#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The story of Rick Blaine, a cynical world-weary ex-patriate who runs a nightclub in Casablanca, Morocco during the early stages of WWII. Despite the pressure he constantly receives from the local authorities, Rick’s cafe has become a kind of haven for refugees seeking to obtain illicit letters that will help them escape to America. But when Ilsa, a former lover of Rick’s, and her husband, show up to his cafe one day, Rick faces a tough challenge which will bring up unforeseen complications, heartbreak and ultimately an excruciating decision to make.
Plot: In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.
Smart Tags: #nazi #love_triangle #casablanca_morocco #anti_nazi #french_morocco #nightclub #immigration_document #lovers_reunited #resistance_fighter #police #escape #free_french #nazi_soldier #world_war_two #drunkenness #macguffin #war_refugee #nightclub_owner #visa #la_marseillaise #morocco
|8.5/10 Votes: 524,240|
|8.2 Votes: 3637 Popularity: 16.666|
You must remember this…
Are my eyes really brown?
Casablanca is one of those films that needs no introduction – or in truth – any more in-depth dissection as to its worth. Over the years it has become one of the most quoted ever pictures (sometimes wrongly), and in reality it’s arguably more iconic than it is a work of art. Although a truly “A” list production for 1942, fact is nobody in and around the film expected it to be anything other than a good piece that will put bums on the seats in the theatres. Solidly received on release and riding in on the wave of the Allies inroads into North Africa, Casablanca steadily overcame the much discussed production troubles (the script was practically rewritten daily) to be where it is now, one of the most loved film’s of all time.
I wouldn’t mention Paris, it’s poor salesmanship!
So what is it about Casablanca that makes it so cherished and adored by each and every generation?. I just know that each time I view it (yearly) it’s like falling in love again, each viewing brings a new and emotionally driven fulfilment. Tears flow, sad ones and happy ones, an overriding feeling that romantic idealism isn’t dead, to which Casablanca becomes my personal myth buster. Thematic redemption brings a joyous reward, even as our daydreams about lost chances and lost loves hangs heavy in and around Rick’s Café Américain. Everything about Casablanca is right, from the flawless direction (Michael Curtiz) to the iconic music, and of course the magnificent characters that are brought to life by the incredibly tight and effective cast. It may not be the greatest film of all time, but to me, and those who let it into their lives, it’s one of the best friends anyone could ever hope to have. 10/10
“Everybody comes to Rick’s,” or so they say. It’s the middle of WWII, and one evening a certain lady walks into Rick Blaine’s popular cafe. As the familiar notes of “As Time Goes By” drift through the hazy atmosphere of the cafe, Rick’s life begins to get really complicated. The top-notch cast is, I think, a big part of what makes this film so memorable, and much-heralded through the years. The script is truly well-written and moving. My only complaint is, how could they do something so awful as killing off Peter Lorre within the first quarter of the film?
Would I recommend? Overall, yes. There’s a reason people cite this as one of the best films ever made. Though there are others I like much more, it is very, very good.
Of all the gin joints, in all the world…
Sunday, November the 20th is the anniversary of Marcel Dalio’s death in 1983. It was the end of a serendipitous life. You know him. He was a citizen of the world. Born Israel Moshe Blauschild, in Paris, in 1900, he became a much sought-after character actor. His lovely animated face with its great expressive eyes became familiar across Europe. He appeared in Jean Renoir’s idiosyncratic Rules of the Game, and Grand Illusion, arguably the greatest of all films. True to his Frenchman’s heart, he married the very young, breathtaking beauty Madeleine LeBeau. He worked with von Stroheim and Pierre Chenal. He had it all.
But then the Germans crushed Poland, swept across Belgium and pressed on toward Paris. He waited until the last possible moment and finally, with the sound of artillery clearly audible, with Madeleine, fled in a borrowed car to Orleans and then, in a freight train, to Bordeaux and finally to Portugal. In Lisbon, they bribed a crooked immigration official and were surreptitiously given two visas for Chile. But on arriving in Mexico City, it was discovered the visas were rank forgeries. Facing deportation, Marcel and Madeleine found themselves making application for political asylum with virtually every country in the western hemisphere. Weeks passed until Canada finally issued them temporary visas and they left for Montreal.
Meanwhile, France had fallen and, in the process of subjugating the country, the Germans had found some publicity stills of Dalio. A series of posters were produced and were then displayed throughout the city with the caption ‘a typical Jew’ so that citizens could more easily report anyone suspected of unrepentant Jewishness. The madness continued. ‘Entree des artistes’, a popular film, was ordered re-edited so that Dalio’s scenes could be deleted and re-shot with another, non-Jewish, actor.
