2024 Blind Spot Series: The Roaring Twenties

 

Based on the short story The World Moves On by Mark Hellinger, The Roaring Twenties is the story of three army friends whose lives would intersect following the end of World War I as they would experience the events of the 1920s through their different lives as well as getting into the world of crime. Directed by Raoul Walsh and screenplay by Jerry Wald, Richard Macaulay, and Robert Rossen, the film is a look into the lives of three men who would all find a degree of success and failure during the days of Prohibition. Starring James Cagney, Priscilla Lane, Humphrey Bogart, Gladys George, Jeffrey Lynn, Frank McHugh, and Paul Kelly. The Roaring Twenties is a dazzling and riveting film by Raoul Walsh.

The film revolves around three men who fought in World War I as they would deal with its aftermath as well as being part of the world of bootlegging and crime through different means during the era of Prohibition. It is a film is an exploration into the three different journeys of three men who would find some success during the era of Prohibition only for one of them to fall spectacularly towards its end and aftermath. The film’s screenplay is straightforward though it features narration by John Deering who talks about the events that these characters would endure with its focus on the film’s protagonist in Eddie Bartlett (James Cagney). Bartlett was a soldier for the Army in World War I as he found himself in a foxhole with another soldier in George Hally (Humphrey Bogart) and later a younger soldier in Lloyd Hart (Jeffrey Lynn) as they would survive the war but Bartlett stayed behind in Europe for more than a year as he returned home without a job or any prospects except for being a cab driver thanks to the help of a friend in Danny Green (Frank McHugh).

During one of his cab trips, he is asked to deliver some liquor to a club owner in Panama Smith (Gladys George) where he gets into trouble despite Lloyd’s help to get him release yet Smith realizes Bartlett’s worth as they collaborate with each other in running their own bootlegging operation. With Lloyd serving as an attorney for Bartlett, Bartlett also reconnects with a young woman in Jean Sherman (Priscilla Lane) whom he had corresponded with during the war as he got her a job as a singer for Smith’s speakeasy club. Bartlett hopes to be with Jean although she is more interested in Lloyd as a conflict with another bootlegger in Nick Brown (Paul Kelly) has Bartlett and his crew stealing a shipment where he reunites with Hally who works with Bartlett to anger Brown. However, the conflict between Bartlett and Brown starts to boil over where Hally starts to take charge against Bartlett’s wishes leading to trouble with Lloyd wanting out of the business. The script is filled with some unique dialogue that plays into the period of the times as well as the drama and some of the dark moments in the film with some dark humor involved as well.

Raoul Walsh’s direction has elements of style yet much of his direction is grounded in a world that was decadent and violent as it plays into a time where everyone doing illegal things was the norm until the end of Prohibition. Shot on location on the studio lots at Warner Brothers in Hollywood, California, Walsh maintains this atmosphere of a world where war veterans find themselves disconnected with life at home as Bartlett is unable to get back his old job as a mechanic. Walsh’s direction does have some wide shots of the locations as well as the space of a room or a club while much of his direction is based on the usage of close-ups and medium shots in the way characters interact with one another. Even in the way Walsh catches a reaction such as Bartlett’s first meeting with Jean only to learn she is underage as well as the scenes in the nightclub years later when Jean meets Lloyd for the first time. The way Walsh create these simple shots display the sense of emotion and euphoria that happens as well as the way he presents some foreshadowing such as an early scene of Bartlett, Hally, and Lloyd hearing the news of the armistice as it reflects on the direction they would take in their lives.

Walsh also plays into this growing powerplay between Bartlett and Hally with the latter feeling like he has become a lackey for the former as he would do what he can to rise and take over. Even as Bartlett starts to cope with the decisions, he has made that would alienate both Jean and Lloyd, the film’s third act plays into the stock market crash of 1929 where Bartlett’s fortunes dwindle to the point that he makes a deal with Hally that would end up being bad for him. It also plays into this period of post-Prohibition where the aftermath of Bartlett’s fall forces him to see reality as well as realize what he must do to make things right. Especially towards those who really did care about him where Walsh creates an exhilarating sequence that plays into a man that is trying to find some redemption as well as break a pact that they made during the war. Overall, Walsh crafts a compelling and chilling film about the rise and fall of a bootlegger and the people he meet during his journey.

