Bullitt

He enters the bathroom and looks into the mirror, quietly contemplating. If she can stand it, I can! Play it!". The movie ends with Bullitt returning home to find Cathy asleep. Play As Time Goes By." Later, Rick requests an encore by saying, "You played it for her, you can play it for me.. With Ross dead, the case is finally closed. At one point, Ilsa says to piano player Sam, "Play it, Sam. Inside the terminal, Bullitt finally corners Ross at the door and fires two shots from his gun, the only time he uses it in the movie. The closest lines are as follows:.

There ensues a foot chase across the runway and field, with Ross shooting at Bullitt. The (mis)quote "Play it again, Sam" originates with Casablanca. Ross jumps from the back door of the plane. 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). Bullitt enters the plane as the passengers are coming off and sees the real Johnny Ross (played by Renella). It was also nominated for another five Oscars:. He arrives at the airport just as the plane is about to take off, but phones the plane and the pilot returns to the terminal. Casablanca won three Oscars:.

Bullitt has to stop him before he can make his getaway on the flight to Rome as Albert Renick. Central is the idea of sacrifice: "the myth of sacrifice runs through the whole film". Ross must have also set Renick up to get the heat off him, then killed his wife to shut her up. 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. The real Johnny Ross must have paid Renick to impersonate him, while letting Ross use his passport and identity to leave the country. 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". The man who was murdered was not mobster Johnny Ross, he was actually Dorothy's husband, Albert Renick, a used car salesman from Chicago with no Mafia connections. Casablanca is a very mediocre film".

When he gets a copy of the passport photo, Bullitt realizes Chalmers has been conned. A dissenting note comes from Umberto Eco, who wrote that "by any strict critical standards.. He then tells Delgetti to call immigration in Chicago and have them send Ross's passport application while he gets a finger print check. By the end of the film, however, "everybody is sacrificing". Renick. He also finds a lot of money. Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. He finds out her true identity was Dorothy Renick (played by Carroll), and that she was scheduled on a flight from San Francisco International Airport to Rome, Italy, with her husband, Albert E. not a bad guy": he does what is necessary to get along with the authorities and "sticks his neck out for nobody".

Bullitt and Delgetti check the luggage of the victim, which has arrived at the police station. Rick, according to Behlmer, is "not a hero, .. "You're living in a sewer, Frank!" she says. Renault begins the film as a collaborator with the Nazis, who extorts sexual favours from refugees and has Ugarte killed in custody. She has trouble accepting his job, and the true nature of police work. The other characters, in Rudy Behlmer's words, are "not cut and dried": they come into their goodness in the course of the film. He comes to her. As the Resistance hero, Laszlo is ostensibly the most good, although Ebert comments that he is so stiff that he is hard to like.

After a while, she gets out of the car. Ebert has also said that the film is popular because "the people in it are all so good". She is upset as they leave. 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). Cathy gets out of the car and wonders in on the crime scene, where she sees the murder victim. Behlmer also emphasises the variety in the picture: "it’s a blend of drama, melodrama, comedy [and] intrigue". His trophy architect girlfriend, Cathy (played by Bisset), drives him to the swanky hotel, where he discovers the woman has been murdered. 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.

He needs a car, but one is not available at the station. For more errors, see Casablanca's page at Moviemistakes.com (http://www.moviemistakes.com/film241). Back at the police station, Bullitt begins to check out Dorothy Simmons, the woman Johnny Ross called in San Mateo. 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". But the spectacular car chase and action is not the engine that drives the movie to its culmination. However "it makes no sense that he could walk around freely" in Casablanca, as Ebert points out: "he would be arrested on sight". They crash into a gas station and both are killed in the fiery explosion. 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".

The chase comes to an end after Mike shoots at Bullitt's car with a 12 gauge shotgun and Phil loses control of the car. 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". Phil and Bullitt then slam down the gas pedal to the metal and have a flat out race between two bellowing muscle cars as they tear up the roads. A classic MacGuffin, the letters were invented by Joan Allison for the original play and never questioned. Though he seems unaware they are after him, he turns the tables on the criminals when he backtracks and comes up behind their car, surprising them. The film has several apparent logical flaws, foremost being the two "letters of transit" which enable anyone to leave for abroad. They are following Bullitt to set him up for an ambush, but lose him. Another famous myth is that Bergman asks Dooley Wilson, the piano player to "play it again, Sam," see Quotes.

