications arising from a stroke and pneumonia.[2]
Filmography[link]
- Casablanca (1942)
- Kismet (1944)
- The Bullfighter and the Lady (1950)
- Conquest of Cochise (1953)
- Fighter Attack (1953)
- The Shrike (1955)
- Tonka (1958)
References[link]
- ^ Joy Page. The Times. April 29, 2008.
- ^ Joy Page, 83; in 'Casablanca,' Bogart told her: 'Go back to Bulgaria.'. Los Angeles Times. April 24, 2008.
External links[link]
- Joy Page at the Internet Movie Database
- Joy Page at Find a Grave
| Persondata | |
|---|---|
| Name | Page, Joy |
| Alternative names | |
| Short description | American actor |
| Date of birth | November 9, 1924 |
| Place of birth | Los Angeles, California, U.S. |
| Date of death | April 18, 2008 |
| Place of death | Los Angeles, California, U.S. |
http://wn.com/Joy_Page
Related pages:
http://es.wn.com/Joy Page
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Joy_Page
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
"Bogart" redirects here. For other uses, see Bogart (disambiguation).
| Humphrey Bogart | |
|---|---|
.jpg) Bogart in 1946, in a photograph by Yousuf Karsh |
|
| Born | Humphrey DeForest Bogart (1899-12-25)December 25, 1899 New York City, New York, U.S. |
| Died | January 14, 1957(1957-01-14) (aged 57) Los Angeles, California, U.S. |
| Cause of death | Esophageal cancer |
| Resting place | Forest Lawn Memorial Park, Glendale, California |
| Education | Trinity School |
| Alma mater | Phillips Academy |
| Occupation | Actor |
| Years active | 1921–1956 |
| Spouse | Helen Menken (m.1926-1927; divorced) Mary Philips (m.1928-1937; divorced) Mayo Methot (m.1938-1945; divorced) Lauren Bacall (m.1945-1957; his death) |
| Children | Stephen Humphrey Bogart (born 1949) Leslie Howard Bogart (born 1952) |
| Parents | Dr. Belmont DeForest Bogart, Maud Humphrey |
| Website | |
| http://www.humphreybogart.com/ | |
Humphrey DeForest Bogart (December 25, 1899 – January 14, 1957)[1][2] was an American actor.[3] He is widely regarded as a cultural icon.[4][5] The American Film Institute ranked Bogart as the greatest male star in the history of American cinema.
After trying various jobs, Bogart began acting in 1921 and became a regular in Broadway productions in the 1920s and 1930s. When the stock market crash of 1929 reduced the demand for plays, Bogart turned to film. His first great success was as Duke Mantee in The Petrified Forest (1936), and this led to a period of typecasting as a gangster with films such as Angels with Dirty Faces (1938) and B-movies like The Return of Doctor X (1939).
Bogart's breakthrough as a leading man came in 1941, with High Sierra and The Maltese Falcon. The next year, his performance in Casablanca raised him to the peak of his profession and, at the same time, cemented his trademark film persona, that of the hard-boiled cynic who ultimately shows his noble side. Other successes followed, including To Have and Have Not (1944); The Big Sleep (1946); Dark Passage (1947) and Key Largo (1948), with his wife Lauren Bacall; The Treasure of the Sierra Madre (1948); In a Lonely Place (1950); The African Queen (1951), for which he won his only Academy Award; Sabrina (1954); and The Caine Mutiny (1954). His last movie was The Harder They Fall (1956). During a film career of almost thirty years, he appeared in 75 feature films.
Contents |
Early life[link]
Bogart was born on Christmas Day, 1899 in New York City, the eldest child of Dr. Belmont DeForest Bogart (July 1867, Watkins Glen, New York – September 8, 1934, Tudor City apartments, New York City) and Maud Humphrey (1868–1940). Belmont and Maud married in June 1898. The name “Bogart” comes from the Dutch surname “Bogaert”. It is derived from the word “bogaard”, a short name for “boomgaard”, which means “orchard”.[6] Bogart's father was a Presbyterian of English and Dutch descent; his mother was an Episcopalian of English descent. Bogart was raised in the Episcopalian faith, but gave up his belief in God and was an atheist since the age of eight.[7]
Bogart's birthday has been a subject of controversy; according to Warner Bros, he was born on Christmas Day, 1899. Others believe that this was a fiction created by the studio to romanticize their star, and that he was actually born on January 23, 1899. However, this story is now considered baseless: although no birth certificate has ever been found, his birth notice did appear in a New York newspaper in early January 1900, which supports the December 1899 date, as do other sources, such as the 1900 census.[N 1]
Bogart's father, Belmont, was a cardiopulmonary surgeon. His mother, Maud Humphrey, was a commercial illustrator, who received her art training in New York and France, including study with James McNeill Whistler, and who later became artistic director of the fashion magazine The Delineator. She was a militant suffragette.[9] She used a drawing of baby Humphrey in a well-known ad campaign for Mellins Baby Food.[10] In her prime, she made over $50,000 a year, then a vast sum, far more than her husband's $20,000 per year.[11] The Bogarts lived in a fashionable Upper West Side apartment, and had an elegant cottage on a fifty-five acre estate in upstate New York on Canandaigua Lake. As a youngster, Humphrey's gang of friends at the lake would put on theatricals.[12]
Humphrey was the oldest of three children; he had two younger sisters, Frances and Catherine Elizabeth (Kay).[10] His parents were very formal, busy in their careers, and frequently fought—resulting in little emotion directed at the children, "I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn't glug over my two sisters and me."[13] As a boy, Bogart was teased for his curls, his tidiness, the "cute" pictures his mother had him pose for, the Little Lord Fauntleroy clothes she dressed him in—and the name "Humphrey."[14] From his father, Bogart inherited a tendency for needling people, a fondness for fishing, a life-long love of boating, and an attraction to strong-willed women.[15]
The Bogarts sent their son to private schools. Bogart began school at the Delancey School until fifth grade, when he was enrolled in Trinity School.[16] He was an indifferent, sullen student who showed no interest in after-school activities.[17] Later he went to the prestigious preparatory school Phillips Academy, in Andover, Massachusetts, where he was admitted based on family connections.[18] They hoped he would go on to Yale, but in 1918, Bogart was expelled.[19] The details of his expulsion are disputed: one story claims that he was expelled for throwing the headmaster (alternatively, a groundskeeper) into Rabbit Pond, a man-made lake on campus. Another cites smoking and drinking, combined with poor academic performance and possibly some inappropriate comments made to the staff. It has also been said that he was actually withdrawn from the school by his father for failing to improve his academics, as opposed to expulsion. In any case, his parents were deeply dismayed by the events and their failed plans for his future.[20]
Navy[link]
With no viable career options, Bogart followed his love for the sea and enlisted in the United States Navy in the spring of 1918. He recalled later, "At eighteen, war was great stuff. Paris! French girls! Hot damn!"[21] Bogart is recorded as a model sailor who spent most of his months in the Navy after the Armistice was signed, ferrying troops back from Europe.[22]
It was during his naval stint that Bogart may have gotten his trademark scar and developed his characteristic lisp, though the actual circumstances are unclear. In one account, during a shelling of his ship the USS Leviathan, his lip was cut by a piece of shrapnel, although some claim Bogart did not make it to sea until after the Armistice with Germany was signed. Another version, which Bogart's long time friend, author Nathaniel Benchley, claims is the truth, is that Bogart was injured while on assignment to take a naval prisoner to Portsmouth Naval Prison in Kittery, Maine. Supposedly, while changing trains in Boston, the handcuffed prisoner asked Bogart for a cigarette and while Bogart looked for a match, the prisoner raised his hands, smashed Bogart across the mouth with his cuffs, cutting Bogart's lip, and fled. The prisoner was eventually taken to Portsmouth. An alternate explanation is in the process of uncuffing an inmate, Bogart was struck in the mouth when the inmate wielded one open, uncuffed bracelet while the other side was still on his wrist.[23]
By the time Bogart was treated by a doctor, the scar had already formed. "Goddamn doctor," Bogart later told David Niven, "instead of stitching it up, he screwed it up." Niven says that when he asked Bogart about his scar he said it was caused by a childhood accident; Niven claims the stories that Bogart got the scar during wartime were made up by the studios to inject glamour. His post-service physical makes no mention of the lip scar even though it mentions many smaller scars, so the actual cause may have come later.[22] When actress Louise Brooks met Bogart in 1924, he had some scarred tissue on his upper lip, which Belmont Bogart may have partially repaired before Bogart went into films in 1930.[20] She believes his scar had nothing to do with his distinctive speech pattern, his "lip wound gave him no speech impediment, either before or after it was mended. Over the years, Bogart practiced all kinds of lip gymnastics, accompanied by nasal tones, snarls, lisps and slurs. His painful wince, his leer, his fiendish grin were the most accomplished ever seen on film."[24]
Early career[link]
Bogart returned home to find his father was suffering from poor health (perhaps aggravated by morphine addiction), his medical practice was faltering, and he lost much of the family's money on bad investments in timber.[25] During his naval days, Bogart's character and values developed independent of family influence, and he began to rebel somewhat against their values. He came to be a liberal who hated pretensions, phonies, and snobs, and at times he defied conventional behavior and authority, traits he displayed in life and in his movies. On the other hand, he retained their traits of good manners, articulateness, punctuality, modesty, and a dislike of being touched.[26] After his naval service, Bogart worked as a shipper and then bond salesman.[27] He joined the Naval Reserve.
Bogart resumed his friendship with boyhood pal Bill Brady, Jr. whose father had show business connections, and eventually Bogart got an office job working for William A. Brady Sr.'s new company World Films.[28] Bogart got to try his hand at screenwriting, directing, and production, but excelled at none. For a while, he was stage manager for Brady's daughter's play A Ruined Lady. A few months later, in 1921, Bogart made his stage debut in Drifting as a Japanese butler in another Alice Brady play, nervously speaking one line of dialog. Several more appearances followed in her subsequent plays.[29] Bogart liked the late hours actors kept, and enjoyed the attention an actor got on stage. He stated, "I was born to be indolent and this was the softest of rackets".[27] He spent a lot of his free time in speakeasies and became a heavy drinker. A barroom brawl during this time might have been the actual cause of Bogart's lip damage, as this coincides better with the Louise Brooks account.[30]
Bogart had been raised to believe acting was beneath a gentleman, but he enjoyed stage acting. He never took acting lessons, but was persistent and worked steadily at his craft. He appeared in at least seventeen Broadway productions between 1922 and 1935.[31] He played juveniles or romantic second-leads in drawing room comedies. He is said to have been the first actor to ask "Tennis, anyone?" on stage.[32] Critic Alexander Woollcott wrote of Bogart's early work that he "is what is usually and mercifully described as inadequate."[33] Some reviews were kinder. Heywood Broun, reviewing Nerves wrote, "Humphrey Bogart gives the most effective performance...both dry and fresh, if that be possible".[34] Bogart loathed the trivial, effeminate parts he had to play early in his career, calling them "White Pants Willie" roles.