Cinematographer Ernie Haller does brilliant work with the film’s black and white cinematography as it plays into the dark atmosphere of nighttime exterior scenes to the more vibrant look of the daytime interior/exterior scenes as well as some of the club scenes. Editor Jack Killifer does excellent work with the editing as it has some style in its usage of transition wipes as well as some straight cuts to play into the suspense and action. Art director Max Parker does amazing work with the look of the sets such as the interiors of the clubs as well as a factory that stored some liquor during a heist. Wardrobe designer Milo Anderson does fantastic work with the look of the suits as well as the dresses and gowns the women wear.

The special effects work of Edwin du Par and Byron Haskin do terrific work with some of the film’s minimal photographic effects to play into some of the montages. The sound work of Everett Alton Brown is superb for its sound work in the way tommy guns sound as well as the atmosphere of a location and other sparse sounds. The film’s music by Ray Heindorf and Heinz Roemheld is wonderful for its orchestral score mixed in with elements of the jazz music of the time as well as songs that were part of that period that features musical direction by Leo F. Forbstein in selecting some of the traditional songs that were performed during those times.

The casting by Steve Triller is marvelous as it feature some notable small roles from Vera Lewis as Bartlett’s old landlord, Elliott Sullivan as a cellmate of Bartlett following his first arrest for liquor distribution, Joseph Crehan as Bartlett’s old boss, Abner Biberman as Hally’s right-hand man Lefty, Joseph Sawyer as a former army sergeant that Hally hates, and Elisabeth Risdon as Jean’s mother whom Bartlett and Danny meet early in the film. Paul Kelly is superb as a rival bootlegger in Nick Brown whom Hally was working for until he reunited with Bartlett as he is someone that does not like Bartlett’s methods prompting him to wage war on Bartlett. Gladys George is fantastic as Panama Smith as a club owner who teams up with Bartlett to create an empire of their own while she becomes concerned about his decisions as well as harboring her own feelings for him. Frank McHugh is terrific as Bartlett’s friend/roommate Danny Green who helps find Bartlett a job as well as help him distribute liquor though he becomes concerned for some of the things they are doing in the film’s second act.

Jeffrey Lynn is excellent as Lloyd Hart as a young army soldier that Bartlett and Hally meet in a foxhole as he is also a law student that eventually becomes Bartlett’s lawyer until things become out of control. Priscilla Lane is amazing as Jean Sherman as a young woman that Bartlett was corresponding with during the war as he would later meet her again while distributing liquor at a show where he hopes to win her over except that she finds herself falling for Hart while also caring for Bartlett. Humphrey Bogart is phenomenal as George Lally as a soldier that Bartlett meets as he is also a bootlegger that also has ambitions yet feels like he is being slighted when he can do so much more to the point that he would do things to usurp Bartlett. Finally, there’s James Cagney in a tremendous performance as Eddie Bartlett as a soldier who returns home from the war only to become unemployed as he finds money through delivering liquor and bootlegging where he becomes ambitious but also starts to question everything once things fall apart as it is a performance full of charm and wit as well as a vulnerability in how he deals with his losses and regrets.

The Roaring Twenties is a spectacular film by Raoul Walsh that features a great leading performance from James Cagney as well as an incredible supporting performance from Humphrey Bogart. Along with its ensemble cast, dazzling look, energetic tone, and story of ambition and chaos during the days of Prohibition. It is a film that manages to be much more than a gangster and crime film as it is a study of a period in which everything was wild until things got darker with those trying to pick up the pieces. In the end, The Roaring Twenties is a sensational film by Raoul Walsh.

© thevoid99 2024

2014 Blind Spot Series: The Maltese Falcon

Based on the novel by Dashiell Hammett, The Maltese Falcon is the story of a private detective who finds himself dealing a troubling case that involves the search of a statue that everyone wants. Written for the screen and directed by John Huston, the film is a detective story that would be the inspiration for many ideas of what would become film noir with its unique take on language and character motivations. Starring Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, and Sydney Greenstreet. The Maltese Falcon is a riveting and stylish film from John Huston.

