Sunday, 12 August 2012

Kieran's 50 Favourite Films; No. 47


47. Casablanca

Casablanca is, not-undeservedly, regarded by many as the prime example of cinematic perfection. Flawlessly acted, written, photographed and directed, it’s perhaps aged, very slightly, if, indeed, at all. This acknowledged classic is not just an acting showcase for Bergman, America’s beloved innocent actress, that is, until she went and had sex with a man, that sinful little harlot, and Humphrey Bogart, although they do throw in two career-defining performances. Michael Curtiz also makes little attempt to overly influence the film’s structure and tone. Indeed, it’s the wonderful simplicity of its plot and characters which has caused such widespread reverence and adoration. Bogart’s lovelorn, snarky club-owner is the classic American-down-on-his-luck; Bergman’s shy, dissatisfied femme fatale is as equally iconic; the supporting characters, especially Sam the house pianist and Renault, the leader of the local law enforcement, are likably odd and friendly.

The story of choosing between, as referred to by one of the characters, ‘love and virtue’, is one more frequently over-used than ‘keep calm and carry on’ jokes, but never has it been so poignant, and so touching, than in Casablanca. Rick gives up his lost love, and very probably his last chance at happiness, but, in turn, this is because he refuses to give up the good in him, the good in mankind. While love acts as his temptation to give up his good nature, it is also the incentive for Rick to stick to his moral principles; it’s love which enables him to let Ilsa go. 

However, while the story and acting are strong, it’s the screenplay which stands out. Possibly the finest piece of writing to ever emerge from Hollywood, it’s flawlessly paced, structured and characterised; you can see the layout of each individual act tear through the seams of the fourth wall. It’s just perfect, there’s no other way to describe it. Pouring over it online, it becomes abundantly clear why it’s the textbook script choice for film schools. It understands its story and characters to an absolute tee, and it’s one of the most quoted (and misquoted) scripts in history. Like It’s a Wonderful Life, Casablanca was ‘just another Hollywood production’ with little expectation warranted at the time of its release. In spite of its three Academy Awards, it’s taken decades for its reputation to grow in stature. It remains at the top of many ‘Best of’ lists, and more importantly, it is easily one of my favourite films.

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