Early in his career, while playing double roles in the play Drifting at the Playhouse Theatre in 1922, Bogart met actress Helen Menken. They were married on May 20, 1926 at the Gramercy Park Hotel in New York City, divorced on November 18, 1927, but remained friends.[35] On April 3, 1928, he married Mary Philips at her mother's apartment in Hartford, Connecticut. She, like Menken, had a fiery temper and, like every other Bogart spouse, was an actress. He had met Mary when they appeared in the play Nerves, which had a very brief run at the Comedy Theatre in September 1924.
After the stock market crash of 1929, stage production dropped off sharply, and many of the more photogenic actors headed for Hollywood. Bogart's earliest film role is with Helen Hayes in the 1928 two-reeler The Dancing Town, of which a complete copy has never been found. He also appeared with Joan Blondell and Ruth Etting in a Vitaphone short, Broadway's Like That (1930) which was re-discovered in 1963.[36]
Bogart then signed a contract with Fox Film Corporation for $750 a week. Spencer Tracy was a serious Broadway actor whom Bogart liked and admired, and they became good friends and drinking buddies. It was Tracy, in 1930, who first called him "Bogey". (Spelled variously in many sources, Bogart himself spelled his nickname "Bogie".)[37] Tracy and Bogart appeared in their only film together in John Ford's early sound film Up the River (1930), with both playing inmates. It was Tracy's film debut.[38] Bogart then performed in The Bad Sister with Bette Davis in 1931, in a minor part.[39]
Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, suffering long periods without work. His parents had separated, and Belmont died in 1934 in debt, which Bogart eventually paid off. Bogart inherited his father's gold ring which he always wore, even in many of his films. At his father's deathbed, Bogart finally told Belmont how much he loved him.[40] His second marriage was on the rocks, and he was less than happy with his acting career to date; he became depressed, irritable, and drank heavily.[41]
[edit] The Petrified Forest
Bogart starred in the Broadway play Invitation to a Murder at the Theatre Masque, now the John Golden Theatre, in 1934. The producer Arthur Hopkins heard the play from off-stage and sent for Bogart to play escaped murderer Duke Mantee in Robert E. Sherwood's new play, The Petrified Forest.[41] Hopkins recalled:
When I saw the actor I was somewhat taken aback, for he was the one I never much admired. He was an antiquated juvenile who spent most of his stage life in white pants swinging a tennis racquet. He seemed as far from a cold-blooded killer as one could get, but the voice (dry and tired) persisted, and the voice was Mantee's.[42]
The play had 197 performances at the Broadhurst Theatre in New York in 1935.[43] Leslie Howard though, was the star. New York Times critic Brooks Atkinson said of the play, "a peach... a roaring Western melodrama... Humphrey Bogart does the best work of his career as an actor."[44] Bogart said the play "marked my deliverance from the ranks of the sleek, sybaritic, stiff-shirted, swallow-tailed 'smoothies' to which I seemed condemned to life." However, he was still feeling insecure.[43]
Warner Bros. bought the screen rights to The Petrified Forest. The studio was famous for its socially-realistic, urban, low-budget action pictures; the play seemed like the perfect property for it, especially since the public was entranced by real-life criminals like John Dillinger (whom Bogart resembled) and Dutch Schultz.[45] Bette Davis and Leslie Howard were cast. Howard, who held production rights, made it clear he wanted Bogart to star with him. The studio tested several Hollywood veterans for the Duke Mantee role, and chose Edward G. Robinson, who had first-rank star appeal and was due to make a film to fulfill his expensive contract. Bogart cabled news of this to Howard, who was in Scotland. Howard's cabled reply was, "Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.". When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart.[46] Jack Warner, famous for butting heads with his stars, tried to get Bogart to adopt a stage name, but Bogart stubbornly refused.[47] Bogart never forgot Howard's favor, and in 1952 he named his only daughter "Leslie Howard" after Howard, who had died in World War II under mysterious circumstances.[48] Robert E. Sherwood remained a close friend of Bogart's.
Early film career[link]
The film version of The Petrified Forest was released in 1936. His performance was called "brilliant", "compelling", and "superb." Despite his success in an "A movie," Bogart received a tepid twenty-six week contract at $550 per week and was typecast as a gangster in a series of "B movie" crime dramas.[49] Bogart was proud of his success, but the fact that it came from playing a gangster weighed on him. He once said: "I can't get in a mild discussion without turning it into an argument. There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. Nobody likes me on sight. I suppose that's why I'm cast as the heavy." Bogart's roles were not only repetitive, but physically demanding and draining (studios were not yet air-conditioned), and his regimented, tightly-scheduled job at Warners was not exactly the "peachy" actor's life he hoped for.[50] However, he was always professional and generally respected by other actors. In those "B movie" years, Bogart started developing his lasting film persona – the wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a core of honor.
The studio system, then at its most entrenched, usually restricted actors to one studio, with occasional loan-outs, and Warner Bros. had no interest in making Bogart a top star. Shooting on a new movie might begin days or only hours after shooting on the previous one was completed. Any actor who refused a role could be suspended without pay. Bogart disliked the roles chosen for him, but he worked steadily: between 1936 and 1940, Bogart averaged a movie every two months, sometimes even working on two simultaneously, as movies were not generally shot sequentially. Amenities at Warners were few compared to those for their fellow actors at MGM. Bogart thought that the Warners wardrobe department was cheap, and often wore his own suits in his movies. In High Sierra, Bogart used his own pet dog Zero to play his character's dog, Pard. Bogart's disputes with Warner Bros. over roles and money were similar to those the studio had with other less-than-obedient stars, such as Bette Davis, James Cagney, Errol Flynn, and Olivia de Havilland.[51]
The leading men ahead of Bogart at Warner Bros. included not only such classic stars as James Cagney and Edward G. Robinson, but also actors far less well-known today, such as Victor McLaglen, George Raft and Paul Muni. Most of the studio's better movie scripts went to these men, and Bogart had to take what was left. He made films like Racket Busters, San Quentin, and You Can't Get Away with Murder. The only substantial leading role he got during this period was in Dead End (1937), while loaned to Samuel Goldwyn, where he portrayed a gangster modeled after Baby Face Nelson.[52] He did play a variety of interesting supporting roles, such as in Angels with Dirty Faces (1938) (in which his character got shot by James Cagney's). Bogart was gunned down on film repeatedly by Cagney and Edward G. Robinson, among others. In Black Legion (1937), for a change, he played a good man caught up and destroyed by a racist organization, a movie Graham Greene called "intelligent and exciting, if rather earnest".[53]
In 1938, Warner Bros. put Bogart in a "hillbilly musical" called Swing Your Lady as a wrestling promoter; he later apparently considered this his worst film performance.[54] In 1939, Bogart played a mad scientist in The Return of Doctor X. He cracked, "If it'd been Jack Warner's blood...I wouldn't have minded so much. The trouble was they were drinking mine and I was making this stinking movie." Mary Philips, in her own stage hit A Touch of Brimstone (1935), refused to give up her Broadway career to go to Hollywood with Bogart. After the play closed, however, she went to Hollywood, but insisted on continuing her career and they divorced in 1937.[55]
On August 21, 1938, Bogart entered into a disastrous third marriage, with actress Mayo Methot, a lively, friendly woman when sober, but paranoid when drunk. She was convinced that her husband was cheating on her. The more she and Bogart drifted apart, the more she drank, got furious and threw things at him: plants, crockery, anything close at hand. She even set the house on fire, stabbed him with a knife, and slashed her wrists on several occasions. Bogart for his part needled her mercilessly and seemed to enjoy confrontation. Sometimes he turned violent. The press accurately dubbed them "the Battling Bogarts."[56] "The Bogart-Methot marriage was the sequel to the Civil War," said their friend Julius Epstein. A wag observed that there was "madness in his Methot." During this time, Bogart bought a motor launch, which he named Sluggy, after his nickname for his hot-tempered wife. Despite his proclamations that, "I like a jealous wife," "We get on so well together (because) we don't have illusions about each other," and, "I wouldn't give you two cents for a dame without a temper," it was a highly destructive relationship.[57]
In California in 1945, Bogart bought a 55-foot (17 m) sailing yacht, the Santana, from actor Dick Powell. The sea was his sanctuary[58] and he loved to sail around Catalina Island. He was a serious sailor, respected by other sailors who had seen too many Hollywood actors and their boats. About 30 weekends a year, he went out on his boat. He once said, "An actor needs something to stabilize his personality, something to nail down what he really is, not what he is currently pretending to be."
Bogart had a lifelong disgust for the pretentious, fake or phony, as his son Stephen told Turner Classic Movies host Robert Osborne in 1999. Sensitive yet caustic, and disgusted by the inferior movies he was performing in, Bogart cultivated the persona of a soured idealist, a man exiled from better things in New York, living by his wits, drinking too much, cursed to live out his life among second-rate people and projects.
Bogart rarely saw his own films and avoided premieres. He even protected his privacy with invented press releases about his private life to satisfy the curiosity of the newspapers and the public.[59] When he thought an actor, director, or a movie studio had done something shoddy, he spoke up about it and was willing to be quoted. He advised Robert Mitchum that the only way to stay alive in Hollywood was to be an "againster." As a result, he was not the most popular of actors, and some in the Hollywood community shunned him privately to avoid trouble with the studios.[60] But the Hollywood press, unaccustomed to candor, was delighted. Bogart once said:
All over Hollywood, they are continually advising me, "Oh, you mustn't say that. That will get you in a lot of trouble," when I remark that some picture or writer or director or producer is no good. I don't get it. If he isn't any good, why can't you say so? If more people would mention it, pretty soon it might start having some effect.