The film revolves around a private detective who finds himself in the middle of a crazed search for a rare statue that everyone wants as he tries to find out who killed his partner who was tailing a suspect. It all plays into this statue called the Maltese Falcon where it is a statue worth lots of money as the detective Sam Spade (Humphrey Bogart) wants to know why he’s in the middle of this case where a woman named Brigid O’Shaughnessy (Mary Astor) asks Spade and his partner Archer (Jerome Cowan) to tail a man that would lead to the latter’s death. Yet, O’Shaughnessy is part of a scheme into retrieving this rare statue that a slimy man named Joel Cairo (Peter Lorre) and a determined collector named Kasper Gutman (Sydney Greenstreet) want. With Spade falling for O’Shaughnessy and dealing with the case itself as he finds himself into all sorts of trouble with a lot of twists and turns as there’s very few people he can actually trust.

John Huston’s screenplay definitely plays up to the idea of suspense and language that Dashiell Hammett is known for as a lot of the dialogue is very stylized with its sense of rhythm and in the way the words are said. There’s also some exposition into a lot of the things that happen as well as the story of the Maltese Falcon as the statue itself is a plot device that would become known as the Macguffin. It’s the one thing that everyone wants where Huston knows how to weave the plot into these twists and turns where Spade is often at the center of this crazed search. There is also this conflict in Spade as he falls for O’Shaughnessy even though she is a suspect as his secretary Effie (Lee Patrick) is very suspicious of O’Shaughnessy as she is sort of Spade’s conscience and the one person that he can really trust.

Huston’s direction is very stylish with the way he sets the mood for much of the film where it has this air of suspense and intrigue that continuously looms throughout the film. Huston would use a lot of medium shots as well as some close-ups to play into the drama and suspense while infusing some bits of humor into the film. Much of it would include a few eerie camera angles to play into the sense of style in the way the suspense occurs as there is tension in the film such as the people that Spade would meet. There aren’t many moments of violence as Huston is more focused on just building the mystery as well as play into scenario about what to do when the Maltese Falcon is found. Overall, Huston crafts a very engaging and chilling film about a detective caught in a deadly search to find a priceless statue.

Cinematographer Arthur Edeson does excellent work with the film‘s black-and-white photography to create some unique shadows and lighting schemes for some of the film‘s interior and exterior scenes set at night that would be the basis for the look of film noir. Editor Thomas Richards does fantastic work with the editing as it has a bit of style in the transition wipes while keeping things very straightforward to play into the slow-burn of the suspense. Art director Robert M. Haas does amazing work with the look of Spade‘s office that he shared with his partner to the lavish hotel room that Gutman stayed at.

The gown designs by Orry-Kelly are exquisite for its sense of style as it plays to the looks and personality of the female characters. The sound work of Oliver S. Garretson is terrific for some of the sound effects that are created as well as how it adds to the air of suspense. The film’s music by Adolph Deutsch is wonderful for its for its brooding orchestral score that plays into the suspense along with lush themes for the drama.

The film’s incredible cast include notable small roles from Walter Huston as a police captain, Jerome Cowan as Spade’s partner Archer, Ward Bond as Detective Polhaus, Barton MacLane as Lt. Dundy, and Elisha Cook Jr. as Gutman’s henchman Wilmer. Lee Patrick is wonderful as Spade’s secretary Effie as she is often the one person who is a bit smarter than Spade as she doesn’t trust O’Shaughnessy. Gladys George is terrific as Archer’s wife Iva who thinks Spade killed her husband as she is a former lover of Spade as she isn’t sure what is going on as it plays into Spade’s own suspicions about everything. Sydney Greenstreet is brilliant as the larger-than-life collector Gutman who is eager to have the Maltese Falcon at any cost as he is full of charisma and a presence that is quite intimidating at times.