After a short time, friends in the film industry arranged for them to arrive in Hollywood. Nearly broke, Marcel was immediately put to work in a string of largely forgettable films. Madeleine, a budding actress in her own right, was ironically cast in ‘Hold Back the Dawn’, a vehicle for Charles Boyer with a plot driven by the efforts of an émigré (Boyer) trying desperately to cross into the United States from Mexico. But the real irony was waiting at Warner Brothers.
In early 1942, Jack Warner was driving production of a film based on a one act play, ‘Everybody Comes to Rick’s’ but had no screenplay. What he had was a mishmash of treatments loosely based on the play and two previous movies. But he had a projected release date and a commitment to his distributors to have a movie for that time slot and little else. Warner Brothers started to wing it.
Shooting started without a screenplay and little plot. Principal players were cast and a director hired but casting calls for supporting roles and bit players continued and sometime in the early spring Marcel Dalio and Madeleine LeBeau were cast as, respectively, a croupier and a romantic entanglement for the male lead. Veteran screen-writers were hired to produce a running screenplay, sometimes delivering pages of dialogue one day, for scenes to be shot the following day. No one knew exactly where the plot would go or how the story would turn out. No one was sure of the ending. And, of course, they produced a classic, perhaps the finest American movie.
They produced a screenplay of multiple genres, rich with characterizations, perfectly in tune with the unfolding events in Europe and loaded with talent from top to bottom. Oh, and they changed the title to ‘Casablanca’.
It is so well known, that many lines of long-memorized dialogue have passed into the slang idiom. ‘We’ll always have Paris’, ‘I was misinformed’, ‘Here’s looking at you, kid’, ‘ I am shocked! Shocked! To find that there’s gambling going on in here!’, ‘Louis, I think this is the beginning of a beautiful friendship’, ‘Oh he’s just like any other man, only more so’, ‘I don’t mind a parasite. I object to a cut-rate one’, ‘Round up the usual suspects’, and, of course, the oft quoted, apocryphal, ‘Play it again, Sam’.
Madeleine LeBeau plays Yvonne, the jilted lover of Humphrey Bogart, who is seen drowning her sorrows at the bar early in the film and who later, to get back at Rick and looking for solace takes up with a German officer finding only self-hatred. She is luminous.
And when Claude Rains delivers the signature line, ‘I’m shocked! Shocked! To find that there’s gambling going on in here!’ the croupier, Emil, played by Marcel Dalio, approaches from the roulette table and says simply, ‘Your winnings, sir.’ It is a delicious moment ripe with scripted irony, one among many in this film, but one made all the more so, knowing where Dalio came from and what he and his wife had endured to arrive at that line.
I have often wondered exactly when they saw the final script or if they only realised the many parallels to their own lives when the film was released.
Alas, they separated and divorced the next year, both going on to long successful careers. Dalio never remarried.
Late in his career, when Mike Nichols was looking for a vaguely familiar face to deliver a long and worldly, near-monologue in Catch-22, he turned to Dalio. Faced with a hopelessly idealistic young American pilot, Dalio, as simply ‘old man in whore house’, in tight close-up, delivers a discourse on practical people faced with impractical circumstances, of the virtues of expedience in the face of amorality . Using his wonderful plastic features, now beginning to sag, in a voice full of melancholy, the old man reassures the young man that regardless of what ‘grand themes’ may be afoot in the world, in the end, little matters but survival.
Now I finally know why this one is one of the best
Probably the most legendary movie of all time, I finally got to see it, it was a great hole in my movie-viewing history. And finally I got to understand why a classic movie like this has made its mark in history. The intricate political plot comes first, and sets the movie on a melting pot of the second world war, where everyone hopes and dies for an opportunity to reach the USA via Lisbon. This would provide sufficient material for hundreds of movies, but enter Humphrey Bogart, Ingrid Bergman, magnificent cinematography, role model storytelling, a perfect supporting cast, some of the best dialogue ever commited to celluloid and Dooley Wilson singing THAT song, and history was made. More than 60 years of jaw-drops are sufficient to give the sceptics a good reason to make them understand that this is probably the greatest classic movie of all times, and one of the best ever made in the past, present and future.
Original Language en
Runtime 1 hr 42 min (102 min), 1 hr 22 min (82 min) (cut) (West Germany)
Genre Drama, Romance, War
Director Michael Curtiz
Writer Julius J. Epstein (screenplay), Philip G. Epstein (screenplay), Howard Koch (screenplay), Murray Burnett (play), Joan Alison (play)
Actors Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains
Awards Won 3 Oscars. Another 6 wins & 9 nominations.
Production Company Warner Brothers
Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Camera Mitchell BNC
Film Length 2,811 m, 2,815 m (Sweden)
Negative Format 35 mm (Eastman Plus-X 1231)
Cinematographic Process Spherical
Printed Film Format D-Cinema (2012 2K Digital re-release), 35 mm (Eastman 1302)