Casablanca is a 1942 American romantic drama film directed by Michael Curtiz and based on Murray Burnett and Joan Alison's unproduced stage play Everybody Comes to Rick's. The film stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid; it also features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson. Set during World War II, it focuses on an American expatriate who must choose between his love for a woman and helping her Czech Resistance leader husband escape the Vichy-controlled city of Casablanca to continue his fight against the Nazis.

Story editor Irene Diamond convinced producer Hal B. Wallis to purchase the film rights to the play in January 1942. Brothers Julius and Philip G. Epstein were initially assigned to write the script. However, despite studio resistance, they left to work on Frank Capra's Why We Fight series early in 1942. Howard E. Koch was assigned to the screenplay until the Epsteins returned a month later. Casey Robinson assisted with three weeks of rewrites, but his work would later go uncredited. Wallis chose Curtiz to direct the film after his first choice, William Wyler, became unavailable. Principal photography began on May 25, 1942, ending on August 3; the film was shot entirely at Warner Bros. Studios in Burbank, with the exception of one sequence at Van Nuys Airport in Van Nuys, Los Angeles.

Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to be anything out of the ordinary. It was just one of hundreds of pictures produced by Hollywood every year. Casablanca was rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier. It had its world premiere on November 26, 1942, in New York City and was released nationally in the United States on January 23, 1943. The film was a solid if unspectacular success in its initial run.

Casablanca went on to win three Academy Awards – Best Picture, Director (Curtiz) and Adapted Screenplay (the Epsteins and Koch) – and gradually its reputation grew. Its lead characters, memorable lines, and pervasive theme song have all become iconic and the film consistently ranks near the top of lists of the greatest films in history.

Plot

Black-and-white film screenshot of several people in a nightclub. A man on the far left is wearing a suit and has a woman standing next to him wearing a hat and dress. A man at the center is looking at the man on the left. A man on the far right is wearing a suit and looking to the other people.

Left to right: Henreid, Bergman, Rains and Bogart

In December 1941, American expatriate Rick Blaine is the proprietor of an upscale nightclub and gambling den in Casablanca. "Rick's Café Américain" attracts a varied clientele: Vichy French and German officials; refugees desperate to reach the still-neutral United States; and those who prey on them. Although Rick professes to be neutral in all matters, it is later revealed he ran guns to Ethiopia during its war with Italy and fought on the Loyalist side in the Spanish Civil War.

Petty crook Ugarte shows up and boasts to Rick of "letters of transit" obtained by murdering two German couriers. The papers allow the bearers to travel freely around German-controlled Europe and to neutral Portugal, and are thus almost priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club that night, and asks Rick to hold them. Before he can meet his contact, he is intercepted by the local police under the command of Captain Louis Renault, an unabashedly corrupt Vichy official. Ugarte dies in custody without revealing that he entrusted the letters to Rick.

At this point, the reason for Rick's bitterness—former lover Ilsa Lund—walks into his establishment. Upon spotting Rick's friend and house pianist, Sam, Ilsa asks him to play "As Time Goes By." Rick storms over, furious that Sam has disobeyed his order never to perform that song, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo, a renowned fugitive Czech Resistance leader. They need the letters to escape to America to continue his work. German Major Strasser has come to Casablanca to see that Laszlo does not succeed.

When Laszlo makes inquiries, Ferrari, a major underworld figure and Rick's friendly business rival, divulges his suspicion that Rick has the letters. In private, Rick refuses to sell at any price, telling Laszlo to ask his wife 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, 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.

Black-and-white film screenshot of a man and woman as seen from the shoulders up. The two are close to each other as if about to kiss.

Bogart and Bergman

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 met and fell in love in Paris in 1940, she believed her husband had been killed attempting to escape from a 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 alive and in hiding. She left Rick without explanation to nurse her sick husband.

Rick's bitterness dissolves. He agrees to help, letting her believe that she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl spirit Ilsa away. Laszlo, aware of Rick's love for Ilsa, 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 persuades Renault to release him by promising to set him up for a much more serious crime: possession of the letters. To allay Renault's suspicions, Rick explains that 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 that she would regret it if she stayed—"Maybe not today, maybe not tomorrow, but soon and for the rest of your life."