Peter Lorre is fantastic as the smarmy Joel Cairo as this very flamboyant individual who is very mysterious as Lorre brings that nice sense of sliminess but also charm that makes him so enjoyable to watch. Mary Astor is superb as Brigid O’Shaughnessy as this woman who is the archetype of a femme fatale as she is someone that is quite manipulative while never seeming to get her story straight as she tries to woo Spade into making her feel like a victim. Finally, there’s Humphrey Bogart in a marvelous performance as Sam Spade where Bogart has this intensity and wit to his role that makes him quite cool but also be quite tough as there’s no bullshit about his character yet he isn’t afraid to show some humility as it’s one of Bogart’s finest performances.

The Maltese Falcon is a sensational film from John Huston that features a remarkable performance from Humphrey Bogart. The film is definitely one of the standards in what a mystery should be while making it more about characters and the search for answers rather than action. In the end, The Maltese Falcon is a phenomenal film from John Huston.

© thevoid99 2014

The Treasure of the Sierra Madre

Based on the novel by B. Traven, The Treasure of the Sierra Madre is the story of two Americans who go to 1920s Mexico with an old-timer to find gold where they would encounter trouble. Written for the screen and directed by John Huston, the film is a look into the world of greed and human nature at its ugliest as well as a look at how a journey can lead to great danger. Starring Humphrey Bogart, Walter Huston, Tim Holt, and Bruce Bennett. The Treasure of the Sierra Madre is an incredible yet eerie film from John Huston.

It’s 1920s Mexico as a man named Dobbs (Humphrey Bogart) is seeking to find some way to survive as he needs money as he and a man named Curtin (Tim Holt) got cheated out of wages that was promised to them for labor work. After meeting an old prospector named Howard (Walter Huston), the three go on a journey to find gold in an old mine in the Mexican mountains as they have to endure all sorts of things while greed eventually seeps in the mind of Dobbs as he become paranoid. The film explores the world of greed and how far one man is willing to keep what he’s found as he has no sense of morals while becomes paranoid thinking that everyone wants his loot while Curtin realizes the danger of greed as he turns to Howard who knows a lot more about what is important.

John Huston’s screenplay explores the dynamics of these three men as they all want some gold in the Mexican mountains yet it is Howard that knows a lot more as he knows where the gold is and what it looks like. The only reason he takes part in the journey is so he can get his cut of what they’ve earned but he knows that gold and money aren’t that important. The Curtin character is a man that just wants what is right as after he’s got his gold, he has ideas for what he wants to do. He and Howard share a bond over what they want as they become good friends while Dobbs becomes more engrossed in his greed where he starts to talk to himself and become paranoid. Notably as the three men encounter a man named Cody (Bruce Bennett) who is also looking for gold as he knows what these men have. Other characters they encounter are a group of bandits led by a man known as Gold Hat (Alfonso Bedoya) who just wants weapons.

The script also has some very stylized dialogue in the way it plays to that development of the characters where Dobbs starts off as a man looking for money to survive but once he comes across with a lot of money. He definitely descends into some form of madness making Curtin and Howard uncomfortable and realizing that Dobbs could do anything. When the appearance of Cody causes more trouble where the result would be tragic. Curtin and Howard become aware of what this man really wanted to do as they become more concerned with doing what is right rather than give in to the gold but Dobbs starts to lose that sense of right and wrong where he becomes selfish. Eventually, the three men would separate though different means but its conclusion would definitely lead to an understanding about humanity where some will survive while others don’t.

Huston’s direction is truly engrossing in the way he explores the dark world of greed in the world of Mexico as many of the film’s exteriors are shot in Mexico with some scenes set at night shot in a studio. Huston’s compositions create some very telling images in the way he explores the relationship of these three men as it starts off in the town of Tampico where Dobbs and Curtin are looking for work. Much of the first act is set in Tampico where Huston uses medium shots and close-ups to play up that world with a few wide shots until the film moves into the Mexican mountains where Huston uses more wide shots to captured the rugged beauty of that world.

One aspect of Huston’s direction that is very interesting is that since the film is set in Mexico, he allows many of Mexicans to actually speak Spanish while the main characters also talk some Spanish without the use of subtitles. Unless the audience understands what the Mexican characters are saying though Howard does some of the translating. Huston knows that he doesn’t need to use subtitles to understand what they’re saying by focusing more on the action as well as some subtle close-ups to establish what is happening. Even as Huston knows what not to use in order to establish a few moments of violence as he also uses some wide shots to capture a world that is unique and also not filled with any complications such as greed. Overall, Huston creates a very captivating yet sensational film about greed and humanity.

