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Casablanca (1942)     
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Director:
Michael Curtiz |
COUNTRY
USA |
Genre
Drama/Romance |
NORWEGIAN
TITLE
Casablanca |
RUNNING
TIME
102
minutes |
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Producer:
Hal B. Wallis |
Screenwriter:
Julius J.
Epstein
Philip G. Epstein
Howard Koch |
Review
With Casablanca, dubbed
"the best bad film of all time" by my late Lillehammer College film
professor Sřren Birkvad, the Hollywood studio system came into full
fruition with its propensity for sniffing out societal trends and weave
smooth melodrama around them. This is a rather character-heavy and
talkative chamber piece set mostly in "Rick's Café" in Casablanca,
Morocco over a few days and nights in December 1941. The city and said café
are portrayed as a safe haven for various Europeans and
Americans trying to escape the advancing Nazi forces, and when the German
Major Heinrich Strasser (Conrad Veidt) arrives, the setting turns into a
miniature peace conference with most major players represented. The
nuanced political aspects of the picture are impressive, especially
in light of the year of production. We even get to hear both German and
French language. And although the film is far from polemical or
hard-hitting, at least it makes an effort to remove patriotism and propaganda from the
equation, an approach Hollywood would abandon for
the next few decades after the war.
Still, like most studio era
Hollywood films, Casablanca is at heart all about romance. As Ingrid
Bergman drowns in Humphrey Bogart's disillusioned eyes, surrounded by a
menagerie of one-dimensional but utterly enjoyable supporting
characters, the film ticks
all Hollywood boxes and achieves perfection in superficial melodrama.
The slick production values and effective but underwhelming set
decorations help solidify the impression. All is fair in love and war –
even a film as brazen as Casablanca.
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