Rise to stardom[link]
[edit] High Sierra
High Sierra, a 1941 movie directed by Raoul Walsh, had a screenplay written by Bogart's friend and drinking partner, John Huston, adapted from the novel by W. R. Burnett (Little Caesar, etc.).[61] Both Paul Muni and George Raft turned down the lead role, giving Bogart the opportunity to play a character of some depth, although legendary director Walsh initially fought the casting of supporting player Bogart as a leading man, much preferring Raft for the part. The film was Bogart's last major film playing a gangster (his final gangster role was in The Big Shot in 1942). Bogart worked well with Ida Lupino, and her relationship with him was a close one, provoking jealousy from Bogart's wife Mayo.[62]
The film cemented a strong personal and professional connection between Bogart and Huston. Bogart admired and somewhat envied Huston for his skill as a writer. Though a poor student, Bogart was a lifelong reader. He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare. He subscribed to the Harvard Law Review.[63] He admired writers, and some of his best friends were screenwriters, including Louis Bromfield, Nathaniel Benchley and Nunnally Johnson. Bogart enjoyed intense, provocative conversation and stiff drinks, as did Huston. Both were rebellious and liked to play childish pranks. John Huston was reported to be easily bored during production, and admired Bogart (who also got bored easily off camera) not just for his acting talent but for his intense concentration on the set.[64]
[edit] The Maltese Falcon
Raft turned down the lead in John Huston's directorial debut The Maltese Falcon (1941), due to its being a cleaned up version of the pre-Production Code The Maltese Falcon (1931), his contract stipulating that he did not have to appear in remakes. The original novel, written by Dashiell Hammett, was first published in the pulp magazine Black Mask in 1929. It was also the basis for another movie version, Satan Met a Lady (1936) starring Bette Davis.[65] Complementing Bogart were co-stars Sydney Greenstreet, Peter Lorre, Elisha Cook, Jr., and Mary Astor as the treacherous female foil.[66]
Bogart's sharp timing and facial expressions as private detective Sam Spade were praised by the cast and director as vital to the quick action and rapid-fire dialogue.[63] The film was a huge hit and for Huston, a triumphant directorial debut. Bogart was unusually happy with it, remarking, "it is practically a masterpiece. I don't have many things I'm proud of... but that's one".[67]
[edit] Casablanca
Bogart gained his first real romantic lead in 1942's Casablanca, playing Rick Blaine, the hard-pressed expatriate nightclub owner, hiding from the past and negotiating a fine line among Nazis, the French underground, the Vichy prefect and unresolved feelings for his ex-girlfriend. The film was directed by Michael Curtiz, produced by Hal Wallis and featured a strong cast, including Ingrid Bergman, Claude Rains, Sydney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson. In real life, Bogart played tournament chess, one level below master level and often played with crew members and cast off the set. It was reportedly his idea that Rick Blaine be portrayed as a chess player, which also served as a metaphor for the sparring relationship of the characters played by Bogart and Rains in the movie. However, Paul Henreid proved to be the best player.[68]
The on-screen magic of Bogart and Bergman was the result of two actors doing their very best work, not any real-life sparks, though Bogart's perennially jealous wife assumed otherwise. Off the set, the co-stars hardly spoke during the filming, where normally she had a reputation for affairs with her leading men.[69] Because Bergman was taller than her leading man, Bogart had 3-inch (76 mm) blocks attached to his shoes in certain scenes.[69] She reportedly said later, "I kissed him but I never knew him."[70] Years later, after Bergman had taken up with Italian director Roberto Rossellini, and bore him a child, Bogart confronted her. "You used to be a great star", he said, "What are you now?" "A happy woman," she replied.[citation needed]
Casablanca won the 1943 Academy Award for Best Picture. Bogart was nominated for the Best Actor in a Leading Role, but lost out to Paul Lukas for his performance in Watch on the Rhine. Still, for Bogart, it was a huge triumph. The film vaulted him from fourth place to first in the studio's roster, finally exceeding James Cagney, and more than doubling his salary to over $460,000 per year by 1946, making him the highest paid actor in the world.[71]
Bogart and Bacall[link]
[edit] To Have and Have Not
Bogart met Lauren Bacall while filming To Have and Have Not (1944), a loose adaptation of the Ernest Hemingway novel. The movie has many similarities with Casablanca – the same enemies, the same kind of hero, even a piano player sidekick (this time Hoagy Carmichael). When they met, Bacall was nineteen and Bogart was forty-four. He nicknamed her "Baby." She had been a model since she was sixteen and had acted in two failed plays. Bogart was drawn to Bacall's high cheekbones, green eyes, tawny blond hair, and lean body, as well as her poise and earthy, outspoken honesty.[72] Reportedly he said, "I just saw your test. We'll have a lot of fun together".[73] Their physical and emotional rapport was very strong from the start, and the age difference and different acting experience also created the additional dimension of a mentor-student relationship. Quite contrary to the Hollywood norm, it was his first affair with a leading lady.[74] Bogart was still miserably married and his early meetings with Bacall were discreet and brief, their separations bridged by ardent love letters.[75] The relationship made it much easier for the newcomer to make her first film, and Bogart did his best to put her at ease by joking with her and quietly coaching her. He let her steal scenes and even encouraged it. Howard Hawks, for his part, also did his best to boost her performance and her role, and found Bogart easy to direct.[76]
Hawks at some point began to disapprove of the pair. Hawks considered himself her protector and mentor, and Bogart was usurping that role. Hawks fell for Bacall as well (normally he avoided his starlets, and he was married). Hawks told her that she meant nothing to Bogart and even threatened to send her to Monogram, the worst studio in Hollywood. Bogart calmed her down and then went after Hawks. Jack Warner settled the dispute and filming resumed.[77] Hawks said of Bacall: "Bogie fell in love with the character she played, so she had to keep playing it the rest of her life."[78]
[edit] The Big Sleep, Dark Passage and Key Largo
Just months after wrapping the film, Bogart and Bacall were reunited for their second movie together, the film noir The Big Sleep, based on the novel by Raymond Chandler, again with script help from William Faulkner. Chandler thoroughly admired Bogart's performance: "Bogart can be tough without a gun. Also, he has a sense of humor that contains that grating undertone of contempt."[79] The film holds a rare niche in Hollywood history as having been completed and slated for release in 1945, then withdrawn and substantially re-edited with new, juiced up scenes added to better exploit the box office chemistry that shined between Bogie and Bacall in To Have and Have Not and the notoriety of their personal relationship. "After the public's response to Bacall's debut performance in To Have and Have Not at the urging of director Howard Hawks production partner Charles K. Feldman, scenes were re-written to heighten the 'insolent' quality that had intrigued critics and audiences in that film." By chance, a 35 mm nitrate composite master positive (fine grain) of the 1945 version survived. The UCLA Film Archive, in association with Turner Entertainment and with funding provided by Hugh Hefner, the original film was restored and released in comparison with the 1946 version in 1996.[80]
Bogart was still torn between his new love and his sense of duty to his marriage. The mood on the set was tense, the actors both emotionally exhausted as Bogart tried to find a way out of his dilemma. The dialogue, especially in the newly shot scenes, was full of sexual innuendo supplied by Hawks, and Bogart is convincing and enduring as private detective Philip Marlowe. In the end, the film was successful, though some critics found the plot confusing and overly complicated.[81] Reportedly Chandler himself could not answer the question who killed the limousine driver in the story when the baffled screenwriters called him up for final reference.
Dark Passage (1947) was Bogart's and Bacall's next collaboration. The first third of the film is shot from the protagonist's point of view, with the camera seeing what he sees. After the character's plastic surgery, the rest of the movie is shot normally with Bogart as the lead character. The picture is a suspense thriller with Bogart intent on finding the real killer in a murder he was blamed for and sentenced to prison.
Key Largo was directed by John Huston and, in addition to the presence of Bogart and Bacall, features Edward G. Robinson as "Johnny Rocco," a seething older synthesis of many of his past vicious gangster roles. The cast is trapped during a spectacular hurricane in a hotel owned by Bacall's character's father in law, played by Lionel Barrymore. Claire Trevor won an Academy Award for Best Supporting Actress for her performance as Rocco's physically abused, alcoholic, girlfriend. Robinson had always had top billing over Bogart in their previous films together but for this movie, Robinson's name appears to the right of Bogart's, but placed a little higher on the posters, and also in the film's opening credits, to indicate Robinson's near-equal status. Robinson's image was also markedly larger and centered on the original poster, with Bogart relegated to the background. In the film's trailer, Bogart is repeatedly mentioned first but Robinson's name is listed above Bogart's in a cast list at the trailer's very end. Robinson's role remains similar in circumstance to Duke Mantee in The Petrified Forest (1936), Bogart's initial breakthrough which the studio had originally earmarked for Robinson.