Cinematographer Ted D. McCord does fantastic work with the film‘s black-and-white photography from the look of many of the daytime exterior scenes while using available light and such for some of the scenes at night to maintain a sense of darkness that looms in the film. Editor Owen Marks does excellent work with the editing where it is quite straightforward for the most parts though he uses fade-outs to help structure the film while utilizing some rhythmic cuts to play up some of the action and suspense. Art director John Hughes and set decorator Fred M. MacLean do superb work with the set pieces from some of the places in Tampico to some of the other places in the mountains as well as the look of the well near the mines that the men built

The sound work of Robert B. Lee is wonderful for some of the sound effects created from the sound of gunfire to the sound of coyotes and such in the locations set in the desert. The film’s music by Max Steiner is brilliant for its array of orchestral pieces created from some upbeat, playful themes to some more ominous yet suspenseful moments to play up Dobbs’ paranoia.

The film’s cast is amazing as it features some notable appearances from a young Robert Blake as a boy pestering Dobbs to buy lottery tickets, John Huston as a man Dobbs keeps asking for money in Tampico, Barton MacLane as the contractor that cheats Dobbs and Curtin over their wages, and Alfonso Bedoya as the bandit leader who spouts one of the most famous lines in film. Bruce Bennett is terrific as a man named Cody whom Curtin meets in town as he later tries to blackmail the three men into giving him a share of the gold without any trouble. Tim Holt is excellent as Curtin as a man that wants to look for gold for his own reasons as he later becomes aware of how much trouble it brings as he has to deal with the paranoid Dobbs.

Walter Huston is great as the old prospector Howard as a man who knows a lot about getting gold from mines as he also tries to deal with Dobbs’ paranoia where he brings a lot of charm and humor to his character. Finally, there’s Humphrey Bogart in a phenomenal performance as Dobbs as a man who is in need of money to survive in Mexico as he becomes desperate to go find gold with a couple of men only to descend into madness as it’s a very chilling yet mesmerizing performance from the actor.

The Treasure of Sierra Madre is remarkable film from John Huston that features amazing performances from Humphrey Bogart, Tim Holt, and Walter Huston. The film is definitely a very compelling piece into the exploration of humanity as well as the dark world of greed. It’s also a film that explores a world of the West that is very different from American westerns while still having some element of honor. In the end, The Treasure of Sierra Madre is a spectacular film from John Huston.

© thevoid99 2013

In a Lonely Place

Based on the novel by Dorothy B. Hughes, In a Lonely Place is the story of a screenwriter who is accused of murder as a neighbor helps him as they fall in love and try to solve the murder he’s accused of. Directed by Nicholas Ray with an adapted script by Edmund H. North and Andrew Solt, the film is a noir-style mystery filled with intrigue as it’s considered to be one of the great noir films of the early 1950s. Starring Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Martha Stewart, Art Smith, and Carl Benton Reid. In a Lonely Place is a chilling yet exhilarating film noir drama from Nicholas Ray.

With a career in trouble and depending on booze, Dixon “Dix” Steele (Humphrey Bogart) is at a restaurant where he meets his agent Mel Lippman (Art Smith) and a boozy actor named Charlie (Robert Warwick). Lippman has news about a film project where Steele needs to adapt a book and to turn it into a script though Steele isn’t sure about the idea. When a hat-check girl named Mildred Atkinson reveals that she’s read the book, Steele asks for her help as he invites her to his apartment home as she tells him about the book. Realizing what the premise is, he gives her cab fare so she can come home until a detective named Brub Nicholai (Frank Lovejoy), who knew Steele back in World War II, asks him to come to the police station revealing that Atkinson got killed.