Strasser, tipped off by Renault, drives up alone. Rick kills him when he tries to intervene. When policemen arrive, Renault pauses, then orders them to "round up the usual suspects." Renault suggests to Rick that they join the Free French in Brazzaville. As they walk away into the fog, Rick says, "Louis, I think this is the beginning of a beautiful friendship."

Cast

Black-and-white film screenshot of two men, both wearing suits. The man on the left is older and is nearly bald; the man on the right has black hair. In the background several bottles of alcohol can be seen.

Greenstreet and Bogart

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.

Script error: The function "harvard_citation_no_bracket" does not exist. The cast is notably international: only three of the credited actors were born in the United States (Bogart, Dooley Wilson, and Joy Page). The top-billed actors are:"Casablanca: Michael Curtiz's 1942 film is a classic love story – with excellent hats", The Telegraph. 


 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 called her "luminous", and commented on the chemistry between her and Bogart: "she paints his face with her eyes". Other actresses considered for the role of Ilsa included Ann Sheridan, Hedy Lamarr, Luise Rainer, and Michèle Morgan. Producer Hal Wallis obtained the services of Bergman, who was contracted to David O. Selznick, by lending Olivia de Havilland in exchange.Script error: The function "harvard_citation_no_bracket" does not exist.
  • Paul Henreid as Victor Laszlo. Henreid, an Austrian actor who had emigrated in 1935, was reluctant to take the role (it "set [him] as a stiff forever", according to Pauline KaelScript error: The function "harvard_citation_no_bracket" does not exist.), 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"; Bergman called Henreid a "prima donna".Script error: The function "harvard_citation_no_bracket" does not exist.

The second-billed actors are:

Also credited are:

  • Curt Bois as the pickpocket.
  • Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. He told Aljean Harmetz, author of Round Up the Usual Suspects: The Making of Casablanca, that he was cast because he was Bogart's drinking buddy.Van Gelder, Lawrence (September 12, 1998). "Leonid Kinskey, 95, Bartender in 'Casablanca'". Archived from the original on March 26, 2017.  He was not the first choice for the role; he replaced Leo Mostovoy, who was deemed not funny enough.
  • Madeleine LeBeau as Yvonne, Rick's soon-discarded girlfriend. She was a French refugee who had left Nazi-occupied Europe with her husband Marcel Dalio, who was a fellow Casablanca performer. She was the last surviving cast member at her death on May 1, 2016."Last surviving Casablanca actress Madeleine Lebeau dies", BBC News, BBC (May 15, 2016). Retrieved on May 15, 2016. Archived from the original on May 15, 2016. 
  • Joy Page as Annina Brandel, the young Bulgarian refugee.
  • John Qualen as Berger, Laszlo's Resistance contact.
  • S. Z. Sakall (credited as S. K. Sakall) as Carl, the waiter.
  • Dooley Wilson as Sam. He was one of the few American-born members of the cast. A drummer, he had to fake playing the piano. Even after shooting had been completed, producer Wallis considered dubbing over Wilson's voice for the songs.Script error: The function "harvard_citation_no_bracket" does not exist.Script error: The function "harvard_citation_no_bracket" does not exist.

Notable uncredited actors are:

