Michael Curtiz
64 connections found
Filmography
Casablanca 1943 
The Sea Hawk 1940 
Angels with Dirty Faces 1938 
Mildred Pierce 1945 
Young Man with a Horn 1950 
Mystery of the Wax Museum 1933 
Captain Blood 1935 
The Breaking Point 1950 
The Charge of the Light Brigade 1936 
White Christmas 1954 
Yankee Doodle Dandy 1942 
Doctor X 1932 
The Adventures of Huckleberry Finn 1960 
Dodge City 1939 View:
Connections, in both directions
Two people fall in love in Nazi-occupied Casablanca - stop me if you've heard this one before.
At the very least, it's a nice mix of 'Casablanca' and 'Mr and Mrs Smith'.
Allied is more intimate than epic, so the grandiose moments tend to stand out like a sore thumb, clashing with the Casablanca-esque tone the film works so hard to replicate.
Salvo que mi imaginación haya buscado lo inexistente, me parece que en una toma Brad Pitt adquiere un parecido notable a Humphrey Bogart en Casablanca (1942), de Michael Curtiz.
Mission: Impossible - Rogue Nation (2015)
Directed by Christopher McQuarrie
influenced by Casablanca (1943)
Characters
However, when Hunt and the team have to infiltrate secure location in Casablanca in Morocco, you can’t help but see that McQuarrie isn’t merely echoing the location of the canonical Casablanca, that inspired the title of his Oscar winning screenplay (The Usual Suspects), but also constructing a comparable mix of players toying with establishment and rebellion.
The scene recalls the best of Hitchcock and is one of many sequences that references classic films, including “Casablanca.”
The real revelation here is Ferguson (previously seen in Hercules and TV's The White Queen ), whose striking similarity to Casablanca legend Ingrid Bergman is none-too-subtly referenced by her character’s name and the significance of Morocco.
Reserved and somehow remote, she's also ferociously confident and utterly stunning, an action-woman update of Ingrid Bergman in Casablanca (the name Ilsa is presumably not a coincidence).
The Casablanca setting was clearly fashioned around female lead Rebecca Ferguson, who’s Swedish, because of that other Swedish actress, Ingrid Bergman, who made a little movie called “Casablanca.”
Ilsa, her name no doubt cribbed from the heroine in “Casablanca,” whose real-life city is one of the major locales for “Rogue Nation,” saves his life twice yet she works for the other team.
Far From Heaven , the TV series Mildred Pierce and now the glorious Carol rekindle the spirit of an age when “women’s pictures” were commonplace in Hollywood, telling female-centred, taboo-breaking stories, featuring exceptional actresses such as Barbara Stanwyck, Joan Crawford and Bette Davis, whose characters face obstacles – prejudice around race, class, gender – that are no less prevalent today.
But after Far From Heaven and his adaptation of Mildred Pierce for HBO, his experiment in period moviemaking feels less a tribute to directors like Douglas Sirk and more like the cinematic necrophilia of his short Karen Carpenter film.
His first foray into this style, Far From Heaven, was half homage to women’s picture king Douglas Sirk, half postmodern chiding of the genre’s limitations, but after readapting Mildred Pierce into a compulsively watchable miniseries on HBO, Haynes is ready to play it straight.
In 2011’s HBO miniseries Mildred Pierce, he supersized the 1945 Joan Crawford original’s tragic feminism and made his update feel urgent and new.
But other of his works, including the Julianne Moore-starring "Far From Heaven" and the James M. Cain "Mildred Pierce" adaptation for HBO, have a visual look that the technicians of Hollywood's Golden Age might envy.
Starring Cate Blanchett and Rooney Mara in top form as a pair of women drawn together in spite of the intrusive men around them, “Carol” undeniably marks Haynes’ most contained work, though it also shows the influence of the director’s several period dramas preceding it — including his “Mildred Pierce” miniseries for HBO and, most significantly, his 2002 refashioning of a Douglas Sirk melodrama, “Far From Heaven.”
