Casablanca (movie)

If she can stand it, I can! Play it!". Kenneth Loring is voiced by actor Jim Piddock, using a script written by the Coen brothers. Play As Time Goes By." Later, Rick requests an encore by saying, "You played it for her, you can play it for me.. Towards the end of his commentary, Loring launches into a tirade against Merchant and Ivory Productions. At one point, Ilsa says to piano player Sam, "Play it, Sam. Later in the commentary he claims that in scenes with both dialogue and music, the actors simply mouth the words and record them in post-production, so as not to interfere with the music; that Marty's dog is animatronic; that the sweat on various actors is "movie sweat," gathered from the flanks of Palomino horses; that Fred Astaire and Rosemary Clooney were at one time intended for the film; and that a fly buzzing about is not real, but the product of computer generated imagery. The closest lines are as follows:. Loring claims that filming the scene backwards and upside down was the logical choice to get the timing right, and that the actors are wearing hair spray to keep their hair pointing "down." He does not explain why the rain on the windshield continues to run down on the final image, in defiance of gravity.

The (mis)quote "Play it again, Sam" originates with Casablanca. For instance, Loring claims that the scene with Ray and Abby driving in the rain talking about Marty was acted out in reverse as well as upside down, in order to synch the headlights passing the car just as certain lines were said. In 1989 the film was selected for preservation in the United States National Film Registry, while in 1998 it was ranked by the American Film Institute as the second greatest American film (after Citizen Kane). The "Mortimer Young" introduction to the 2001 re-release is included on the DVD, which also includes an audio commentary by "Kenneth Loring," the fictional artistic director of the equally fictional "Forever Young Films"; the director often has his facts scrambled. It was also nominated for another five Oscars:. One example of changed music from the original VHS release is the removal of Neil Diamond's "I'm a Believer" (made famous by The Monkees' cover) in favor of The Four Tops' "It's the Same Old Song.". Casablanca won three Oscars:. What the Coens actually did was to tighten the editing using the footage in the original film: shortening some shots and removing others altogether, as well as changing some of the music in the film.

Central is the idea of sacrifice: "the myth of sacrifice runs through the whole film". Faux film historian "Mortimer Young" claims in an introduction to the re-release that the Coens have removed some of "the boring bits" and added other parts. However, he argues that it is this inconsistency which accounts for the film's popularity by allowing it to include a whole series of archetypes: unhappy love, flight, passage, waiting, desire, the triumph of purity, the faithful servant, the love triangle, beauty and the beast, the enigmatic woman, the ambiguous adventurer and the redeemed drunkard. Blood Simple was re-released in 2001 in a "director's cut". He sees the changes the characters undergo as inconsistency rather than complexity: "It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects". Water collects on its underside and drips down onto him. Casablanca is a very mediocre film". "Well, ma'am, if I see him, I'll sure give him the message." The detective lies looking up at the underside of the bathroom sink.

A dissenting note comes from Umberto Eco, who wrote that "by any strict critical standards.. "I'm not afraid of you, Marty," Abby says, and the detective laughs. By the end of the film, however, "everybody is sacrificing". The detective falls. Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. The door is partly closed; eventually the man's shadow darkens the doorway, and Abby fires through the door. not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody". Abby, dazed, backs out of the room and slides down the wall opposite the bathroom door, holding a gun.

Rick, according to Behlmer, is "not a hero, .. The detective screams and shoots chiaroscuro holes through the wall, then punches through and removes the knife. Renault begins the film as a collaborator with the Nazis, who extorts sexual favours from refugees and has Ugarte killed in custody. He opens the window; Abby slams it on top of his wrist and drives a knife through his hand into the windowsill. The other characters, in Rudy Behlmer's words, are "not cut and dried": they come into their goodness in the course of the film. Abby is not there; he looks outside the window, then reaches his arm over, finding a window to another room. As the Resistance hero, Laszlo is ostensibly the most good, although Ebert comments that he is so stiff that he is hard to like. Failing to find it, he goes into the bathroom.