  • Leon Belasco as a dealer in Rick's Cafe.
  • Marcel Dalio as Emil the croupier. He had been a star in French cinema, appearing in Jean Renoir's La Grande Illusion and La Règle du Jeu. He divorced his first wife, Jany Holt]], just months before the Nazi occupation of France; while he fled to bit parts in Hollywood, she remarried, kept acting in French Cinema, and won the Croix de Guerre for her part in the French Resistance.Bergan, Ronald (November 18, 2005). "Obituary: Jany Holt", The Guardian. 
  • Helmut Dantine as Jan Brandel, the Bulgarian roulette player married to Annina Brandel.
  • William Edmunds as a contact man at Rick's.
  • Gregory Gaye as the German banker who is refused entry to the casino by Rick.
  • Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam".
  • George London, one of those who sing "La Marseillaise"
  • Georges Renavent as a conspirator
  • Corinna Mura as the guitar player who sings "Tango Delle Rose" (or "Tango de la Rosa") and later accompanies the crowd on "La Marseillaise."
  • Dan Seymour as Abdul the doorman.
  • Gerald Oliver Smith as the Englishman.
  • Jean Del Val as the French police radio announcer.
  • Leo White as the waiter Emile.
  • Frank Puglia as a Moroccan rug merchant.
  • Richard Ryen as Colonel Heinze, Strasser's aide.
  • Dan Seymour as Abdul the doorman.
  • Gerald Oliver Smith as the Englishman whose wallet is stolen.
  • Norma Varden as the Englishwoman whose husband has his wallet stolen.

Much of the emotional impact of the film, for the audience in 1942, has been attributed to the large proportion of European exiles and refugees who were extras or played minor roles (in addition to leading actors Paul Henreid, Conrad Veidt and Peter Lorre): such as Louis V. Arco, Trude Berliner, Ilka Grünig, Lotte Palfi, Ludwig Stössel, Hans Heinrich von Twardowski, and Wolfgang Zilzer. 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".

Script error: The function "harvard_citation_no_bracket" does not exist. 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".

Script error: The function "harvard_citation_no_bracket" does not exist. Even though many were Jewish or refugees from the Nazis (or both), they were frequently cast as Nazis in various war films, because of their accents. Jack Benny may have appeared in an unbilled cameo, as was claimed by a contemporary newspaper advertisement and in the Casablanca press book."Special Contest / Find Jack Benny in "Casablanca"" (February 4, 1943). 

Script error: The function "harvard_citation_no_bracket" does not exist. When asked in his column "Movie Answer Man", critic Roger Ebert first replied, "It looks something like him. That's all I can say."

Ebert, Roger (December 9, 2009). Movie Answer Man. Retrieved on June 28, 2014.


RogerEbert.com In a later column, he responded to a follow-up commenter, "I think you're right. The Jack Benny Fan Club can feel vindicated".

Ebert, Roger (December 23, 2009). Movie Answer Man. Retrieved on June 28, 2014.


RogerEbert.com

Production

Bogart in the airport scene

The film was based on Murray Burnett and Joan Alison's then-unproduced play Everybody Comes to Rick's. The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) "sophisticated hokum", and story editor Irene Diamond, who had discovered the unproduced play on a trip to New York in 1941, convinced producer Hal Wallis to buy the rights in January 1942 for $20,000, the most anyone in Hollywood had ever paid for an unproduced play. The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers. Although an initial filming date was selected for April 10, 1942, delays led to a start of production on May 25. Filming was completed on August 3, and the production cost $1,039,000 ($75,000 over budget), above average for the time. Unusually, the film was shot in sequence, mainly because only the first half of the script was ready when filming began.

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. The street used for the exterior shots had recently been built for another film, The Desert Song, 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 little person extras and a proportionate cardboard plane. Fog was used to mask the model's unconvincing appearance. 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.

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).

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.

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. 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."

Writing

A symbol of a large cross, with a smaller cross attached to the top of it. Similar to a "+" with a "T" below it.

The Cross of Lorraine, emblem of the Free French Forces

The original play was inspired by a trip to Europe made by Murray Burnett and his wife in 1938, during which they visited Vienna shortly after the Anschluss and were affected by the anti-Semitism they saw. In the south of France, they went to a nightclub that had a multinational clientele, among them many exiles and refugees, and the prototype of Sam.

The first writers assigned to the script were twins Julius and Philip Epstein, who, against the wishes of Warner Brothers, left at Frank Capra's request early in 1942 to work on the Why We Fight series in Washington, D.C. While they were gone, the other credited writer, Howard Koch, was assigned; he produced some thirty to forty pages. When the Epstein brothers returned after about a month, they were reassigned to Casablanca and—contrary to what Koch claimed in two published books—his work was not used. In the final Warner Bros. budget for the film, the Epsteins were paid $30,416, while Koch earned $4,200.