(When you experience time inversion, you have to wear a special mask because your system is so screwed up, “normal” air will do you in.) “Tenet” is a movie filled with nods to other movies, from a certain color-coded element reminiscent of “The Matrix” to a late scene with an obvious nod to “Casablanca.”
I would be forsaken if I weren’t to reference Casablanca , “This looks like the beginning of a beautiful friendship.”
Washington does make an impressively rugged hero, but on this outing he’s surprisingly lacking in charisma, and he strikes fewer sparks with Debicki’s heroine than he does with Pattinson’s cooly ironic sidekick – their rapport echoing Humphrey Bogart and Claude Rains’ beautiful friendship in Casablanca .
And he gets to paraphrase Casablanca , telling the Protangist that this is “the end of a beautiful friendship.”
Sí, se trata de creer, y Nolan transfiere ese mandato de fe al espectador, que debe confiar en Tenet a ciegas, en sus GESTOS deslumbrantes, en sus “mentiras”, en sus criaturas sin fondo, hechas de celuloide (de 70mm): personajes que citan como autómatas, a la manera de Godard, palabras de Walt Withman, de T.S. Eliot, de los protagonistas de Casablanca .
La La Land (2016)
Directed by Damien Chazelle
influenced by Casablanca (1943), Young Man with a Horn (1950)
Themes
“That’s the window,” struggling actress Mia delightedly tells struggling jazz pianist Sebastian in Damien Chazelle’s La La Land, “that Humphrey Bogart and Ingrid Bergman looked out in Casablanca.”
(There’s a “Casablanca” reference later in the film, too).
She barely makes rent by working at a coffee shop on the Warner Bros. lot, near the make-believe apartment window from which Humphrey Bogart and Ingrid Bergman wistfully looked out in Casablanca.
The pair goes to see “ Rebel Without a Cause ” (ending in one of the most magical scenes in years) and films like “ Casablanca ” and “Bringing Up Baby” are name-dropped.
Mia, portrayed by the luminous Emma Stone , is a struggling actress and aspiring playwright, who works in a coffee shop on the Warner Bros. lot that is, as she loves to point out, across the street from portions of the set from Casablanca.
With its love for Los Angeles, movies, actors, music, and Paris, it feels like the giant adoring love child of everything from the Umbrellas of Cherbourg to Round Midnight to An American In Paris, Singing in the Rain, to even The Cotton Club or, perhaps, Young Man With A Horn. Baz Luhrmann’s Moulin Rouge is in there too, all sparkly and blue.
Before long, she's managed to launch a successful restaurant (as Crawford did in "Mildred Pierce") while protecting her daughter's self-esteem (a la Stanwyck in "Stella Dallas").
Also very present is the spirit of Joan Crawford in "Mildred Pierce," which lends the story its central predicament.
An ugly turn of events right out of "Mildred Pierce" involving her tough teenage daughter (Yohana Cobo ) turns fortuitous for her, and she winds up a proprietress of a little restaurant whose principal clientele is a 30-person film crew.
Pedro Almod�var is another auteur whose queer eye feasts on eruptions of womanhood, and in Volver, his new work, he name-checks his own cinematic duo (Mildred Pierce arcanely, Visconti's Bellissima explicitly).
The movie is being compared to Mildred Pierce, and it contains a several parallels, one of which involves Raimunda running a restaurant successfully on her own.
Cruz has said it's the role of her career, and she may be right: drawing heavily on the Sophia Loren of yore in stylizing her sumptuous beauty, both Loren in Two Women and Joan Crawford in Mildred Pierce are Raimunda's indomitable predecessors.
The film itself was a fairly loose remake of 1933's Mystery of the Wax Museum (which is, ironically, most significant for being a last: it was the final major studio feature shot in 2-color Technicolor), which means basically that the opening sequence, climax, and narrative hook are all the same, but the mix of characters is completely different.
