70 and Still Great

I’m shocked, shocked to find that gambling is going on here!”

“Of all the gin joints, in all the towns, in all the world, she walks into mine.”

“Round up the usual suspects.”

“Here’s looking at you, kid.”

And of course: “Play it Sam.”(Not Play it again, Sam.)

Lines like these and dozens more are a big reason why “Casablanca,” celebrating its 70th anniversary this month, endures as one of the all-time great, and ageless, movies.

   Hundreds of theaters across the country will return Casablanca to the big screen for one day only, March 21, with a special anniversary showing featuring Turner Classic Movies’ Robert Osborne giving a preshow behind-the-scenes look at the making of this 1942 classic.

   As nearly everyone knows, “Casablanca” revolves around the heroism of an American saloonkeeper, Rick Blaine (Humphrey Bogart), who overcomes his heartbroken bitterness toward the woman he loves, Ilsa (Ingrid Bergman), to rescue her husband (Paul Henreid), a leader of the French Resistance during World War II, giving them both safe passage from Morocco to America.

   Was “Casablanca” destined for greatness from the start? One wonders.

   There are definitely moments of melodramatic excess that lend themselves to parody. Indeed, the post-love scene image of a searchlight atop a tower has been spoofed a thousand times.

   Bogart’s performance leaves a lot to be desired (sorry, hardcore fans). His pained facial expressions and clipped line readings occasionally border on the absurd. By then, though, he had achieved iconic status as the sensitive/macho hero, much like a Tom Cruise or Denzel Washington today.

   I find Henreid’s Victor Laszlo far more convincing, lending the movie a needed gravitas.

   It is ironic that Henreid felt snubbed at not getting the lead.

   And “Casablanca” would be nothing without the great comic timing of Claude Rains’ Captain Renault, who snaps off most of the film’s unforgettable one-liners.

   Unrequited love, an exotic and historic backdrop, Nazi villains, acts of unselfish heroism, it all has the feel of timeless, escapist fantasy. But what is most remarkable about “Casablanca” is that it captures the drama and human tragedy of war at a time when America had just barely entered into the conflict.

   It would be shallow to call “Casablanca” war propaganda, but nevertheless its central message is that one must make sacrifices for the greater good.  Scratch away that layer, and there is little but pain and displacement — the desperate seekers of refuge in America, the dispirited French, the endangered Resistance fighters.  Even the evil Nazi, Major Strasser (Conrad Veidt, whose unheralded performance deserves much more credit), seems less to relish his role than be resigned to it.

   And deeper still, at the heart of “Casablanca,” is a message of hope. What, after all, are its truly transcendent scenes? I can think of three (you may have more): When Rick bandages Laszlo’s arm, presumably getting his inspiration to act courageously; when Renault kicks away the bottle of Vichy water (an act of symbolic defiance against the French collaborationist Vichy government); and, above all, when Laszlo leads the saloon patrons in a patriotic singing of the Marseillaise (the French national anthem), drowning out a German drinking song.  “Vive la France!”

   Happy Birthday, “Casablanca.”  Here’s looking at you!

 “Casablanca” ’s 70th anniversary is marked at The Moviehouse in Millerton, NY, March 21, at 7 p.m.

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