With Nicholai’s supervisor Captain Lochner (Carl Benton Reid) believing that Steele killed Atkinson due to his background over his erratic, violent behavior, Steele becomes a suspect as he says he didn’t kill her. Then a woman named Laurel Gray (Gloria Grahame), a neighbor of Steele, reveals that Steele didn’t do anything as she saw him walk Atkinson out of his door as she walked out of the building alone. Steele is let go though Lochner remains suspicious as he asks Nicholai to watch over him as Steele and Gray become friends as she helps him type up his script. After meeting Lippman and Charlie, Gray becomes part of the team though Steele remains uneasy as a dinner with Nicholai and his wife (Jeff Donnell) was an uncomfortable experience. With Gray becoming more aware of Steele’s troubled behavior including a few violent outbursts, things start to become uncomfortable for everyone.

After being pursued by Lochner to know more about Steele, Gray is disturbed by his behavior following a dinner with the Nicholai and his wife. When things seem to calm down, Gray remains uncomfortable around Steele when he asks her to marry him. She suddenly realizes he isn’t normal as she starts to wonder whether or not he killed Atkinson while figuring out if he will kill her.

The film is about a troubled screenwriter who is accused of murder only to be saved by his neighbor who is a failed actress that falls for him. With the police on his back and the pressure to finish a screenplay based on a book that he hates. Dix Steele starts to become unhinged though the only thing that’s grounded him is the presence of Laurel who would become his collaborator as they eventually fall in love. The story progresses once love is in the air as is Steele’s erratic behavior starts to eat at him where at one point, he beats up a young driver. It’s the moment that Laurel starts to fear him as she wonders when he is going to really do something as there is a dark element to Steele from the way he describes what the killer might’ve done to Atkinson.

The script is an intriguing study about a man down on his luck as the project that would save his career only adds to his dislike towards the world and to his own troubled behavior. The film’s title refers to Steele’s own sense of isolation as well as the fact that he’s not an easy man to deal preferring to live alone despite interacting with people for work and social gatherings. When a woman like Gray gets close to him, he starts to feel comfortable except for the thing such as the police investigating him and the demands to finish a script would only undo him.

The direction of Nicholas Ray is truly startling from the way he composes some of the suspense scenes to how relaxed he lets some of the lighter moments of the film play out. For some of the darker moments, Ray maintains a stillness with the camera and framing to set the mood of what could be happening or what Steele is saying about what might’ve happened. There is also a heightened style to Ray’s direction from the driving scenes to the tense scenes at the police station. Ray is always engaged by what is happening as the overall work he brings is phenomenal.

Cinematographer Burnett Guffey does some excellent work with the film‘s black-and-white photography with some wonderful shadings to enhance the noir tone of the film including the use of heightened lights for some of the intense moments of the film. Editor Viola Lawrence does a very good job with the editing as it’s presented mostly straightforward with the use of dissolves and fade-outs for the transitions. Art director Robert Peterson and set decorator William Kiernan do great work with the look of the apartments that Steele and Gray live in along with the restaurant, clubs, and police stations they encounter.

Costume designer Jean Louis does a fantastic work with the gowns created for the film including the black sheer gown that Gray wears to a gathering as well as the other dresses for the women in the film. Sound engineer Howard Fogetti, with Ellis Burman for the sound restoration, does some fine work with the sound from the tire squeals to the location work to create a dark mood for the film. The film’s score by George Antheil is brilliant for its thrilling arrangements to enhance the sense of dread as well as somber pieces for the melodramatic moments of the film.

The cast includes some notable appearances from Hadda Brooks as lounge singer, Steven Geray as a head waiter at the restaurant Dix frequents at, Robert Warwick as Steele’s boozy thespian friend Charlie, Jeff Donnell as Nicholai’s wife Sylvia, and Martha Stewart (not the famed TV personality) as the ill-fated though charming Mildred Atkinson. Other notable roles include Art Smith as the loyal but worried agent Mel Lippman, Carl Benton Reid as the suspicious Captain Lochner, and Frank Lovejoy as the open-minded but friendly Brub Nicholai. Gloria Grahame is superb as Laurel Gray, a failed B-movie actress who helps Steele by becoming his alibi and help him write his script only to be troubled by his erratic behavior. Finally, there’s Humphrey Bogart in a magnificent performance as the troubled Dix Steele. Bogart’s vulnerability is key to what makes this performance as one of his best from the way he acts crazy in the way he describes things or how he reacts to something. It’s a very complex and powerful performance from the actor who also has great chemistry with Grahame in what is a chilling performance.