Ebert has also said that the film is popular because "the people in it are all so good". In Abby's sparsely furnished living room, the private detective bludgeons Ray with a large coin bank, then searches Ray's pockets for the forged photo. Ebert says that he has never heard of a negative review of the film, even though individual elements can be criticised (he cites the unrealistic special effects and the stiff character/portrayal of Laszlo). The private detective arrives at Abby's apartment, and she goes to the bathroom to hide; outside the bathroom window is a precipitous drop. Behlmer also emphasises the variety in the picture: "it’s a blend of drama, melodrama, comedy [and] intrigue". Abby runs to crouch beneath the window, takes off her shoes, and throws them at the light bulb, breaking it. Roger Ebert has claimed that the film 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; while Citizen Kane is "greater", Casablanca is more loved. The private detective is on top of a nearby building, watching the two through a sniper scope, and shoots Ray through the back.

For more errors, see Casablanca's page at Moviemistakes.com (http://www.moviemistakes.com/film241). Abby is reluctant to do so. Other difficulties are the airport searchlight which is pointed at the cafe rather than into the sky; a continuity error at the station in Paris (Rick's wet coat becomes dry when he gets on the train); the supposedly Czech Laszlo's Hungarian name; and Renault's claim that "I was with [the Americans] when they blundered into Berlin in 1918." Curtiz's attitude to these issues was clear, however: "I make it go so fast, nobody notices". Abby arrives and turns on the lights; Ray is looking out a large window and tells Abby to turn off the light. However "it makes no sense that he could walk around freely" in Casablanca, as Ebert points out: "he would be arrested on sight". He leaves for Abby's apartment, and the private detective follows him. In the film, as Laszlo says, the Nazis cannot arrest him as "we're on free French soil; any violation of neutrality would reflect on Captain Renault". Ray is at the bar; he opens the safe and finds the photo showing him and Abby in bed, bodies riddled with holes, blood staining the sheets.

Even within the film, Rick suggests to Renault that the letters would not be enough for Ilsa to escape, let alone Laszlo: "people have been held in Casablanca in spite of their legal rights". Abby leaves to tell Meurice that she thinks Marty is dead; Meurice leaves for the bar. A classic MacGuffin, the letters were invented by Joan Allison for the original play and never questioned. Abby thinks that Marty refused to pay Ray, that Ray broke into the bar to get his money, and that the two of them got into a fight and Marty was killed. Ray interrupts and tells her it was her gun at the bar, that he can't eat or sleep lately, and that Marty was alive when Ray buried him. The film has several apparent logical flaws, foremost being the two "letters of transit" which enable anyone to leave for abroad. Ray is at his apartment packing. Another famous myth is that Bergman asks Dooley Wilson, the piano player to "play it again, Sam," see Quotes. Abby wakes up.

To add to the confusion the official DVD English subtitles say "de Gaulle", but the official French subtitles say "Weygand". He warns Abby "He'll kill you, too," then says "I love you," then pitches forward and vomits a torrent of blood. The latter makes more sense, as he collaborated with the Germans, and appears in early drafts of the script, but would be little known to contemporary American audiences. Marty is sitting on the bed. The former would be most illogical, since he was the leader of the anti-Vichy Free French Forces. She calls Ray's name, then pushes open the bathroom door. It is difficult to discern whether Ugarte tells Rick that the letters are signed by "General de Gaulle" or "General Weygand". At her apartment, Abby lies in bed; she gets up to wash her face and hears someone enter the apartment.

The letters of transit remain a subject of some confusion. The fish that Marty brought back from his trip are still on the desk where Marty was killed; they are now green with rot. However, Aljean Harmetz' 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". Abby spins the dial but does not open the safe. The confusion was most likely caused by Bergman's later statement that she didn't know which man she was meant to be in love with. She picks up a towel from the top of the safe; a hammer falls out. It was certainly impossible that Ilsa would leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. The private detective had been trying to break into the safe and was interrupted by Abby's arrival: he is hiding in the bar watching Abby move about.

During scriptwriting, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Behlmer points out, "there was only one dramatically viable real possibility: Ilsa and Laszlo take the plane". Abby finds the bar ransacked, the safe's combination lock dented, chipped, and partially shattered. The original play (set entirely in the cafe) had ended with Rick sending Ilsa and Victor to the airport. Abby goes to Marty's bar to try to find out what Ray is talking about--Ray had returned with blood on his shirt and she had assumed that he and Marty got into a fight. The other most famous myth is that the actors did not know until the last day of shooting how the film was to end. Meanwhile, Meurice checks his answering machine and gets a message from Marty claiming that a large amount of money has been stolen from the safe and either he or Ray took it. Meurice goes to confront Ray. 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 into the army, and he was never seriously considered. Ray leaves.