Marriage[link]
Divorce proceedings were initiated by February 1945. Bogart and Bacall then married in a small ceremony at the country home of Bogart's close friend, Pulitzer Prize-winning author Louis Bromfield at Malabar Farm near Lucas, Ohio on May 21, 1945.[48]
Bogart and Bacall moved into a $160,000 white brick mansion in an exclusive neighborhood in Holmby Hills. The marriage proved to be a happy one, though there were the normal tensions due to their differences. He was a homebody and she liked nightlife. He loved the sea; it made her sick. Bacall allowed Bogart lots of weekend time on his boat as she got seasick.[82] Bogart's drinking sometimes inflamed tensions.[83]
Lauren Bacall gave birth to Stephen Humphrey Bogart on January 6, 1949. Stephen was named after Bogart's character's nickname in To Have and Have Not, making Bogart a father at 49.[84] Stephen would go on to become a best-selling author and biographer, later hosting a television special about his father on Turner Classic Movies. They had their second child, Leslie Howard Bogart on August 23, 1952, a girl named after British actor Leslie Howard.[48]
Later career[link]
The enormous success of Casablanca redefined Bogart's career. For the first time, Bogart could be cast successfully as a tough, strong man and, at the same time, as a vulnerable love interest. Despite Bogart's elevated standing, he did not yet have a contractual right of script refusal, so when he got weak scripts, he dug in his heels, and locked horns again with the front office, as he did on the film Conflict (1945).[85] Though he submitted to Jack Warner on that picture, he successfully turned down God is My Co-Pilot (1945).[86] During part of 1943 and 1944, Bogart went on USO and War Bond tours accompanied by Mayo, enduring arduous travels to Italy and North Africa, including Casablanca.[71]
[edit] The Treasure of the Sierra Madre
Riding high in 1947 with a new contract which provided some script refusal rights and the right to form his own separate production company, Bogart reunited with John Huston for The Treasure of the Sierra Madre, a stark tale of greed involving three gold prospectors played out in the dusty back country of Mexico. Absent any love story or a happy ending, it was deemed a risky project.[87] Bogart later said of co-star (and John Huston's father) Walter Huston, "He's probably the only performer in Hollywood to whom I'd gladly lost a scene".[88]
The film was grueling to make, and was done in summer for greater realism and atmosphere.[89] James Agee wrote, "Bogart does a wonderful job with this character...miles ahead of the very good work he has done before". John Huston won the Academy Award for direction and screenplay and his father won Best Supporting Actor, but the film had mediocre box office results. Bogart complained, "An intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it".[90]
House Un-American Activities Committee[link]
Bogart, a liberal Democrat,[91] organized a delegation to Washington, D.C., called the Committee for the First Amendment, against the House Un-American Activities Committee's harassment of Hollywood screenwriters and actors. He subsequently wrote an article "I'm No Communist" in the March 1948 edition of Photoplay magazine in which he distanced himself from The Hollywood Ten to counter the negative publicity that resulted from his appearance. Bogart wrote: "The ten men cited for contempt by the House Un-American Activities Committee were not defended by us."[92]
Santana Productions[link]
In addition to being offered better, more diverse roles, in 1948 he started his own production company, Santana Productions, named after his private sailing yacht. (Santana was also the name of the cabin cruiser featured in the 1948 film Key Largo).[93] Bogart's contract gave him the right to have his own production company, but Jack Warner was reportedly furious at this, fearing that other stars would do the same and major studios would lose their power. The studios, however, were already under a lot of pressure, not just from free-lancing actors like Bogart, James Stewart, Henry Fonda and others (who also saved taxes as independents), but also from the eroding impact of television and from anti-trust laws which were breaking up theater chains.[94] Bogart performed in his final films for Warners, Chain Lightning, released early in 1950, and The Enforcer, released early in 1951.
Under Bogart's Santana Productions, which released through Columbia Pictures, Bogart starred in Knock on Any Door (1949), Tokyo Joe (1949), In a Lonely Place (1950), Sirocco (1951) and Beat the Devil (1954). While the majority of his films lost money at the box office (the main reason for Santana's end), at least two of them are still remembered today; In a Lonely Place is now recognized as a masterpiece of film noir. Bogart plays embittered writer Dixon Steele, who has a history of violence and becomes a suspect in a murder case at the same time that he falls in love with a failed actress, played by Gloria Grahame. Many Bogart biographers and actress/writer Louise Brooks agree that the role is the closest to Bogart's real self and is considered among his best performances.[95] She wrote that the film "gave him a role that he could play with complexity, because the film character's pride in his art, his selfishness, drunkenness, lack of energy stabbed with lightning strokes of violence were shared by the real Bogart". The character even mimics some of Bogart's personal habits, including twice ordering Bogart's favorite meal of ham and eggs.[96]
Beat the Devil, Bogart's last film with his close friend and favorite director John Huston, also enjoys a cult following.[citation needed] Co-written by Truman Capote, the movie is a parody of The Maltese Falcon, and is a tale of an amoral group of rogues chasing an unattainable treasure, in this instance uranium.[97]
Bogart sold his interest in Santana to Columbia for over $1 million in 1955.[98]
[edit] The African Queen
Bogart starred with Katharine Hepburn in the film The African Queen in 1951, again directed by his friend John Huston. The novel was overlooked and left undeveloped for fifteen years until producer Sam Spiegel and Huston bought the rights. Spiegel sent Katharine Hepburn the book and she suggested Bogart for the male lead, firmly believing that "he was the only man who could have played that part".[99] Huston's love of adventure, a chance to work with Hepburn, and Bogart's earlier successes with Huston convinced Bogart to leave the comfortable confines of Hollywood for a difficult shoot on location in the Belgian Congo in Africa. Bogart was to get 30 percent of the profits and Hepburn 10 percent, plus a relatively small salary for both. The stars met up in London and announced the happy prospect of working together.
Bacall came for the duration (over four months), leaving their young child behind, but the Bogarts started the trip with a junket through Europe, including a visit with Pope Pius XII.[100] Later, the glamor would be gone and she would make herself useful as a cook, nurse and clothes washer, for which Bogart praised her, "I don't know what we'd have done without her. She Luxed my undies in darkest Africa".[101] Just about everyone in the cast came down with dysentery except Bogart and John Huston, who subsisted on canned food and alcohol. Bogart explained: "All I ate was baked beans, canned asparagus and Scotch whisky. Whenever a fly bit Huston or me, it dropped dead."[102] The teetotaling Hepburn, in and out of character, fared worse in the difficult conditions, losing weight, and at one time, getting very ill. Bogart resisted Huston's insistence on using real leeches in a key scene where Bogart has to drag the boat through a shallow marsh, until reasonable fakes were employed.[103] In the end, the crew overcame illness, soldier ant invasions, leaking boats, poor food, attacking hippos, bad water filters, fierce heat, isolation, and a boat fire to complete a memorable film.[104] Despite the discomfort of jumping from the boat into swamps, rivers and marshes the film apparently rekindled in Bogart his early love of boats and on his return to California from the Congo he bought a classic mahogany Hacker-Craft runabout which he kept until his death.
The African Queen was the first Technicolor film in which Bogart appeared. He appeared in relatively few color films during the rest of his career, which continued for another five years. The role of Charlie Allnutt won Bogart his only Academy Award for Best Actor in a Leading Role in 1951. Bogart considered his performance to be the best of his film career.[105] He had vowed to friends that if he won, his speech would break the convention of thanking everyone in sight. He advised Claire Trevor, when she had been nominated for Key Largo, to "just say you did it all yourself and don't thank anyone". But when Bogart won the Academy Award, which he truly coveted despite his well-advertised disdain for Hollywood, he said "It's a long way from the Belgian Congo to the stage of this theatre. It's nicer to be here. Thank you very much...No one does it alone. As in tennis, you need a good opponent or partner to bring out the best in you. John and Katie helped me to be where I am now". Despite the thrilling win and the recognition, Bogart later commented, "The way to survive an Oscar is never to try to win another one...too many stars...win it and then figure they have to top themselves...they become afraid to take chances. The result: A lot of dull performances in dull pictures".[106]
Final roles[link]
Bogart dropped his asking price to get the role of Captain Queeg in Edward Dmytryk's The Caine Mutiny, then griped with some of his old bitterness about it.[107] For all his success, he was still his melancholy old self, grumbling and feuding with the studio, while his health was beginning to deteriorate. The character of Captain Queeg, mirrored those Bogart had played in The Maltese Falcon, Casablanca and The Big Sleep—the wary loner who trusts no one—but with none of the warmth or humor of those roles. Like his portrayal of Fred C. Dobbs in The Treasure of the Sierra Madre, Bogart played a paranoid, self-pitying character whose small-mindedness eventually destroyed him. Three months before the film's release, Bogart as Queeg appeared on the cover of TIME magazine, while on Broadway Henry Fonda was starring in the stage version (in a different role), both of which generated strong publicity for the film.[108]
In Sabrina, Billy Wilder, unable to secure Cary Grant, chose Bogart for the role of the older, conservative brother who competes with his younger playboy sibling (William Holden) for the affection of the Cinderella-like Sabrina (Audrey Hepburn). Bogart was lukewarm about the part, but agreed to it on a handshake with Wilder, without a finished script, and with the director's assurances to take good care of Bogart during the filming.[109] But Bogart got on poorly with his director and co-stars. He also complained about the script, which was written on a last-minute, daily basis, and that Wilder favored Hepburn and Holden on and off the set. The main problem was that Wilder was the opposite of his ideal director, John Huston, in both style and personality. Bogart told the press that Wilder was "overbearing" and "is the kind of Prussian German with a riding crop. He is the type of director I don't like to work with... the picture is a crock of crap. I got sick and tired of who gets Sabrina."[110] Wilder said, "We parted as enemies but finally made up." Despite the acrimony, the film was successful. The New York Times said of Bogart, "he is incredibly adroit... the skill with which this old rock-ribbed actor blend the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show."[111]
The Barefoot Contessa, directed by Joseph Mankiewicz, was filmed in Rome, and released in 1954. In this Hollywood back-story movie, Bogart again is the broken-down man, this time the cynical director-narrator who saves his career by making a star of a flamenco dancer Ava Gardner, modeled on the real life of Rita Hayworth. Bogart was uneasy with Gardner because she had just split from "rat-pack" buddy Frank Sinatra and was carrying on with bullfighter Luis Miguel Dominguín. Bogart told her, "Half the world's female population would throw themselves at Frank's feet and here you are flouncing around with guys who wear capes and little ballerina slippers." He was also annoyed by her inexperienced performance. Later, she credited him with helping her. Bogart's performance was generally praised as the strongest part of the film.[112] During the filming, while Bacall was home, Bogart resumed his discreet affair with Verita Peterson, his long-time studio assistant whom he took sailing and enjoyed drinking with. But when Bacall suddenly arrived on the scene discovering them together, Bacall took it quite well. She extracted an expensive shopping spree from him and the three traveled together after the shooting.[113]
Bogart could be generous with actors, particularly those who were blacklisted, down on their luck, or having personal problems. During the filming of The Left Hand of God (1955), he noticed his co-star Gene Tierney having a hard time remembering her lines and also behaving oddly. He coached Tierney, feeding her lines. He was familiar with mental illness (his sister had bouts of depression), and Bogart encouraged Tierney to seek treatment, which she did.[114][115] He also stood behind Joan Bennett and insisted on her as his co-star in We're No Angels when a scandal made her persona non grata with Jack Warner.[116]
In 1955, Bogart made three films: We're No Angels (dir. Michael Curtiz), The Left Hand of God (dir. Edward Dmytryk) and The Desperate Hours (dir. William Wyler). Mark Robson's The Harder They Fall (1956) was his last film.