In the play, the Ilsa character is an American named Lois Meredith; she does not meet Laszlo until after her relationship with Rick in Paris has ended. Rick is 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.

The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe. Koch highlighted the political and melodramatic elements, while Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks. Wallis wrote the final line, "Louis, 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.

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." 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."

The film ran into some trouble with 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. Extensive changes were made, with several lines of dialogue removed or altered. All direct references to sex were deleted; Renault's selling of visas for sex, and Rick and Ilsa's previous sexual relationship were implied elliptically rather than referenced explicitly. Also, in the original script, when Sam plays "As Time Goes By", Rick remarks, "What the —— are you playing?" This line was altered to: "Sam, I told you never to play..." to conform to Breen's objection to an implied swear word at the behest of the Hays Office.

Direction

Wallis's first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz. 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," as Curtiz wanted images to express the story rather than to stand alone. He contributed relatively little to development of the plot. Casey Robinson said Curtiz "knew nothing whatever about story ... he saw it in pictures, and you supplied the stories."

Critic Andrew Sarris called the film "the most decisive exception to the auteur theory", of which Sarris was the most prominent proponent in the United States. Aljean Harmetz has responded, "nearly every Warner Bros. picture was an exception to the auteur theory". 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.

The second unit montages, such as the opening sequence of the refugee trail and the invasion of France, were directed by Don Siegel.

Cinematography

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". 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. Dark film noir and expressionist lighting was 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.

Music

Main article: Casablanca (soundtrack)

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, so Steiner based the entire score on it and "La Marseillaise", the French national anthem, transforming them to reflect changing moods.

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, are featured throughout the score as a motif to represent the Germans, much as "La Marseillaise" is used to represent the Allies.

Other songs include:

  • "It Had to Be You", music by Isham Jones, lyrics by Gus Kahn
  • "Shine", music by Ford Dabney, lyrics by Cecil Mack and Lew Brown
  • "Avalon", 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.

Very few films in the early 1940s had portions of the soundtrack released on 78 rpm]] records, and Casablanca was no exception. In 1997, almost 55 years after the film's premiere, Turner Entertainment in collaboration with Rhino Records issued the film's first original soundtrack album for release on compact disc, including original songs and music, spoken dialogue, and alternate takes.Original Motion Picture Soundtrack Casablanca. 1997; Rhino Records, R2 72911, liner notes, pp. 14–15.

The piano featured in the Paris flashback sequences was sold in New York City on December 14, 2012, at Sotheby's for more than $600,000 to an anonymous bidder. The piano Sam "plays" in Rick's Café Américain, put up for auction with other film memorabilia by Turner Classic Movies and Bonhams in New York in November 2014, sold for $3.4 million.

Timing of release

Although an initial release date was anticipated for spring 1943, 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. It went into general release on January 23, 1943, to take advantage of the Casablanca Conference, a high-level meeting in the city between British Prime Minister Winston Churchill and American President Franklin D. Roosevelt. 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.

Reception

Initial response

Casablanca received "consistently good reviews". 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 Crowther 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".

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." "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." The review also applauded the performances of Bergman and Henreid and note that "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."

Some other reviews were less enthusiastic. The New Yorker rated it only "pretty tolerable".

In the 1,500-seat Hollywood Theater, the film grossed $255,000 over ten weeks. In its initial U.S. release, it was a substantial but not spectacular box-office success, taking in $3.7 million, making it the seventh highest-grossing film of 1943.

Lasting influence

Casablanca poster.jpg

The film has grown in popularity. Murray Burnett called it "true yesterday, true today, true tomorrow". By 1955, the film had brought in $6.8 million, making it the third most successful of Warners' wartime movies (behind Shine On, Harvest Moon and This Is the Army). 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. Other colleges have adopted the tradition. Todd Gitlin, a professor of sociology who had attended one of these screenings, has said that the experience was "the acting out of my own personal rite of passage". The tradition helped the movie remain popular while other famous films of the 1940s have faded away. By 1977, Casablanca was the most frequently broadcast film on American television.