The scene is set for the legendary and exciting high-speed car chase through San Francisco, with the other thug, Phil, driving. To add to the confusion the official DVD English subtitles say "de Gaulle", but the official French subtitles say "Weygand". The gunman, Mike, then appears at the hospital to finish Ross off, but gets away. 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. With the hearing the next day, Bullitt begins to realize that this dead mobster may not be who he seems. The former would be most illogical, since he was the leader of the anti-Vichy Free French Forces. He finds that one was to a hotel in San Mateo; to a woman registered under the name Dorothy Simmons. It is difficult to discern whether Ugarte tells Rick that the letters are signed by "General de Gaulle" or "General Weygand".

He then investigates the phone calls Ross made. The letters of transit remain a subject of some confusion. Bullitt suppresses the news and keeps the death secret, having the doctor misplace the chart and the body placed in the morgue as an unidentified John Doe. 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". Stanton survives his wounds, but Ross dies during surgery. 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. He is not interested in the injured policeman or the hit-men, only in the hearings that will launch his national political career, and wants to shut down Bullitt's investigation. 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.

Chalmers is angered and blames Bullitt, threatening to ruin his career if Ross dies. 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". Bullitt wants to get to the bottom of the case and catch who shot them, as well as the Mafia boss who ordered the hit. The original play (set entirely in the cafe) had ended with Rick sending Ilsa and Victor to the airport. Stanton and Ross are both in the hospital. The other most famous myth is that the actors did not know until the last day of shooting how the film was to end. He then turns and shoots Ross. 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.

A pair of hit-men, Mike (played by Genge) and Phil (played by Hickman), then burst into the room and Mike shoots Detective Stanton. Several myths have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. Stanton calls and tells Bullitt, who tells him no, that Chalmers would not be there at one in the morning. In the meantime, Ross walks over to the door and unlocks it. most of these people were singing out of their own experience as refugees from Nazi Germany". Later, while Stanton is guarding him, the desk clerk calls and says Chalmers and a friend are there and want to come to the room. 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.. Before Ross enters the hotel, he makes several phone calls. Notable uncredited actors were:.

Bullitt and his men, Detectives Delgetti (played by Gordon) and Stanton (played by Reindel), will take turns giving Ross around the clock protection at an undisclosed cheap hotel near an overhead freeway. Also credited were:. Chalmers has the Police Department place Johnny Ross (played by Orlandi) in protective custody and requests that the unit headed by Detective Lieutenant Frank Bullitt (played by McQueen) be assigned to guard him. The second-billed actors were:. Johnny stole $2,000,000 dollars from his Mafia cronies and two attempts were made on his life before he left for San Francisco. The three top-billed actors were:. The witness scheduled to testify, Johnny Ross, worked with his brother, Chicago mobster Pete Ross (played by Tayback). The cast is notable for its internationalism: only three of the credited actors were born in the US.

An ambitious politician, Walter Chalmers (played by Vaughn), is holding a Senate subcommittee hearing in San Francisco on Organized Crime in America and has a key witness that he hopes will further his national aspirations as he brings down a powerful Mafia syndicate. To date the only authorized sequel to Casablanca has been the novel, As Time Goes By, written by Michael Walsh. 113 mins.; Technicolor. 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. The movie as a whole, including the car chase, makes excellent use of the San Francisco Bay Area. Another series in 1983 starred David Soul as Rick and included Ray Liotta as Sacha and Scatman Crothers as a somewhat elderly Sam. The scene had Bullitt in a dark green 1968 Ford Mustang GT-390, chasing two hit-men in a black Dodge Charger. The first aired in 1955 (with Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as Renault).

Bullitt is most-remembered for its central car chase scene through the streets of downtown San Francisco, one of the earliest and most influential car chase sequences in movies. There have been two short-lived television series based upon Casablanca, both of which are considered prequels to the movie. Keller); and was nominated for Best Sound. A sequel entitled Brazzaville (named after the capital city of the Republic of the Congo) was planned, but never produced. The movie won the Academy Award for Best Film Editing (Frank P. Almost from the moment Casablanca became a hit, talk began of producing a sequel to the film. Lalo Schifrin wrote the original music score, a memorable mix of jazz, brass and percussion. 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.