Several myths have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. The person doesn't say anything and Abby hangs up. most of these people were singing out of their own experience as refugees from Nazi Germany". The phone rings, interrupting their argument; Abby answers. Finally, 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. Ebert quotes a witness to the filming of the "duel of the songs" sequence as saying, "half of the extras had real tears in their eyes.. Ray thinks Abby is being coy for some reason he doesn't understand. Notable uncredited actors were:. Abby does not understand what Ray is talking about, and they get into an argument.

Also credited were:. At Abby's apartment, Ray tries to explain that he cleaned up Abby's mess. The second-billed actors were:. Meanwhile, at his apartment the private detective burns the series of photos he used to fake a murder, and discovers that Mary has replaced the incriminating faked photo with a sign admonishing employees to wash their hands before returning to work. The three top-billed actors were:. Finally it does, and he drives off. The cast is notable for its internationalism: only three of the credited actors were born in the US. The car seems disinclined to start.

To date the only authorized sequel to Casablanca has been the novel, As Time Goes By, written by Michael Walsh. In the morning, Ray is standing outside his car in the field, smoking. In the 1980s and 1990s media reports occasionally arose about plans to either produce a sequel, or an outright remake of Casablanca, but as of 2005 no studio has seriously put such plans into action. It clicks; he pulls it again, and again; Ray removes the gun from him and continues to bury Marty alive. Another series in 1983 starred David Soul as Rick and included Ray Liotta as Sacha and Scatman Crothers as a somewhat elderly Sam. He pulls it out, trembling, points it at Ray, and pulls the trigger. The first aired in 1955 (with Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as Renault). He is in process of burying him when Marty discovers Abby's gun in his jacket pocket.

There have been two short-lived television series based upon Casablanca, both of which are considered prequels to the movie. Ray digs a hole and throws Marty in. A sequel entitled Brazzaville (named after the capital city of the Republic of the Congo) was planned, but never produced. He picks up Marty and drags him back to the car, forcing him in as the semi passes. Almost from the moment Casablanca became a hit, talk began of producing a sequel to the film. Ray follows him with a shovel, intending to kill him, but is interrupted by an oncoming semi-tractor. A radio adaptation of the film was broadcast on April 26, 1943, again starring Bogart, Bergman and Henreid, while a second version of January 24, 1944 featured Hedy Lamarr as Ilsa. He is crawling down the highway, muttering.

The movie was also taken off by Warner Brothers themselves in the 1995 Bugs Bunny cartoon Carrotblanca. On returning to the car, he sees that the back driver's side door is open and Marty is gone. The film was parodied in two later movies: the 1946 Marx Brothers film A Night in Casablanca and Woody Allen's 1972 pastiche, Play It Again, Sam (a line which first occurred in the Marx Brothers film). He stops the car and jumps out, panicked, running over a field of dirt. It is also credited with helping the movie remain popular while other famous films of the 1940s have faded away. Ray is driving down the highway when he hears a noise from behind: Marty is alive. This tradition continues to the present day, and it is emulated by many colleges across the United States. Ray uses the noise from outside to mask his cleaning the office, and removes Marty's body, dropping Abby's gun into Marty's coat pocket.

During the 1950s, the Brattle Theater of Cambridge, Massachusetts began a long-running tradition of screening Casablanca during the week of final exams at Harvard University. Ray runs to shut and lock the office door; Meurice calls for Marty, gets no response, and then tells a woman that it's ladies night--drinks are free--and puts The Four Tops' "Same Old Song," loudly, on the jukebox. The film has maintained its popularity: Murray Burnett has called it "true yesterday, true today, true tomorrow". Ray is interrupted by Meurice, who arrives in the bar outside Marty's office. However not everyone liked the film including some critics in the French New Wave. Ray walks around the chair and sees that Marty is slumped forward, bleeding from the chest; he has a hole in his chest and a large pool of blood beneath the chair; blood is dripping down his hand onto the floor. Ray goes to retrieve Abby's gun from under a piece of furniture, and stands staring at it awhile: it is Abby's revolver. And it said it in a very entertaining way". Marty is sitting in a chair facing away from him; he doesn't respond to anything Ray says, and doesn't move when Ray steps on a gun, setting it off.

worth making sacrifices for. Ray arrives at the bar to insist that Marty pay him the wages he's owed--apparently the private detective has faked the photo he gave to Marty. there were values.. The detective checks the money and shoots Marty--the only person who knew about hiring the detective for murder--and leaves Abby's revolver behind. As Koch later said, "it was a picture the audiences needed.. He gives the detective the money and the manila envelope. It was a substantial box-office hit, taking $3.7 million on its initial US release, and went on to win three Oscars, while As Time Goes By spent 21 weeks on the hit parade. On the way back, he stops at his business safe, opens it, and removes $10,000 to pay the detective for the murders.