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". Bob Strauss wrote in the newspaper that the film achieved a "near-perfect entertainment balance" of comedy, romance, and suspense.

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. In his opinion, the film is popular because "the people in it are all so good", and it is "a wonderful gem". 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. Critic Leonard Maltin considers Casablanca to be "the best Hollywood movie of all time."

Rick, according to Rudy 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". The other characters, in Behlmer's words, are "not cut and dried" and come into their goodness over the course of the film. Renault begins as a collaborator with the Nazis who extorts sexual favors from refugees and has Ugarte killed. Even Ilsa, the least active of the main characters, is "caught in the emotional struggle" over which man she really loves. By the end, however, "everybody is sacrificing." Behlmer also emphasized the variety in the picture: "it's a blend of drama, melodrama, comedy [and] intrigue".

A few reviewers have had reservations. To Pauline Kael, "It's far from a great film, but it has a special appealingly schlocky romanticism..." 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." However, he added that due to the presence of multiple archetypes which allow "the power of Narrative in its natural state without Art intervening to discipline it", it is a movie reaching "Homeric depths" as a "phenomenon worthy of awe."

In the November/December 1982 issue of American Film, Chuck Ross claimed that he retyped the screenplay to Casablanca, 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.

Influence on later works

Many subsequent films have drawn on elements of Casablanca. Passage to Marseille reunited Bogart, Rains, Curtiz, Greenstreet and Lorre in 1944. There are 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), and Out Cold (2001). Indirectly, it provided the title for the 1995 neo-noir film 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.

The film Casablanca was a plot device in the science-fiction television movie Overdrawn at the Memory Bank (1983), based on John Varley's story. It was referred to in Terry Gilliam's dystopian Brazil (1985). Warner Bros. produced its own parody in the homage Carrotblanca, a 1995 Bugs Bunny cartoon. In Casablanca, a novella by Argentine writer Edgar Brau, the protagonist somehow wanders into Rick's Café Américain and listens to a strange tale related by Sam. The 2016 musical film La La Land contains multiple allusions to Casablanca in the imagery, dialogue, and plot. Robert Zemeckis, director of Allied (2016), which is also set in 1942 Casablanca, studied the film to capture the city's elegance.

Awards and honors

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. However, the Academy of Motion Picture Arts and Sciences stated that since the film went into national release in the beginning of 1943, it would be included in that year's nominations.

Script error: The function "harvard_citation_no_bracket" does not exist. Casablanca was nominated for eight Academy Awards, and won three.

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 Supporting Actor Claude Rains Nominated
Best Writing, Screenplay Howard Koch Won
Best Cinematography Arthur Edeson Nominated
Best Film Editing Owen Marks Nominated
Best Music (Score of a Dramatic or Comedy Picture) Max Steiner Nominated

As Bogart stepped out of his car at the awards ceremony, "the crowd surged forward, almost engulfing him and his wife, Mayo Methot. It took 12 police officers to rescue the two, and a red-faced, startled, yet smiling Bogart heard a chorus of cries of 'good luck' and 'here's looking at you, kid' as he was rushed into the theater."

Ronald Haver. Casablanca: The Unexpected Classic. The Criterion Collection Online Cinematheque. Retrieved on January 8, 2010.


When the award for Best Picture was announced, producer Hal B. Wallis got up to accept, but studio head Jack L. Warner rushed up to the stage "with a broad, flashing smile and a look of great self-satisfaction," Wallis later recalled. "I couldn't believe it was happening. Casablanca had been my creation; Jack had absolutely nothing to do with it. As the audience gasped, I tried to get out of the row of seats and into the aisle, but the entire Warner family sat blocking me. I had no alternative but to sit down again, humiliated and furious ... Almost forty years later, I still haven't recovered from the shock." This incident would lead Wallis to leave Warner Bros. in April.

Script error: The function "harvard_citation_no_bracket" does not exist. In 1989, the film was one of the first 25 films selected for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant"."25 Films Chosen for the National Registry" (September 20, 1989). Retrieved on April 1, 2017. Archived from the original on March 3, 2016. 