Fish. The movie was also taken off by Warner Brothers themselves in the 1995 Bugs Bunny cartoon Carrotblanca. The story was adapted for the screen by Alan Trustman and Harry Kleiner, based on the novel titled Mute Witness (1963) by Robert L. 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). The director was Peter Yates. It is also credited with helping the movie remain popular while other famous films of the 1940s have faded away. action crime/mystery/thriller motion picture starring Steve McQueen, Robert Vaughn, and Jacqueline Bisset, with Don Gordon, Carl Reindel, Felice Orlandi, Vic Tayback, Pat Renella, Paul Genge, Bill Hickman, and Brandy Carroll. This tradition continues to the present day, and it is emulated by many colleges across the United States.

Bullitt is a 1968 Warner Bros. 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. Chalmers.". The film has maintained its popularity: Murray Burnett has called it "true yesterday, true today, true tomorrow". You sent us to guard the wrong man, Mr. However not everyone liked the film including some critics in the French New Wave. Bullitt: "He was the man who was shot at the Hotel Daniels. And it said it in a very entertaining way".

Chalmers: "Who's Renick?". worth making sacrifices for. Chalmers: "I do not choose to have people accuse me of false promises for the sake of cheap sensationalism, or to be compromised by your lieutenant.". there were values.. Bullitt: "Shotgun and a backup man, professionals.". As Koch later said, "it was a picture the audiences needed.. Bennett: "What about the setup? What do you make of that?". 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.

Bullitt: "I'm waiting to ask him.". It premiered at the Hollywood Theater in New York City on November 26, 1942. Captain Bennett: "He let the killers in himself? Why would he do a thing like that?". Reaction to the film at previews before release was described as "beyond belief". Bullitt: "You sell whatever you want, but don't sell it here tonight.". 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. Bullitt: "Bullshit.". 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.

Chalmers: "Frank, we must all compromise.". 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. Integrity is something you sell the public.". The score was written by Max Steiner, who was best known for the musical score to Gone With the Wind. We both know how careers are made. Dark film noir and expressionist lighting is used in several scenes, particularly towards the end of the picture. Don't be naive, Lieutenant. 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.

Walter Chalmers: "Come on, now. The whole effect is to make her face "ineffably sad and tender and nostalgic" (Ebert). You work your side of the street and I'll work mine.". 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. Frank Bullitt: "You believe what you want. The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. And you're paying for the contract.". The second unit montages, such as that showing the invasion of France, were directed by Don Siegel.

If you can't find him, we have people who can. he saw it in pictures, and you supplied the stories". phone voice: "He's your brother, Ross. However, he had relatively little input into the development of the plot: Casey Robinson said that Curtiz "knew nothing whatever about story.. We lost him.". are memorable as shots", Curtiz being concerned to use images to tell the story rather than for their own sake. Pete Ross: (on phone) "This is Pete. Roger Ebert has commented that in Casablanca "very few shots ..

The production company was denied permission to film on the Golden Gate Bridge. 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. Filming of the chase scene took three weeks, resulting in 9 minutes and 42 seconds of footage. Both, however, are strongly implied in the finished version. The director called for speeds of about 75-80 mph, but the cars (including the ones containing the cameras) reached speeds of over 110 mph. 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. When the mirror is up, visible, McQueen is behind the wheel, and when it is down, not visible, Ekin is in the car. But when corn works, there's nothing better.".

The Mustang's interior rearview mirror goes up and down depending on who is driving. Julius Epstein would later note that the screenplay contained "more corn than in the states of Kansas and Iowa combined. Though it is widely believed that Steve McQueen, who was a great race car driver, did the bulk of the driving stunt work, the stunt coordinator, Carey Loftin, had famed stuntman and motorcycle racer Bud Ekins do most of the risky stunts in the Mustang. 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". The cars were modified for the high-speed chase by veteran car racer Max Balchowsky. Critic Andrew Sarris called it "the most decisive exception to the auteur theory". Both Mustangs were owned by Ford Motor Company and were part of a promotional loan agreement with Warner Bros. Despite the many different writers, the film has what Ebert describes as a "wonderfully unified and consistent" script.

Two Mustangs and two Dodge Chargers were used for the chase scene. 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). The famous chase sequence from Bullitt has been voted the best car chase in film history, in front of The French Connection (1971) and the original Gone in 60 Seconds (1974). 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.