It premiered at the Hollywood Theater in New York City on November 26, 1942. Marty appears to be nauseated by the photo and excuses himself to the restroom with the photo. Reaction to the film at previews before release was described as "beyond belief". The envelope contains a photo showing the two in bed together with several bullet holes apiece, leaking blood. Other songs include "It Had to Be You" from 1924 with lyrics by Gus Kahn and music by Isham Jones, and "Knock on Wood" with music by M.K. Jerome and lyrics by Jack Scholl. The detective delivers a large manila envelope to Marty, telling him that the bodies are taken care of. Instead, Steiner based the entire score on it (and on the Marseillaise), transforming them to express the changing mood of the movie. Particularly notable is the "duel of the songs", in which the Marseillaise is played by a full orchestra rather than just the small band actually present in Rick's club, competing against the Germans singing "Die Wacht Am Rhein" at the piano. The gun has three bullets in it.

The song As Time Goes By by Herman Hupfield had been part of the story from the original play; Steiner wanted to write his own song to replace it, but he had to abandon his plan because Bergman had already cut her hair short for her next role, and could not re-shoot the scenes which mentioned the song. The private detective goes to Ray's apartment and breaks in while the two are asleep; he steals Abby's revolver from her purse and goes outside. The score was written by Max Steiner, who was best known for the musical score to Gone With the Wind. Marty becomes increasingly irritated with the couple's liaisons and hires the detective to kill them, then goes on a fishing trip. Dark film noir and expressionist lighting is used in several scenes, particularly towards the end of the picture. Ray hugs Abby, watching as Marty speeds down the street. Ebert also highlights the use of bars of shadow across the characters and in the background, variously implying imprisonment, the crucifix, the Free French symbol and emotional turmoil. Sometime later, Marty breaks into Ray's apartment, where Abby has spent the night, gets into a struggle with Abby and forces her outside, and is incapacitated by a knee to the groin; he leaves in his car as Ray comes outside buckling his pants.

The whole effect is to make her face "ineffably sad and tender and nostalgic" (Ebert). Marty threatens to shoot Ray if he comes back to the bar. 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. When Marty doesn't fire him, Ray does the honourable thing and quits, though not before demanding two weeks' worth of owed back pay. The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Despite Abby's protests, straightforward Ray decides to confront Marty about the misdeed, but a subdued Marty shows little anger at Ray. The second unit montages, such as that showing the invasion of France, were directed by Don Siegel. Marty is informed and let's them know that he knows; the detective furnishes Marty with photos of the liaison.

he saw it in pictures, and you supplied the stories". Emmett Walsh), hired by a suspicious Marty to spy on Abby. However, he had relatively little input into the development of the plot: Casey Robinson said that Curtiz "knew nothing whatever about story.. Though there had been no previous relations between Ray and Abby before, they end up spending the night together in a motel; and unbeknownst to them, their every move is being documented by a private detective (M. are memorable as shots", Curtiz being concerned to use images to tell the story rather than for their own sake. Ray works at a bar owned by Julian Marty (Dan Hedaya), who is married to Abby. Roger Ebert has commented that in Casablanca "very few shots .. Set in Texas, the story begins with the introduction of Ray (John Getz) and Abby (Frances McDormand), driving down the highway in pouring rain.

The director, Michael Curtiz, was a Hungarian emigre; he had come to the US in the 1920s, but some of his family were refugees from Nazi Europe. The title was coined by Dashiell Hammett in his novel Red Harvest, where he used it to describe the addled, fearful mindset people are in after committing murder. Both, however, are strongly implied in the finished version. The film was originally released in 1984, and later re-released in 2001 in a "director's cut". 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 favours from his supplicants and that Rick and Ilsa had slept together in Paris. Barry Sonnenfeld, the film's cinematographer, is himself now a noted director. But when corn works, there's nothing better.". Blood Simple is a neo noir film, the debut of Joel and Ethan Coen, writers and directors of Fargo, The Man Who Wasn't There, and Raising Arizona, among others.