“House of Wax” is a remake of the 1933 thriller “Mystery of the Wax Museum,” and it’s one of the rare remakes that improves on the original.
A remake of Mystery of the Wax Museum (1933), the superior House of Wax stars Vincent Price as the master sculptor and owner of a wax museum in turn-of-the-century New York.
The abovementioned chillers hit DVD in conjunction with 1963's The Haunting and Andre De Toth's remake of Michael Curtiz's Mystery of the Wax Museum, House of Wax, a 3-D ("Natural Vision") production presented in 2-D for home viewing to surprisingly undiminished effectiveness.
However, “House of Wax” tells a compelling story as a remake of the 1933 classic “Mystery of the Wax Museum.”
Because we’re intimately aware of Jarrod’s cadaver-fueled waxadermic activities, de Toth doesn’t generate much suspense from his scenario (based on 1933’s Mystery of the Wax Museum).
Children of Men (2006)
Directed by Alfonso Cuarón
influenced by Casablanca (1943)
Plot Themes Characters
Julian wants Theo to help someone in their group obtain transit papers (an idea borrowed from the classic film Casablanca).
A couple has been torn between revolution and apathy, transit papers are needed: the Casablanca connection has been noted, but the film's bustle has no space for romance, so its Ingrid Bergman is readily dispatched in a startling auto skirmish that reframes itself over and over as it hurtles down the road, another one-take wonder.
Like a down-at-the-heels version of Bogart's Rick in "Casablanca," he's shut himself off from the disasters engulfing the world, dedicated only to getting through the day by spiking his morning coffee with hooch and smoking pot with his eccentric ex-hippy friend Jasper (Michael Caine).
And Owen gives what may be the finest performance of his career (among many terrific ones): His Theo, so beaten down and disillusioned when we first meet him, evolves into a man of action — but his transformation doesn’t have the sentimental gleam of, say, Bogart’s in “Casablanca.”
Pirates of the Caribbean: At World's End (2007)
Directed by Gore Verbinski
influenced by Captain Blood (1935)
It also includes references and allusions to a variety of other sea-faring stories, from "Captain Blood" to "The Crimson Pirate" to "Titanic."
But that leaves more than two hours (aka "the running time of Captain Blood ") of punishing dialogue sequences, which call to mind another franchise that was born out of a sincere desire to update the classic genre films of long ago with state-of-the-art effects, before turning into a flabby epic of political economics; and when you find yourself reminded of Stars Wars: Episode I while watching a movie, that is a fairly unanswerable argument that the movie you are watching has gone seriously wrong.
House of Wax (2005)
Directed by Jaume Collet-Serra
influenced by Mystery of the Wax Museum (1933)
Plot
Likewise, it effortlessly tops Michael Curtiz's static, two-strip Technicolor original, Mystery of the Wax Museum (1933).
Just as Marcus Nispel reworked Tobe Hopper's Texas Chainsaw Massacre for the MTV generation, Serra similarly tricks-out André de Toth's 1953 classic (it's doubtful he's seen Michael Curtiz's 1933 film Mystery of the Wax Museum), except the film more accurately brings to mind the groove of David Schmoeller's underrated 1979 chiller Tourist Trap, in which a bunch of teenagers stumble upon a mannequin museum operated by two brothers, one a mysteriously-masked freakazoid.
That nice exchange — summoning memories of Humphrey Bogart telling Claude Rains in Casablanca that he came there for the waters and, on being reminded that they are in the desert, tersely replying, “I was misinformed” — also serves as a key to the Peter-Spidey duality in The Amazing Spider-Man 2. He’s a Marvel superhero given strength and air power because of the arachnid goop in his veins, like the pine tar on the neck of Yankees pitcher Michael Pineda.
The greatest of these films, of course, was "Casablanca," whose low-tech plot is subtly echoed underneath all the high-tech frenzy of "Pearl Harbor."
