Casablanca
I think one of the most significant strengths of Casablanca, one of the few universally canonized films, is its simplicity. Adapted from a stage play that was never produced, it's not commonly known for its Great Cinematography, a term usually (and erroneously) applied only to movies with wide, expansive vistas (Lawrence of Arabia, Out of Africa), tilted camera angles (Do the Right Thing, The Third Man) or ultra-crisp, carefully lit photography (Laura, A Man and a Woman, the films of Michael Mann). Arthur Edeson's work in lighting and blocking is utilitarian in such a way that it doesn't call attention to itself. Michael Curtiz's staging is equally functional and efficient -- it's neither hurried nor leisurely. And the screenplay, assembled in a piecemeal, quite extemporized manner that would easily be the bane of a movie not made under Casablanca's ideal circumstances, tells a story that is complex without being convoluted, easily understood without being trivial, patriotic without being self-righteous and universal without seeming to bear the weight of its significance.It also helps to watch Casablanca if you know what it's like to be or to have bee . . .
It worries me that the attitude of too many people who approach the classics is to doubt their authenticity, and declare themselves victorious when it doesn't meet their lofty expectations. Because, let it be said, the film is one hundred three minutes of unbeatable entertainment, as a romance and a drama, with touches of comedy, music, suspense, and even a little action. A plentitude of marvelously effective scenes abound: my pick would be a toss-up between the French out-singing the Germans in their choice of national anthems and the wonderful bit of comedy when Claude Rains shuts the bar down, claiming he's "shocked . The first time I saw the film was four or five years ago, less for the joy of having an enjoyable movie experience, more to see what the big deal was about. They are not suckers, because the film does not seek to deceive or pander. Rick (Humphrey Bogart) runs a bar in the eye of an international storm called World War II, and not only is he cool, but he couldn't care a whit about the half dozen uniformed authority types that he mingles with from day to day. Whether the classic is a Beatles album, a Star Wars movie or a James Joyce novel, canonization often has its unfortunate disadvantages. As the years passed, the world embraced it, and it became legend. studio a dollar and a cent, and also to aid in wartime morale. If we were all to approach each experience with no expectations whatsoever, we might have a better time with our art and entertainment. shocked to find that gambling is going on in here," just before being handed his own winnings. In November of 1942 it sought to make the Warner Bros.
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