Julius Epstein would later note that the screenplay contained "more corn than in the states of Kansas and Iowa combined. Koch later said that it was the tensions between his own approach and that of Curtiz 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". Critic Andrew Sarris called it "the most decisive exception to the auteur theory". Despite the many different writers, the film has what Ebert describes as a "wonderfully unified and consistent" script.

The final line of the film was written by the producer Hal Wallis after shooting had been completed, and film critic Roger Ebert calls 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). One of the most famous lines— "here's looking at you"— is not in the draft screenplays, and has been attributed to the poker lessons Bogart was giving Bergman in between takes. Curtiz seems to have favoured the romantic element, insisting on retaining the flashback Paris scenes. Important scenes were also added by the uncredited Casey Robinson, who contributed the series of meetings between Rick and Ilsa in the cafe.

The other credited writer, Howard Koch, joined later but continued to work in parallel with the Epsteins, despite their differing emphases (Koch highlighting the political and melodramatic elements). The first main writers to work on the script for Warners were the Epstein twins (Julius and Philip), who removed Rick's background and added more elements of comedy. In the play, the Ilsa character was American, and did not meet Laszlo until after her relationship with Rick in Paris had ended; Rick was a lawyer. The original play was inspired by a 1938 trip to Europe by Murray Burnett, during which he visited Vienna and the French south coast, both of which had uneasily coexisting populations of Nazis and refugees.

Bogart was called in a month after shooting was finished to dub in the final line ("Louis, I think this is the beginning of a beautiful friendship.") Later, there were plans for a further scene to be shot (featuring Renault, Rick and a detachment of Free French fighters on a ship), but these were abandoned. The film cost a total of $950,000, which was slightly over budget but an average cost for a film of the time. Bergman's height caused some problems: she was somewhat taller than Bogart, so in their scenes together he sometimes had to be put on boxes or cushions. The fog in the scene was there to mask the unconvincing appearance of the plane.

The final scene includes midget extras as aircraft personnel walking around a model cardboard plane, because of budgetary and wartime rationing constraints. The set for Rick's cafe was built in three unconnected parts, so the internal geography of the building is indeterminate, and in a number of scenes the camera looks through a wall from the cafe area into Rick's office. It remained on the Warners backlot until the 1960s. The street used for the exterior shots had recently been built for another film, The Desert Song, and was redecorated and used again in Casablanca for the Paris flashbacks.

The entire film was shot in the studio, except for the sequence showing the arrival of Major Strasser (filmed at Van Nuys Airport). Shooting began on May 25, 1942 and was completed on August 3, 1942. The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers. The story analyst at Warner Brothers who read the play called it (approvingly) "sophisticated hokum", and it was agreed to buy the rights for $20,000.

The film was based on Murray Burnett and Joan Alison's unproduced play Everybody Comes to Rick's. Just before making this suggestion, Renault throws a bottle of Vichy water in the bin. Captain Renault is complicit in their escape, and after the couple fly out of Casablanca and Rick has shot Major Strasser, he suggests they both also leave and join the Free French. His own moral code is shown as being strong enough to allow him to do the right thing, regardless of his own feelings for Ilsa, with whom he earlier reconciles.

Despite initially refusing to give the documents to Ilsa, even at gunpoint, Rick eventually chooses to help the couple leave Casablanca. The customers join in and drown out the Germans, who then order the club to be closed. Laszlo, incensed, tells the house band to play La Marseillaise. A group of German officers around the piano sing the Wacht am Rhein, a German patriotic song from the nineteenth century (the producers wanted to use the Nazi Horst Wessel Lied, but it was copyrighted by a German publisher).

Her husband, Victor Laszlo (Henreid), is an important Resistance leader from Czechoslovakia with a massive price on his head, and he needs the letters to escape. In walks the reason for Rick's bitterness, his ex-lover Ilsa Lund (Bergman), who arrives in the club after being told the papers are available for sale. Unbeknowst to Renault or the Nazi command, Ugarte had secretly left the letters with Rick for safe-keeping. However, he murdered their German carriers to get them, and is captured and killed by the local police, under the order of the Chief of Police, Captain Renault (Claude Rains), who is corrupt yet ambivalent about the Nazi presence in Casablanca.