Television and radio work[link]
Bogart rarely appeared on television. However, he and Bacall appeared on Edward R. Murrow's Person to Person. Bogart was also featured on The Jack Benny Show. The surviving kinescope of the live Benny telecast features Bogart in his only TV sketch comedy outing. Bogart and Bacall also worked together on an early color telecast, in 1955, an NBC adaptation of The Petrified Forest for Producers' Showcase; only a black and white kinescope of the live telecast has survived.
Bogart performed radio adaptations of some of his best known films, such as Casablanca and The Maltese Falcon. He also recorded a radio series called Bold Venture with Lauren Bacall.
The Rat Pack[link]
Bogart was a founding member of the Rat Pack. In the spring of 1955, after a long party in Las Vegas with Frank Sinatra, Judy Garland, her husband Sid Luft, Mike Romanoff and wife Gloria, David Niven, Angie Dickinson and others, Lauren Bacall surveyed the wreckage of the party and declared, "You look like a goddamn rat pack."[117]
Romanoff's in Beverly Hills was where the Rat Pack became official. Sinatra was named Pack Leader, Bacall was named Den Mother, Bogie was Director of Public Relations, and Sid Luft was Acting Cage Manager.[118] When asked by columnist Earl Wilson what the purpose of the group was, Bacall responded "to drink a lot of bourbon and stay up late."[117]
Death[link]
By the mid-1950s, Bogart's health was failing. Once, after signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. Bogart had formed a new production company and had plans for a new film Melville Goodwin, U.S.A., in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore and he dropped the project. The film was renamed Top Secret Affair and made with Kirk Douglas and Susan Hayward.[119]
Bogart, a heavy smoker and drinker, developed cancer of the esophagus. He almost never spoke of his failing health and refused to see a doctor until January 1956. A diagnosis was made several weeks later and by then removal of his esophagus, two lymph nodes, and a rib on March 1, 1956, was too late to halt the disease, even with chemotherapy.[120] He underwent corrective surgery in November 1956 after the cancer had spread.[48] Katharine Hepburn and Spencer Tracy visited him at this time. Frank Sinatra was also a frequent visitor. With time, Bogart grew too weak to walk up and down stairs. He valiantly fought the pain and joked about his immobility: "Put me in the dumbwaiter and I'll ride down to the first floor in style." The dumbwaiter was then altered to accommodate his wheelchair.[121] In an interview, Hepburn described the last time she and Spencer Tracy saw Bogart (the night before he died):
Spence patted him on the shoulder and said, "Goodnight, Bogie." Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence's hand with his own and said, "Goodbye, Spence." Spence's heart stood still. He understood.[122]
Bogart had just turned 57 and weighed 80 pounds (36 kg) when he died on January 14, 1957, after falling into a coma. He died at 2:25 am at his home at 232 South Mapleton Drive in Holmby Hills, California. His simple funeral was held at All Saints Episcopal Church with musical selections from Bogart's favorite composers, Johann Sebastian Bach and Claude Debussy. The ceremony was attended by some of Hollywood's biggest stars, including Katharine Hepburn, Spencer Tracy, David Niven, Ronald Reagan, James Mason, Danny Kaye, Joan Fontaine, Marlene Dietrich, Errol Flynn, Gregory Peck and Gary Cooper, as well as Billy Wilder and Jack Warner. Bacall had asked Tracy to give the eulogy, but Tracy was too upset, so John Huston spoke instead and reminded the gathered mourners that while Bogart's life had ended far too soon, it had been a rich one.
Himself, he never took too seriously—his work most seriously. He regarded the somewhat gaudy figure of Bogart, the star, with an amused cynicism; Bogart, the actor, he held in deep respect...In each of the fountains at Versailles there is a pike which keeps all the carp active; otherwise they would grow overfat and die. Bogie took rare delight in performing a similar duty in the fountains of Hollywood. Yet his victims seldom bore him any malice, and when they did, not for long. His shafts were fashioned only to stick into the outer layer of complacency, and not to penetrate through to the regions of the spirit where real injuries are done...He is quite irreplaceable. There will never be another like him."[123]
Bogart's cremated remains were interred in Forest Lawn Memorial Park Cemetery, Glendale, California. He was buried with a small gold whistle, which he gave to Lauren Bacall before they married, inscribed with a quote from their first movie together: "If you want anything, just whistle."[124]
Legacy and tributes[link]
After his death, a "Bogie Cult" formed at the Brattle Theatre in Cambridge, Massachusetts, as well as Greenwich Village, New York and in France, which contributed to his spike in popularity in the late 1950s and 1960s. In 1997, Entertainment Weekly magazine named him the number one movie legend of all time. In 1999, the American Film Institute ranked him the Greatest Male Star of All Time.
Jean-Luc Godard's Breathless (1960) was the first film to pay tribute to Bogart. Later, in Woody Allen's comic tribute to Bogart Play It Again, Sam (1972), Bogart's ghost comes to the aid of Allen's bumbling character, a movie critic with woman troubles and whose "sex life has turned into the 'Petrified Forest'".
Awards and honors[link]
On August 21, 1946, Humphrey Bogart was honored in a ceremony at Grauman's Chinese Theater to record his hand and footprints in cement. On February 8, 1960 he was posthumously given a star on the Hollywood Walk of Fame at 6322 Hollywood Boulevard. During his career he was nominated for several awards including the BAFTA award for best foreign actor in 1952 for The African Queen and several Academy Awards.
| Year | Award | Film | y/n |
|---|---|---|---|
| 1943 | Best Actor | Casablanca | Nominated |
| 1951 | Best Actor | The African Queen | Won |
| 1954 | Best Actor | The Caine Mutiny | Nominated |
In 1997, the United States Postal Service honored Bogart with a stamp bearing his image in its "Legends of Hollywood" series as the third figure to be recognized.[125] At a formal ceremony attended by Lauren Bacall, and the Bogart children, Stephen and Leslie, Tirso del Junco, the chairman of the governing board of the USPS, provided an eloquent tribute:
"Today, we mark another chapter in the Bogart legacy. With an image that is small and yet as powerful as the ones he left in celluloid, we will begin today to bring his artistry, his power, his unique star quality, to the messages that travel the world."[126]
On June 24, 2006, a section of 103rd Street between Broadway and Amsterdam Avenue in New York City was renamed "Humphrey Bogart Place". Lauren Bacall and her son Stephen Bogart were present at the commemorative event. "Bogie would never have believed it," Lauren Bacall expressed to the assembled group of city officials and onlookers in attendance.[127]
In popular culture[link]
Humphrey Bogart's life has inspired writers and others:
- Two Bugs Bunny cartoons featured Humphrey Bogart:
- In Slick Hare (1947), Bogart orders fried rabbit in a Hollywood restaurant. Told that they do not have any, he becomes insistent, leading waiter Elmer Fudd to try (unsuccessfully as usual) to serve Bugs as the meal. Bogart finally gives up, saying: "Baby will just have to have a ham sandwich instead." – "Baby" being Bacall's nickname. Bugs, upon hearing the name, immediately presents himself and goes completely ga-ga over Bacall, who looks on with amusement.[128]
- In 8 Ball Bunny (1950) Bugs decides to take a baby penguin back to the South Pole. At intervals, "Fred C. Dobbs" (Bogart's character in Treasure of the Sierra Madre) appears and asks Bugs to "help out a fellow American who's down on his luck" – a line Bogart says a number of times in the film to John Huston, playing an American gringo.[129]
- Bogart is featured in one of Woody Allen's comic movies, Play It Again, Sam (1972), which relates the story of a young man obsessed by his persona.[130]
- Issue No.70 of the US The Phantom (1977) comic book is known as the "Bogart" issue, as the story stars Humphrey Bogart, Lauren Bacall, Sydney Greenstreet, Peter Lorre and Claude Rains and is a mixture of Casablanca, The African Queen, The Maltese Falcon and The Treasure of the Sierra Madre.[131]
- The Man With Bogart's Face (1981) was an homage to Bogart and starred Bogart lookalike Robert Sacchi.[132]
- The slang term "bogarting" refers to taking an unfairly long time with a joint that is supposed to be shared. It derives from Bogart's style of cigarette smoking, with which he left his cigarette dangling from his mouth rather than withdrawing it between puffs.[133] The term also inspired a 1968 song Don't Bogart Me (also known as Don't Bogart That Joint) by US band Fraternity of Man, which became popular in hippy culture through its inclusion in the soundtrack of the 1969 film Easy Rider, and the song Don't Bogart My Heart by Australian singer/songwriter Darren Hanlon.[134] "Bogart" can also refer to coercion or bullying in African-American slang [135]
Quotations[link]
 |
Wikiquote has a collection of quotations related to: Humphrey Bogart |
Bogart is credited with five of the American Film Institute's top 100 quotations in American cinema, the most by any actor:
- 5th: "Here's looking at you, kid" – Casablanca
- 14th: "The stuff that dreams are made of." – The Maltese Falcon
- 20th: "Louis, I think this is the beginning of a beautiful friendship." – Casablanca
- 43rd: "We'll always have Paris." – Casablanca
- 67th: "Of all the gin joints in all the towns in all the world, she walks into mine." – Casablanca
Bogart is also credited with one of the top movie misquotations. In Casablanca, neither he (nor anyone else) ever said, "Play it again, Sam," although that "quote" is widely credited to him, and is the title of the Woody Allen tribute movie. When Ilsa (Ingrid Bergman), his former love, first enters the Café Americain, she spots Sam, the piano player (Dooley Wilson) and asks him to "Play it once, Sam, for old times' sake." When he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By.'" Later that night, alone with Sam, Rick says, "You played it for her and you can play it for me," and "If she can stand it, I can! Play it!"[136]
Filmography[link]
Main article: Humphrey Bogart filmography
See also[link]
List of Santana productions[link]
| Year | Title | Distributor | Producer | Director | Star(s) | Notes |
|---|---|---|---|---|---|---|
| 1949 | Knock on Any Door | Columbia | Robert Lord | Nicholas Ray | Humphrey Bogart & John Derek | |
| 1949 | Tokyo Joe | Columbia | Robert Lord | Stuart Heisler | Humphrey Bogart & Alexander Knox | |
| 1949 | And Baby Makes Three | Columbia | Robert Lord | Henry Levin | Robert Young & Barbara Hale | |
| 1950 | In a Lonely Place | Columbia | Robert Lord | Nicholas Ray | Humphrey Bogart & Gloria Grahame | Added to the National Film Registry in 2007 |
| 1951 | Sirocco | Columbia | Robert Lord | Curtis Bernhardt | Humphrey Bogart & Lee J. Cobb | |
| 1951 | The Family Secret | Columbia | Robert Lord | Henry Levin | John Derek & Lee J. Cobb | |
| 1953 | Beat the Devil | United Artists | John Huston | John Huston | Humphrey Bogart & Jennifer Jones | Co-produced with Romulus Films (UK); Screenplay by Truman Capote |
References[link]
Notes[link]
- ^ The 1900 census for the household of Belmont Bogart lists his son Humphrey as having a birth date in December 1899. There are also three different censuses attesting to his birth date in December 1899. His last wife, actress Lauren Bacall, always maintained that December 25 was his true birth date.[8]
Citations[link]
- ^ Ontario County Times birth announcement, January 10, 1900.
