Casablanca (1943)
Directed by Michael Curtiz
In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.
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What critics compared Casablanca to
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.
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.
(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 .
“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.
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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.”
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."
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.
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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?
Like Humphrey Bogart in Casablanca, Stallone is an idealist masquerading as a cynic, but when the Burmese Army captures and tortures a battalion of deeply annoying Bible-thumpers from Colorado, Stallone springs into action.