These papers are almost priceless to any of the continual stream of refugees attempting to escape the unoccupied French possession, and Ugarte plans on making his fortune by selling them to the highest bidder, who was due to arrive at the club that night, then buying his way out of Casablanca. The papers are signed by a high-ranking Vichy official, and allow the bearer to travel at will around Nazi-controlled Europe, including to neutral Lisbon, Portugal, whereupon one may catch a clipper to the United States. The plot begins when a petty crook, Ugarte (Peter Lorre), arrives in Rick's club with "letters of transit". Rick is a bitter and cynical man, but he still displays a clear dislike for the fascist part of his clientele.

Humphrey Bogart plays Rick Blaine, the owner of an upscale cafe/bar/gambling den in the Morocco city of Casablanca which attracts a mixed clientele of Vichy French and Nazi officials, refugees and thieves. Critics have praised the charismatic performances of Bogart and Bergman, the chemistry between the two leads, the depth of characterisation, the taut direction, the witty screenplay and the emotional impact of the work as a whole. The film was an immediate hit, and it has remained consistently popular ever since. It focuses on Rick's conflict between, in the words of one character, love and virtue: he must choose between his love for Ilsa and his need to do the right thing by helping her husband, Resistance hero Victor Laszlo, escape from Casablanca and continue his fight against the Nazis.

The film was directed by Michael Curtiz, and stars Humphrey Bogart as Rick and Ingrid Bergman as Ilsa. Casablanca is a 1942 movie set during World War II in the Vichy-controlled Moroccan city of Casablanca. The German Hollywood Connection (http://www.germanhollywood.com/casabl.html). Vincent's Casablanca Homepage (http://www.vincasa.com/).

Casablanca (http://www.imdb.com/title/tt0034583/) at the Internet Movie Database. Humphrey Bogart Official Site (http://www.humphreybogart.com/). Ingrid Bergman Official Site (http://www.cmgww.com/stars/bergman/). ISBN 1562827618.

Warner Books Inc. Round Up the Usual Suspects: The Making of Casablanca. Harmetz, Aljean (1993). ISBN 0312259255.

Signs of Life in the USA: Readings on Popular Culture for Writers (Sonia Maasik and Jack Solomon, eds.) Bedford Books. Eco, Umberto (1994). Casablanca (Two-Disc Special Edition DVD) (1942) (with audio commentaries by Roger Ebert and Rudy Behlmer and documentary You Must Remember This). Abbreviated Casablanca Movie Script (http://www.geocities.com/classicmoviescripts/script/casablanca.pdf).

Academy Award for Original Music Score — Max Steiner. Academy Award for Film Editing — Owen Marks. Academy Award for Best Cinematography, black-and-white — Arthur Edeson. Academy Award for Best Supporting Actor — Claude Rains.

Academy Award for Best Actor — Humphrey Bogart. Epstein and Howard Koch. Academy Award for Writing Adapted Screenplay — Julius J. Epstein, Philip G. Academy Award for Directing — Michael Curtiz.

Wallis, producer. Academy Award for Best Picture — Hal B. Helmut Dantine (Jan Brandel), another Austrian, had spent time in a concentration camp after the Anschluss. He also was a key performer in another film with Bogart, To Have and Have Not.

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 Nazi invasion of France he was reduced to bit-parts in Hollywood. Marcel Dalio (Emil, the croupier). Leonid Kinskey (Sascha) was born in Russia. He appeared in many of John Ford's movies.

John Qualen (Berger) was born in Canada, but grew up in America. He could claim the longest film career of any actor, making his first appearance in 1907 and his last in 1987. Curt Bois (the pickpocket) was a German Jewish actor and another refugee. K.) "Cuddles" Sakall (Carl, the waiter) was a Hungarian actor who fled from Germany in 1939.

(or S. S.Z. Madeleine LeBeau (Yvonne), a French actress, was Marcel Dalio's wife until their divorce in 1942. Joy Page (Annina Brandel, the Bulgarian refugee), the other credited American, was studio head Jack Warner's step-daughter.

Hal Wallis considered also replacing his voice on the songs, but changed his mind. A drummer, he could not play the piano. He was one of the few American members of the cast. Dooley Wilson as Sam.

Caligari (1920) before fleeing from the Nazis and ending his career playing Nazis in US films. He was a German actor who had appeared in The Cabinet of Dr. Conrad Veidt as Major Strasser of the SS. Lorre was an Austro-Hungarian actor who left Germany in 1933.