- ^ Birthday of Reckoning.
- ^ Obituary Variety, January 16, 1957.
- ^ Sragow, Michael. "Spring Films/Revivals; How One Role Made Bogart Into an Icon." The New York Times, January 16, 2000. Retrieved: February 22, 2009.
- ^ "100 Icons of the Century – Humphrey Bogart." Variety, October 16, 2005. Retrieved: February 22, 2009.
- ^ Meyers 1997, p. 5.
- ^ "The religious affiliation of Humphrey Bogart." Adherents.com. Retrieved: January 25, 2011.
- ^ "Bogart: Urban Legends." bogart-tribute.net. Retrieved: January 25, 2011.
- ^ Meyers 1997, pp. 6–7.
- ^ a b Meyers 1997, p. 8.
- ^ Meyers 1997, p. 6.
- ^ Meyers 1997, pp. 10–11.
- ^ Meyers 1997, pp. 9–10.
- ^ Meyers 1997, p. 9.
- ^ Meyers 1997, p. 22.
- ^ Hyams 1975, p. 12.
- ^ Meyers 1997, p. 12.
- ^ Meyers 1997, p. 13.
- ^ Wallechinsky and Wallace 2005, p. 9.
- ^ a b Meyers 1997, pp. 18–19.
- ^ Meyers 1997, p. 19.
- ^ a b Sperber and Lax 1997, p. 27.
- ^ Citro, Sceurman, Mark and Moran 2005, pp. 240–241.
- ^ Meyers 1997, p. 29.
- ^ Sperber and Lax 1997, p. 28.
- ^ Meyers 1997, pp. 22, 31.
- ^ a b Meyers 1997, p. 23.
- ^ Meyers 1997, pp. 24, 31.
- ^ Sperber and Lax 1997, pp. 29–31.
- ^ Sperber and Lax 1997, p. 35.
- ^ Humphrey Bogart at the Internet Broadway Database.
- ^ Meyers 1997, p. 28.
- ^ Time Magazine, June 7, 1954.
- ^ Sperber and Lax 1997, p. 33.
- ^ Sperber and Lax 1997, p. 36.
- ^ Sperber and Lax 1997, pp. 39–39.
- ^ "letter from Bogart to John Huston," displayed in documentary John Huston: The Man, the Movies, the Maverick (1989).
- ^ Meyers 1997, p. 41.
- ^ Sperber and Lax 1997, p. 41.
- ^ Meyers 1997, p. 48.
- ^ a b Sperber and Lax 1997, p. 45.
- ^ Meyers 1997, p. 49.
- ^ a b Meyers 1997, p. 51.
- ^ Sperber and Lax 1997, p. 46.
- ^ Meyers 1997, p. 52.
- ^ Sperber and Lax 1997, pp. 52–54.
- ^ Sperber and Lax 1997, p. 57.
- ^ a b c d Shickel 2006, p. 161.
- ^ Sperber and Lax 1997, pp. 60–61.
- ^ Meyers 1997, p. 56.
- ^ Meyers 1997, p. 54.
- ^ Meyers 1997, p. 69.
- ^ Meyers 1997, p. 67.
- ^ Lax, Eric. Audio commentary for Disc One of the 2006 three-disc DVD special edition of The Maltese Falcon.
- ^ Sperber and Lax 1997, pp. 62–63.
- ^ Meyers 1997, pp. 78, 91–92.
- ^ Meyers 1997, p. 81.
- ^ Interview with John Huston.
- ^ Meyers 1997, p. 76.
- ^ Meyers 1997, pp. 86–87.
- ^ Sperber and Lax 1997, p. 119.
- ^ Sperber and Lax 1997, p. 128.
- ^ a b Sperber and Lax 1997, p. 127.
- ^ Meyers 1997, p. 115.
- ^ Meyers 1997, p. 123.
- ^ Meyers 1997, p. 125.
- ^ Meyers 1997, p. 131.
- ^ Sperber and Lax 1997, p. 198.
- ^ a b Sperber and Lax 1997, p. 201.
- ^ Sperber and Lax 1997, p. 196.
- ^ a b Meyers 1997, p. 151.
- ^ Meyers 1997, p. 166.
- ^ Meyers 1997, p. 165.
- ^ Sperber and Lax 1997, p. 258.
- ^ Meyers 1997, pp. 166–167.
- ^ Meyers 1997, pp. 173–174.
- ^ Sperber and Lax 1997, pp. 263–264.
- ^ Meyers 1997, p. 168.
- ^ Sperber and Lax 1997, p. 289.
- ^ UCLA Film & Television Archive 8th Annual Festival of Preservation Program June 27, 1996.
- ^ Meyers 1997, p. 180.
- ^ Meyers 1997, p. 185.
- ^ Meyers 1997, pp. 188–191.
- ^ Sperber and Lax 1997, p. 422.
- ^ Sperber and Lax 1997, p. 214.
- ^ Meyers 1997, p. 164.
- ^ Sperber and Lax 1997, p. 337.
- ^ Sperber and Lax 1997, p. 343.
- ^ Meyers 1997, p. 227.
- ^ Meyers 1997, pp. 229–230.
- ^ Porter 2003, p. 9.
- ^ Bogart, Humphrey. "I'm No Communist." Photoplay, March 1948.
- ^ Meyers 1997, p. 236.
- ^ Meyers 1997, p. 235.
- ^ In a Lonely Place at Rotten Tomatoes
- ^ Meyers 1997, pp. 240–241.
- ^ Sperber and Lax 1997, p. 471.
- ^ Meyers 1997, p. 243.
- ^ Sperber and Lax 1997, p. 439.
- ^ Meyers 1997, p. 248.
- ^ Meyers 1997, p. 249.
- ^ Sperber and Lax 1997, p. 444.
- ^ Sperber and Lax 1997, p. 447.
- ^ Sperber and Lax 1997, pp. 444–445.
- ^ Meyers 1997, p. 258.
- ^ Meyers 1997, pp. 259–260.
- ^ Sperber and Lax 1997, p. 480.
- ^ Meyers 1997, pp. 279–280.
- ^ Meyers 1997, p. 281.
- ^ Meyers 1997, p. 283.
- ^ Sperber and Lax 1997, p. 495.
- ^ Meyers 1997, pp. 288–290.
- ^ Meyers 1997, pp. 291–292.
- ^ "Gene Tierney: A Shattered Portrait". The Biography Channel. Airdate: March 26, 1999.
- ^ Tierney and Herskowitz, (1978). Wyden Books. Self-Portrait. pp. 164–165.
- ^ Meyers 1997, p. 294.
- ^ a b Sperber and Lax 1997, p. 504.
- ^ Sperber and Lax 1997, p. 430.
- ^ Sperber and Lax 1997, pp. 509–510.
- ^ Sperber and Lax 1997, p. 510.
- ^ Bacall 1978, p. 273.
- ^ Sperber and Lax 1997, p. 516.
- ^ Sperber and Lax 1997, p. 518.
- ^ Meyers 1997, p. 315.
- ^ Selligman, Craig. "New Humphrey Bogart bio a superficial effort: USPS Humphrey Bogart Legends of Hollywood Stamp." reuters.com, February 22, 2011. Retrieved: March 19, 2011.
- ^ Kanfer 2011, p. 248.
- ^ Kanfer 2011, p. 249.
- ^ "Slick Hare." Big Cartoon Database. Retrieved: January 25, 2011.
- ^ "8 Ball Bunny." revver.com. Retrieved: January 25, 2011.
- ^ Dirks, Tim. "Play It Again, Sam (1972) ." filmsite.org. Retrieved: January 25, 2011.
- ^ "Don Newton: Fan to Pro." Comic Book Fanzines: Chain Letters for Disturbed Children: A tribute to the early days of comic book fandom and the fanzines that kept them informed, September 3, 2010. Retrieved: January 25, 2011.
- ^ Null, Christopher. "The Man With Bogart's Face." filmcritic.com, May 17, 2000. Retrieved: January 25, 2011.
- ^ "Bogart." Oxford English Dictionary, 2nd edition via Wordorigins.org. Retrieved: January 25, 2011.
- ^ "Don't Bogart My Heart."[dead link] 'SongLyrics.com. Retrieved: March 2, 2012
- ^ http://www.oed.com/view/Entry/257509
- ^ Shapiro, Fred R. "Movie Misquotations." The New York Times Magazine,January 15, 2010.
Bibliography[link]
- Bacall, Lauren. By Myself. New York: Alfred Knopf, 1979. ISBN 0-394-41308-3.
- Bogart, Stephen Humphrey. Bogart: In Search of My Father. New York: Dutton, 1995. ISBN 0-525-93987-3.
- Bogart, Humphrey. "I'm no communist," Photoplay Magazine, March 1948.
- Citro, Joseph A., Mark Sceurman and Mark Moran.Weird New England. New York: Sterling, 2005. ISBN 1-4027-3330-5.
- Halliwell, Leslie. Halliwell's Film, Video and DVD Guide. New York: Harper Collins Entertainment, 2004. ISBN 0-00-719081-6.