"Complete National Film Registry Listing". Library of Congress.


In 2005, it was named one of the 100 greatest films of the last 80 years by Time magazine (the selected films were not ranked).Corliss, Richard (June 2, 2005). "That Old Feeling: Secrets of the All-Time 100", TIME. Retrieved on July 7, 2018. Archived from the original on August 11, 2010.  Bright Lights Film Journal stated in 2007, "It is one of those rare films from Hollywood’s Golden Age which has managed to transcend its era to entertain generations of moviegoers...". The film also ranked at number 28 on Empire's list of the 100 Greatest Movies of All Time, which stated: "Love, honour, thrills, wisecracks and a hit tune are among the attractions, which also include a perfect supporting cast of villains, sneaks, thieves, refugees and bar staff. But it's Bogart and Bergman's show, entering immortality as screen lovers reunited only to part. The irrefutible [sic] proof that great movies are accidents."

Braund, Simon. "Empire's 100 Greatest Movies Of All Time".. Retrieved on November 16, 2013.


Screenwriting teacher Robert McKee maintains that the script is "the greatest screenplay of all time". In 2006, the Writers Guild of America, West agreed, voting it the best ever in its list of the 101 greatest screenplays.

101 Greatest Screenplays. Writers Guild of America, West. Retrieved on August 3, 2007.


The film has been selected by the American Film Institute for many of their lists of important American films:

Year Category 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 4: Rick Blaine (hero)
2004 AFI's 100 Years...100 Songs 2: "As Time Goes By"
2005 AFI's 100 Years...100 Movie Quotes 5: "Here's looking at you, kid."

20: "Louis, I think this is the beginning of a beautiful friendship." 28: "Play it, Sam. Play 'As Time Goes By'." 32: "Round up the usual suspects." 43: "We'll always have Paris." 67: "Of all the gin joints in all the towns in all the world, she walks into mine."

These six lines were the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). Also nominated for the list was "Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world."

AFI's 100 Years...100 Movie Quotes – List of the 400 nominated movie quotes. American Film Institute. Retrieved on September 17, 2014.


2006 AFI's 100 Years...100 Cheers 32
2007 AFI's 100 Years...100 Movies (10th Anniversary Edition) 3

Interpretation

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. Umberto Eco explained:

Thus Casablanca is not just one film. It is many films, an anthology. Made haphazardly, it probably made itself, if not actually against the will of its authors and actors, then at least beyond their control. And this is the reason it works, in spite of aesthetic theories and theories of film making. For in it there unfolds with almost telluric force the power of Narrative in its natural state, without Art intervening to discipline it.

...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.

Umberto Eco, Travels in Hyperreality (1986)Umberto Eco. Casablanca, or, The Clichés are Having a Ball. Retrieved on May 20, 2009.



Eco also singled out sacrifice as one of the film's key themes: "the myth of sacrifice runs through the whole film." 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.

Koch also considered the film a political allegory. Rick is 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." The connection is reinforced by the film's title, which means "white house".

Harvey Greenberg presents a Freudian reading in his The Movies on Your Mind, in which the transgressions which prevent Rick from returning to the United States 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. 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 Rick, boss, and so on) as evidence of the different meanings which he has for each person.

Home media releases

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 Co.), which at the time was distributed by Warner Home Video. It was first released on DVD in 1998 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.

"Casablanca: Two-Disc Special Edition"..


An HD DVD was released on November 14, 2006, containing the same special features as the 2003 DVD.

"Casablanca [HD-DVD] (1943)"..


Reviewers were impressed with the new high-definition transfer of the film.

Casablanca – Humphrey Bogart.


A Blu-ray release with new special features came out on December 2, 2008; it is also available on DVD.

WHV Press Release: Casablanca Ultimate Collector's Edition (DVD/Blu-ray) – Home Theater.


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. 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.

"Casablanca (70th Anniversary Limited Collector's Edition Blu-ray/DVD Combo)".. Retrieved on April 25, 2012.


Katz, Josh (April 25, 2012). Casablanca: 70th Anniversary Ultimate Collector's Edition Blu-ray (Updated). Retrieved on April 25, 2012.