Mason delivers a sterling performance as the suffering fugitive, trying to reach safety even as he suspects his time is almost at an end — it's an especially interesting turn because his character is too often in pain to even grasp the actions of those around him, among them a pair of helpful nurses, a neutral bartender and groups of children play-acting as Johnny and the cops (their admiration recalls that of the Dead End Kids for James Cagney's Rocky Sullivan in 1938's Angels with Dirty Faces).
The English Patient (1996)
Directed by Anthony Minghella
influenced by Casablanca (1943)
Visuals Characters Themes Plot
Casablanca had such a powerful impact on film that its visuals -- the exotic marketplace, the crowded saloons, the final foggy airport sequence -- keep cropping up in contemporary movies, everything from the Indiana Jones films to The English Patient .
Ralph Fiennes gives us an Almasy who seems loosely based on Casablanca 's Rick -- strong and silent until the right woman releases all of his pent-up passion.
THE DESERT ROMANCE HAS A distinguished history in the movies, from Rudolph Valentino's swan song, "Son of the Sheik," in 1926, through the greatest of them all, in which nary a dune appears: 1942's "Casablanca.
Readers of Michael Ondaatje's Booker Prize-winning 1993 novel "The English Patient" might not expect the movie version to follow the lead of "Casablanca," "The Bridges of Madison County" or even "Sleepless in Seattle," but you can see why director-screenwriter Anthony Minghella ("Truly, Madly, Deeply") would make such a choice.
That could have been the whole movie -- a kind of inverse Casablanca.
It's "Casablanca" set amid the swirling Sahara sands of North Africa and the voluptuous hills of Tuscany.
The Count of Monte Cristo (2002)
Directed by Kevin Reynolds
influenced by Captain Blood (1935)
Themes
"The Count of Monte Cristo" is not as good of a film as say "Captain Blood" probably because well, Errol Flynn was the master of these kinds of movies, but it's old school in another way.
Mills also outfits Plummer in a series of supposedly "elegant" old-queen, Ascot-accessorized ensembles, like Zachary Scott in Mildred Pierce, which have a slightly risible retro look to them.
Indiana Jones and the Kingdom of the Crystal Skull (2008)
Directed by Steven Spielberg
influenced by Captain Blood (1935)
It offers lots of animal action (monkeys and hordes of red ants, primarily) as well as great stunts both CGI (“Look out for those falls!”) and physical, as the Colonel Professor and Mutt draw swords and make like Errol Flynn and Basil Rathbone in “Captain Blood.”
It doesn't jibe with attempts at old-school cliffhanging, such as Blanchett's "Captain Blood" duel with LaBeouf.
Pirates of the Caribbean: The Curse of the Black Pearl (2003)
Directed by Gore Verbinski
influenced by Captain Blood (1935), The Sea Hawk (1940)
Themes
Bruckheimer readily admits he loved old pirate films such as "Treasure Island"(1934), "Captain Blood" (1935) and "The Crimson Pirate" (1952), and he has created a film with the flavor and fun of those wonderful Hollywood classics.
The result is a great adventure film that can stand on its own merits alongside such genre classics as The Black Pirate, Captain Blood and The Sea Hawk, while bringing something very new to the table.
The result is a great adventure film that can stand on its own merits alongside such genre classics as The Black Pirate, Captain Blood and The Sea Hawk, while bringing something very new to the table.
Nor does Carrie enlist our sympathies through the portrayal of maternal self-sacrifice for the benefit of a beloved daughter in the style of Stella Dallas (King Vidor, 1937) or Mildred Pierce (Michael Curtiz, 1945).
Those who have true sensitivity deeply despise this movie, so absurd and offensive as having made Ingrid Bergman fucking during 15 minutes in "Casablanca" (I don't need to see it to understand their passion, so why with Adele and Emma we need to see seven orgasms to "understand" their desire and passion?