- Hepburn, Katharine. The Making of the African Queen. New York: Alfred Knopf, 1987. ISBN 0-394-56272-0.
- Hill, Jonathan and Jonah Ruddy. Bogart: The Man and the Legend. London: Mayflower-Dell, 1966.
- "Humphrey Bogart (cover story)." Time Magazine, June 7, 1954.
- Hyams, Joe. Bogart and Bacall: A Love Story. New York: David McKay Co., Inc., 1975. ISBN 0-446-91228-X.
- Hyams, Joe. Bogie: The Biography of Humphrey Bogart. New York: New American Library, 1966 (later editions renamed as: Bogie: The Definitive Biography of Humphrey Bogart). ISBN 0-451-09189-2.
- Kanfer, Stefan. Tough Without A Gun: The Life and Extraordinary Afterlife of Humphrey Bogart. New York: Knopf, 2011. ISBN 978-0-307-27100-6.
- Meyers, Jeffrey. Bogart: A Life in Hollywood. London: Andre Deutsch Ltd., 1997. ISBN 0-233-99144-1.
- Michael, Paul. Humphrey Bogart: The Man and his Films. New York: Bonanza Books, 1965. No ISBN.
- Porter, Darwin. The Secret Life of Humphrey Bogart: The Early Years (1899–1931). New York: Georgia Literary Association, 2003. ISBN 0-9668030-5-1.
- Pym, John, ed. "Time Out" Film Guide. London: Time Out Group Ltd., 2004. ISBN 1-904978-21-5.
- Shickel, Richard. Bogie: A Celebration of the Life and Films of Humphrey Bogart. New York : Thomas Dunne Books/St. Martin's Press, 2006. ISBN 978-0-312-36629-2.
- Sperber, A.M. and Eric Lax. Bogart. New York: William Morrow & Co., 1997. ISBN 0-688-07539-8.
- Tierney, Gene with Mickey Herskowitz. Self-Portrait. New York: Peter Wyden, 1979. ISBN 0-88326-152-9.
- Wallechinsky, David and Amy Wallace. The New Book of Lists. Edinburgh, Scotland: Canongate, 2005. ISBN 1-84195-719-4.
- Youngkin, Stephen D. The Lost One: A Life of Peter Lorre. Lexington, Kentucky: University Press of Kentucky, 2005, ISBN 0-8131-2360-7.
External links[link]
 |
Wikimedia Commons has media related to: Humphrey Bogart |
- Humphrey Bogart at the Internet Broadway Database
- Humphrey Bogart at the Internet Movie Database
- Humphrey Bogart Official Website
- Humphrey Bogart at AllRovi
- Humphrey Bogart at the TCM Movie Database
- Works by or about Humphrey Bogart in libraries (WorldCat catalog)
- Bogie Online: The online resource for Humphrey Bogart fans
- Humphrey Bogart player profile at ChessGames.com
- Modern Drunkard: Three Drinks Ahead With Humphrey Bogart
- Genealogy of Humphrey Bogart
- Bogart: Behind the Legend (documentary)
- Verita Thompson:Humphrey Bogart's Secret Mistress
- Bibliography
- Bold Venture radio show (32 episodes)
- Tribute to Humphrey Bogart
- Humphrey Bogart's appearances in the 1900 US Census -- Version 1 and Version 2, in the 1905 NY Census, the 1910 US Census, and the 1920 US Census.
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| Persondata | |
|---|---|
| Name | Bogart, Humphrey |
| Alternative names | Bogart, Humphrey DeForest |
| Short description | Actor |
| Date of birth | December 25, 1899 |
| Place of birth | New York City, New York, U.S. |
| Date of death | January 14, 1957 |
| Place of death | Hollywood, California, U.S. |
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For the pornographic actor with the pseudonym Max Steiner, see Max Hardcore.
| Max Steiner | |
|---|---|
| Born | Maximilian Raoul Steiner (1888-05-10)May 10, 1888 Vienna, Austria-Hungary (now Austria) |
| Died | December 28, 1971(1971-12-28) (aged 83) Hollywood, California, USA |
| Occupation | composer, arranger, conductor |
Max Steiner (May 10, 1888 – December 28, 1971) was an Austrian composer of music for theatre productions and films. He later became a naturalized citizen of the United States. Trained by the great classical music composers Brahms and Mahler, he was one of the first composers who primarily wrote music for motion pictures, and as such is often referred to as "the father of film music".[1] Along with such composers as Franz Waxman, Erich Wolfgang Korngold, Alfred Newman and Miklós Rózsa, Steiner played a major part in creating the tradition of writing music for films.
Steiner composed hundreds of film scores, including The Informer (1935), Now, Voyager (1942), and Since You Went Away (1944), which won him Academy Awards. He was nominated for the Academy Award a total of twenty-four times. He was also the first recipient of the Golden Globe Award for Best Original Score, which he won for his score to Life with Father.
Steiner was one of the best-known composers in Hollywood, and is widely regarded today as one of the greatest film score composers in the history of cinema. He was a frequent collaborator with some of the most famous film directors in history, including John Ford and William Wyler. Besides his Oscar-winning scores, some of Steiner's popular works include King Kong (1933), Little Women (1933), Jezebel (1938), Casablanca (1942), and the film score for which he is possibly best known, Gone with the Wind (1939). Despite being one of the most popular film soundtracks ever written, Gone with the Wind failed to win an Oscar for him.
Contents |
Early life[link]
Steiner was born as Maximilian Raoul Steiner in Austria-Hungary, in the Hotel Nordbahn (since 2008 Austria Classic Hotel Wien) on Praterstraße 72, in Vienna's Leopoldstadt.[2] Later in life he purportedly discovered a half-brother named James Owen, with whom he co-wrote the song "Theme from A Summer Place". His paternal grandfather was Maximilian Steiner (1830–1880), the influential manager of Vienna's Theater an der Wien; his father was Gabor Steiner (1858–1944), Viennese impresario and carnival and exposition manager, responsible for the Ferris wheel in the Prater that would become the setting for a key scene of the film The Third Man (1949); his godfather was the composer Richard Strauss.
A child prodigy in composing, Steiner received piano instruction from Johannes Brahms and, at the age of sixteen, enrolled at the Imperial Academy of Music (now known as the University of Music and Performing Arts), where he was taught by Gustav Mahler among others. His musical aptitudes enabled him to complete the school's four-year program in only two. At the age of 16, Steiner wrote and conducted the operetta The Beautiful Greek Girl. At the start of World War I, he was working in London and was classified as an enemy alien but was befriended by the Duke of Westminster and given exit papers. He arrived in New York City in December 1914 with $32 to his name.[citation needed]
Steiner worked in New York for eleven years as a musical director, arranger, orchestrator, and conductor of Broadway operettas and musicals written by Victor Herbert, Jerome Kern, Vincent Youmans, and George Gershwin, among others. Steiner's credits include: George White's Scandals (1922), Lady, Be Good (1924), and Rosalie (1928).
In 1929, Steiner went to Hollywood to orchestrate the European film version of the Florenz Ziegfeld show Rio Rita for RKO. The score for King Kong (1933) made Steiner's reputation; it was one of the first American films to have an extensive musical score (it was re-used in a number of RKO films, including Back to Bataan.) He conducted the scores for several Fred Astaire-Ginger Rogers musicals, including Top Hat (1935) and Roberta (1935).
Movie career[link]
Steiner's first screen credit was an as orchestrator for the score of the 1930 film Dixiana. His first credit as a composer came the following year, for Cimarron. He received his first two Oscar nominations for John Ford's 1934 film The Lost Patrol, and the same year for The Gay Divorcee. He won his first Oscar the following year for Ford's The Informer. At the time, the Oscar was awarded to the head of the studio music department, not the composer, although in this case that was Steiner anyway. The first person to win the award for Best Original Score as a composer was Erich Wolfgang Korngold, who won for his work on The Adventures of Robin Hood.
Steiner scored several films produced by RKO, the final of which was Follow the Fleet. He left RKO in 1936 and soon became the musical director of Selznick International Pictures.
In April 1937, he signed a long-term contract with Warner Bros., and the same year composed the famous fanfare which introduced pictures produced by the studio, although this is no longer in use (curiously, this was never used for the studio's television productions).
In 1939, Steiner was borrowed from Warner Bros. by David O Selznick to compose the score to Gone with the Wind. He was given only three months to compose a large amount of music for the film, whilst at the same time scoring We Are Not Alone, Dark Victory and Four Wives for Warner. Gone with the Wind and Dark Victory both earned him Academy Award nominations, however, he lost to the score of The Wizard of Oz by Herbert Stothart. Along with Clark Gable, Steiner was one of the few nominees for Gone with the Wind that did not win. Many feel that Steiner deserved the award. The score was ranked by the AFI as the second greatest American film score of all time.
Steiner received his next Oscar nomination for the 1940 film The Letter, his first of several collaborations with legendary director William Wyler. A further nomination followed the next year for Sergeant York. In 1942, Steiner won his second Oscar for Now, Voyager, and was also nominated for Casablanca, which remains one of his most famous scores. He received his third and final Oscar in 1944 for Since You Went Away.
Steiner's pace slowed significantly in the mid-1950s, and he began freelancing. In 1954, RCA Victor asked Steiner to prepare and conduct an orchestral suite of music from Gone with the Wind for a special LP, which was later issued on CD.[3] There are also acetates of Steiner conducting the Warner Brothers studio orchestra in music from some of his film scores.
Steiner reunited with John Ford in 1956 to score The Searchers, widely considered the greatest western ever made. He returned to Warner-Bros in 1958 (although his contract ended in 1953) and scored several films, in addition to a rare venture into television composing a library of music for the fourth season of Hawaiian Eye.[4] He continued to score films produced by Warner until the mid sixties.[5]
Steiner's final original score was for the 1965 film Two on a Guillotine. He worked on over 300 films, sometimes as a composer, sometimes as an arranger/conductor, and often as both.
In 1963, Steiner began writing his autobiography, which, although completed, was never published, and is the source of a few biographical errors concerning this composer. A copy of the manuscript resides with the rest of the Max Steiner Collection at Brigham Young University in Provo, Utah.
Death[link]
Steiner died of congestive heart failure in Hollywood, aged 83. He is entombed in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California.