Cancelled sequels

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.

Script error: The function "harvard_citation_no_bracket" does not exist. (A newspaper article at the time mentions that Bogart and Greenstreet "will continue their characterizations from the first film, and it's likely that Geraldine Fitzgerald will have an important role"."Casablanca has scored such a hit...", The Midland Journal (Rising Sun, Md.) (February 19, 1943). ). 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.

Script error: The function "harvard_citation_no_bracket" does not exist. Attempts to recapture the magic of Casablanca in other settings, such as Caboblanco (1980), "a South American-set retooling of Casablanca",Yoram Allon, Hannah Patterson, Contemporary British & Irish Directors, Wallflower Press, 2001, p. 332 and Havana (1990)Hunter, Stephen (December 14, 1990). "We'll always have 'Casablanca' – so why see 'Havana'?". Archived from the original on January 11, 2012.  have been poorly received. Stories of a Casablanca remake or sequel nonetheless persist. In 2008, the Daily Mail reported that Madonna was pursuing a remake set in modern-day Iraq.

Claire, Marie (March 31, 2008). "Madonna to create Casablanca remake?". Marie Claire.


In 2012, both The Daily Telegraph and Entertainment Weekly reported on efforts by Cass Warner, granddaughter of Harry Warner and friend of the late Howard Koch, to produce a sequel featuring the search by Rick Blaine and Ilsa Lund's illegitimate son for the whereabouts of his biological father."Casablanca: playing it again as film sequel planned", The Daily Telegraph (November 30, 2012). Retrieved on October 7, 2014. Archived from the original on October 12, 2014. "Producer pushing for 'Casablanca' sequel", Entertainment Weekly (November 5, 2012). Retrieved on October 7, 2014. Archived from the original on October 12, 2014. 

Adaptations

The novel As Time Goes By, written by Michael Walsh and published in 1998, was authorized by Warner.

Borders.com presents Michael Walsh, Author of "As Time Goes By". LiveWorld, Inc (January 8, 1999). Retrieved on August 13, 2007.


Walsh, Michael. How Did I Write "As Time Goes By"?. Hachette Book Group USA. Retrieved on August 13, 2007.


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.

Lawless, Jill (May 31, 2006). 'Mrs. Robinson' Returns in Sequel. CBS News. Retrieved on August 13, 2007.


David Thomson provided an unofficial sequel in his 1985 novel Suspects.

"Suspects by David Thomson".. No Exit Press. Retrieved on June 17, 2017.


There have been two short-lived television series based upon Casablanca, both sharing the title. The first, which aired on ABC as part of the wheel series Warner Bros. Presents in hour-long episodes from 1955 to 1956, is a Cold War espionage program set contemporaneously with its production, and starred Charles McGraw as Rick and Marcel Dalio, who played Emil the croupier in the movie, as the police chief.

Script error: The function "harvard_citation_no_bracket" does not exist. The second series, briefly broadcast on NBC in April 1983, starred David Soul as Rick and was canceled after three weeks. 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, one on Philip Morris Playhouse on September 3, 1943, and the other on Theater of Romance on December 19, 1944, in which Dooley Wilson reprised his role as Sam.

Klinger, Barbara (2015). "Pre-cult: Casablanca, radio adaptation, and transmedia in the 1940s". New Review of Film and Television Studies. 13: 45–62. doi:10.1080/17400309.2014.982900.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> Julius Epstein made two attempts to turn the film into a Broadway musical, in 1951 and 1967, but neither made it to the stage.

Script error: The function "harvard_citation_no_bracket" does not exist. 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.

Script error: The function "harvard_citation_no_bracket" does not exist. 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.

『カサブランカ』. Takarazuka Revue Company. Retrieved on October 3, 2009.


Colorization

Two color film screenshots, one stacked on top of the other. The top image shows a man and woman in a car, the man driving. The bottom screenshot has two men, one watching as the other drinks from a glass.

Stills from the controversial colorized version

Casablanca was part of the film colorization controversy of the 1980s,Krauthammer, Charles (January 12, 1987). "Casablanca in Color?", Time (magazine). Retrieved on August 6, 2007. Archived from the original on November 6, 2007.  when a colorized version aired on the television network WTBS. In 1984, MGM/UA hired Color Systems Technology to colorize the film for $180,000.

Edgerton, Gary R. (Winter 2000). "The Germans Wore Gray, You Wore Blue". Journal of Popular Film & Television. 27 (4): 24. doi:10.1080/01956050009602812. S2CID 159900256.CS1 maint: ref=harv (link)<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> When Ted Turner of Turner Broadcasting System 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. 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."

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. 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." Bogart's son Stephen said, "if you're going to colorize Casablanca, why not put arms on the Venus de Milo?"

Inaccuracies and a misquote

Several unfounded rumors and misconceptions have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. This originated 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 going into the Army, and he was never seriously considered.

Script error: The function "harvard_citation_no_bracket" does not exist. George Raft claimed that he had turned down the lead role. Studio records make clear that Wallis was committed to Bogart from the start.

Sklar, Robert (1992). City Boys: Cagney, Bogart, Garfield. New Jersey: Princeton University Press, page 135. ISBN 978-0-691-04795-9. 


Another story is that the actors did not know until the last day of shooting how the film was to end. Koch later acknowledged:


When we began, we didn't have a finished script ... Ingrid Bergman came to me and said, 'Which man should I love more...?' I said to her, 'I don't know ... play them both evenly.' You see we didn't have an ending, so we didn't know what was going to happen!

"101 Greatest Screenplays".. Writers Guild of America, West. Retrieved on September 23, 2017.


However, while rewrites did occur during 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, according to critic Roger Ebert, "emotional", not "factual".

The film has several logical flaws, one being the two "letters of transit" that enable their bearers to leave Vichy French territory. According to the Template:Audio, Ugarte says the letters had been signed by (depending on the listener) either Vichy General Weygand or Free French General de Gaulle. The French subtitles on the official DVD read Weygand; the English ones specify de Gaulle. Weygand had been the Vichy delegate-general for the North African colonies until November 1941, a month before the film is set. But de Gaulle was the head of the Free French government in exile, so a letter signed by him would have provided no benefit. The letters were invented as a MacGuffin by Joan Alison for the original play and never questioned.

Script error: The function "harvard_citation_no_bracket" does not exist.

In the same vein, though Laszlo asserts that the Nazis cannot arrest him, saying, "This is still unoccupied France; any violation of neutrality would reflect on Captain Renault," Ebert points out, "It makes no sense that he could walk around freely. ... He would be arrested on sight." In addition, no uniformed German troops were stationed in Casablanca during World War II, and neither American nor French troops occupied Berlin in 1918.

According to Harmetz, the usual route out of Germany, at least for people in the film industry, was not via Morocco and Lisbon but via Vienna, Prague, Paris and England. Only the film's technical adviser, Robert Aisner, traced the path to Morocco shown in the film's opening scene.

Script error: The function "harvard_citation_no_bracket" does not exist.

A line closely associated with Casablanca—"Play it again, Sam"—is not spoken in the film.Shapiro, Fred R. (January 15, 2010). "Movie Misquotations". Archived from the original on December 17, 2015. Child, Ben (May 11, 2009). "Darth Vader line is the daddy of film misquotes, finds poll". Archived from the original on November 15, 2016.  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!"

Transcript

Gallery

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Warner Bros. Entertainment Wiki has a collection of images and media related to Casablanca.

Trivia

External Links

  • "Casablanca" essay by Jay Carr at National Film Registry
  • "Casablanca" essay by Daniel Eagan in America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, A&C Black, 2010ISBN 0826429777Script error: No such module "Check isxn"., pp. 356–358
  • WikipediaListLink.PNG Casablanca on Wikipedia

Streaming audio


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Media
Casablanca (1942)
Characters
Rick BlaineVictor LaszloMajor Heinrich StrasserSignor UgarteSignor Ferrari
Songs
Knock on WoodAs Time Goes By


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