Posthumous[link]
- After his death, Charles Gerhardt conducted the National Philharmonic Orchestra in an RCA Victor album of highlights from Steiner's career, titled Now Voyager. Additional selections of Steiner scores were included on other RCA classic film albums during the early 1970s. The quadraphonic recordings were later digitally remastered for Dolby surround sound and released on CD.
- In 1995, Steiner was inducted posthumously into the Songwriters Hall of Fame. He has a star located at 1551 Vine Street on the Walk of Fame for his contribution to motion pictures.
- In commemoration of Steiner's 100th birthday a memorial plaque was revealed by Helmut Zilk, then Mayor of Vienna, in 1988 at Steiner's birthplace, the Hotel Nordbahn (now Austria Classic Hotel Wien) in Praterstraße 72.
AFI[link]
The American Film Institute respectively ranked Steiner's scores for Gone with the Wind (1939) and King Kong (1933) #2 and #13 on their list of the 25 greatest film scores. His scores for the following films were also nominated for the list:
- Adventures of Don Juan (1948)
- Casablanca (1942)
- Dark Victory (1939)
- The Informer (1935)
- Jezebel (1938)
- Johnny Belinda (1948)
- Now, Voyager (1942)
- A Summer Place (1959)
- The Treasure of the Sierra Madre (1948)
Additional filmography[link]
- The Bondman (1929) (uncredited)
- Rio Rita (1929) (uncredited)
- The Case of Sergeant Grischa (1930) (uncredited)
- Dixiana (1930) (as Orchestrator - first screen credit)
- Cimarron (1931)
- What Price Hollywood? (1932)
- Bird of Paradise (1932)
- The Most Dangerous Game (1932)
- A Bill of Divorcement (1932)
- Thirteen Women (1932)
- The Half-Naked Truth (1932)
- The Animal Kingdom (1932)
- Christopher Strong (1933)
- Rafter Romance (1933)
- King Kong (1933)
- Son of Kong (1933)
- Little Women (1933)
- Morning Glory (1933)
- Flying Down to Rio (1933) (as Musical Director)
- The Lost Patrol (Academy Award nomination, 1934)
- Of Human Bondage (1934)
- The Fountain (1934)
- The Age of Innocence (1934)
- The Gay Divorcee (as Musical Director) (Academy Award nomination, 1934)
- Anne of Green Gables (1934)
- The Little Minister (1934)
- Roberta (1935) (as Musical Director)
- The Informer (1935) (Academy Award winner)
- She (1935)
- Top Hat (1935) (as Musical Director)
- The Three Musketeers (1935)
- Follow the Fleet (1936) (as Musical Director)
- Little Lord Fauntleroy (1936)
- The Garden of Allah (Academy Award nomination, 1936)
- The Charge of the Light Brigade (1936)
- A Star Is Born (1937)
- Kid Galahad (1937)
- Nothing Sacred (1937) with Oscar Levant and Alfred Newman
- Snow White and the Seven Dwarfs (1937) (uncredited)
- That Certain Woman (1937)
- The Life of Emile Zola (1937)
- Tovarich (1937) (first use of the Warner Bros. fanfare, composed by Steiner)
- Gold is Where You Find It (1938)
- The Adventures of Tom Sawyer (1938)
- Jezebel (Academy Award nomination, 1938)
- Crime School (1938)
- Four Daughters (1938)
- The Sisters (1938)
- Angels with Dirty Faces (1938)
- The Dawn Patrol (1938)
- The Oklahoma Kid (1939)
- Dodge City (1939)
- Dark Victory (Academy Award nomination, 1939)
- Confessions of a Nazi Spy (1939)
- The Old Maid (1939)
- The Wizard of Oz (1939) (replaced by Herbert Stothart)
- Gone with the Wind (Academy Award nomination, 1939)
- Virginia City (1940)
- All This, and Heaven Too (1940)
- The Letter (Academy Award nomination, 1940)
- Santa Fe Trail (1940)
- City for Conquest (1940)
- Shining Victory (1941)
- They Died with Their Boots On (1941)
- Sergeant York (Academy Award nomination, 1941)
- Casablanca (Academy Award nomination, 1942)
- Now, Voyager (1942) (Academy Award winner)
- Captains of the Clouds (1942)
- Since You Went Away (1944) (Academy Award winner)
- The Adventures of Mark Twain (Academy Award nomination, 1944)
- Mildred Pierce (1945)
- Rhapsody in Blue (Academy Award nomination, shared with Ray Heindorf, 1945)
- A Stolen Life (1946)
- The Big Sleep (1946)
- Night and Day (Academy Award nomination, shared with Ray Heindorf, 1946)
- The Unfaithful (1947 film)
- Life with Father (Academy Award nomination, 1947)
- My Wild Irish Rose (Academy Award nomination, shared with Ray Heindorf, 1947)
- The Treasure of the Sierra Madre (1948)
- Key Largo (1948)
- Winter Meeting (1948)
- Johnny Belinda (Academy Award nomination, 1948)
- The Lady Takes a Sailor (1949)
- Beyond the Forest (Academy Award nomination, 1949)
- The Fountainhead (1949)
- The Flame and the Arrow (Academy Award nomination, 1950)
- The Glass Menagerie (1950)
- Jim Thorpe -- All-American (1951)
- Operation Pacific (1951)
- The Miracle of Our Lady of Fatima (Academy Award nomination, 1952)
- The Jazz Singer (Academy Award nomination, shared with Ray Heindorf, 1953)
- So Big (1953)
- The Charge at Feather River
- The Caine Mutiny (Academy Award nomination, 1954)
- Battle Cry (Academy Award nomination, 1955)
- The Last Command (1955)
- The Searchers (1956)
- Death of a Scoundrel (1956)
- Band of Angels (1957)
- A Summer Place (1959) (Theme U.S.#1 Hit Single)
- The FBI Story (1959)
- The Dark at the Top of the Stairs (1960)
- Ice Palace (1960)
- Parrish (1961)
- Susan Slade (1961)
- Rome Adventure (1962)
- Spencer's Mountain (1963)
- Youngblood Hawke (1964)
- A Distant Trumpet (1964)
- Two on a Guillotine (1965)
- Those Calloways (1965)
Notes[link]
- ^ Posted by sdtom (2008-02-13). "Max Steiner " Film Music: The Neglected Art". Sdtom.wordpress.com. http://sdtom.wordpress.com/2008/02/13/max-steiner/. Retrieved 2010-11-27.
- ^ Austria Classic Hotel Wien – a Viennese hotel with hospitality tradition since 1838
- ^ Soundtrack details - SoundtrackCollector.com
- ^ Burlingame, Jon, TV's Biggest Hits: The Story Of Television Themes From Dragnet To Friends, pp. 42-43, Schirmer Books, 1996, ISBN 0-02-870324-3
- ^ Max Steiner - IMDb
External links[link]
- Max Steiner at the Internet Movie Database
- Max Steiner at the Internet Broadway Database
- Max Steiner at AmericanComposers.com
- Max Steiner at Find a Grave
Multimedia links[link]
- "Max Steiner - Father of Film Music", film documentary trailer
- "Max Steiner - Greatest Hits", compilation by Beny Debny
- Score to King Kong (1933)
- Score to The Garden of Allah (1936)
- Score to The Life of Emile Zola (1937)
- Score to Gone With the Wind (1939)
- "Gone With the Wind" theme to Ice Dancing
- Score to All This and Heaven Too (1940)
- Score to Adventures of Tom Sawyer (1940)
- Score to City for Conquest (1940)
- "Score to Cassablanca (1942)
- Score to Now Voyager (1942) performed at Hollywood Bowl, 2006
- Score to Mildred Pierce (1945)
- Score to The Big Sleep (1946)
- "Score to Johnny Belinda (1948)
- Score to Key Largo (1948)
- Score to Treasure of the Sierra Madre (1948)
- Score to The Lady Takes a Sailor (1949)
- Score to Operation Pacific (1951)
- Score to The Last Command (1955)
- Score to The Searchers (1956)
- Score to Helen of Troy (1956)
- Score to Band of Angels (1957)
- Theme from A Summer Place (1959) Selections from A Summer Place
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| Persondata | |
|---|---|
| Name | Steiner, Max |
| Alternative names | |
| Short description | |
| Date of birth | May 10, 1888 |
| Place of birth | Vienna, Austria-Hungary |
| Date of death | December 28, 1971 |
| Place of death | Hollywood, California, USA |
http://wn.com/Max_Steiner
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Casablanca (4/6) Movie CLIP - I Still Love You (1942) HD
movieclips
Casablanca (4/6) Movie CLIP - I Still Love You (1942) HD
Casablanca Movie Clip - watch all clips j.mp click to subscribe j.mp Ilsa (Ingrid Bergman) pulls a gun on Rick (Humphrey Bogart) in an effort to get the travel papers, but ends up confessing her love for him. TM & © Warner Bros. Ent. (2012) Cast: Humphrey Bogart, Ingrid Bergman Director: Michael Curtiz MOVIECLIPS YouTube Channel: j.mp Join our Facebook page: j.mp Follow us on Twitter: j.mp Buy Movie: j.mp Producer: Hal B. Wallis, Jack L. Warner Screenwriter: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson Film Description: One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII. Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafà (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she <b>...</b>
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"Casablanca" (1942) - Re-Release Theatrical Trailer (1992)
ilKoreano
"Casablanca" (1942) - Re-Release Theatrical Trailer (1992)
Original re-release theatrical trailer for "Casablanca" (1942), directed by Michael Curtiz and starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet and Peter Lorre. All rights reserved to the original owners.
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Casablanca (1942) - Original Trailer
Telephantasm
Casablanca (1942) - Original Trailer
Rick Blaine (Humphrey Bogart), a callous nightclub owner in a wartime waystation, has his world turned upside down when his lost love, Ilsa (Ingrid Bergman), returns. Directed by: Michael Curtiz. Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre. Release Date: November 26, 1942.
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Casablanca 1942 Movie Clip I came for the waters
richmx2
Casablanca 1942 Movie Clip I came for the waters
Living in a tropical seaport in an arid region (Mazatlan, Sinaloa) -- and having my own water tank go dry almost a week ago -- for some reason I thought of this Posted it here, to use on my own website as illustration (video-tion?) of an article on water quality and resource issues. Besides, who doesn't like Casablanca?
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