In a Lonely Place is an eerie yet engrossing noir-drama from Nicholas Ray featuring brilliant performances from Humphrey Bogart and Gloria Grahame. For anyone that is interested in the world of film noir, this film is a good place to start as well as a good introduction to the works of Nicholas Ray. For fans of Humphrey Bogart, this is definitely one of his essential films as it features what is truly a performance for the ages. In the end, In a Lonely Place is a haunting yet captivating film from Nicholas Ray.

Nicholas Ray Films: (They Live By Night) - (Knock on Any Door) - (A Woman's Secret) - (Born to Be Bad) - (Flying Leathernecks) - (On Dangerous Ground) - (The Lusty Men) - Johnny Guitar - (Run for Cover) - Rebel Without a Cause - (Hot Blood) - (Bigger Than Life) - (The True Story of Jesse James) - (Bitter Victory) - (Wind Across the Everglades) - (Party Girl) - (The Savage Innocents) - (King of Kings) - (55 Days at Peking) - (We Can't Go Home Again) - (Lightning Over Water)

© thevoid99 2011

Casablanca

Originally Written and Posted at Epinions.com on 2/19/09

Among considered to be one of the greatest films ever made, Casablanca is always mentioned in the list of great films. The story of an American expatriate who is torn in helping the woman he loves while wanting to free her Resistance leader husband escape Casablanca during World War II. Directed by Michael Curtiz based on the play by Murray Bennett and Joan Alison. Screenplay by Howard Koch, an un-credited Casey Robinson, Julius J. Epstein and Phillip G. Epstein. The film is a romantic drama that has captivated audiences since its release in 1942. Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Peter Lorre, Conrad Veidt, Sydney Greenstreet, and Claude Rains. Casablanca is an entrancing, entertaining, and romantic masterpiece from Michael Curtiz.

It's the 1940s as Casablanca remains one of the few unoccupied French areas in Morocco. The most popular club is Rick's Café Americain, a club with entertainment and a secret gambling area owned by a cynical American expatriate named Rick Blaine (Humphrey Bogart). In a club full of a mixed clientele of refugees, Vichy French officers, Nazi officials, and other posh regulars. The club features an African-American piano player named Sam (Dooley Wilson), Hungarian waiter Carl (S.Z. Sakall), Russian bartender Sascha (Leonid Kinskey), and croupier Emil (Marcel Dalio). One of the club's regulars is Captain Louis Renault (Claude Rains), who is accompanying Major Strasser (Conrad Veidt) over an incident involving two dead German couriers, is conducting an investigator. Rick is later confronted by Ugarte (Peter Lorre) asking him to keep some letters of transits that he took from the two German couriers. After Ugarte's arrest, two people arrive into the club which is Victor Laszlo (Paul Henreid) and Ilsa Lund (Ingrid Bergman).

Ilsa recognizes Sam as she asks him to play an old song that annoys Rick until he sees Ilsa. The two hadn't seen each other since Paris got occupied by the Germans as it brings Rick some sad memories of their life back in Paris before the occupation and Ilsa's departure. With Laszlo, a Czech Resistance leader sought by the Germans, trying to get out of Casablanca to go to America. Rick isn't sure if he wanted to help Laszlo as Laszlo and Ilsa go to a rival club owner in Ferrari (Sydney Greenstreet) for help but couldn't. With Strasser trying to capture Laszlo by any means with help from Renault, tension between the French and Germans rise during a singing of national anthems at Rick's club. Renault forces the club to be closed as Laszlo turns to Rick for help but Rick remains unsure still dealing with the bitterness of the dissolution over his relationship with Ilsa. Ilsa finally comes to Rick for help as he makes his decision over his own future and everything for Ilsa and Laszlo with some unexpected help.

The film is a bending of genre of sorts with all sorts of genres crammed into one. There's adventure, romance, drama, suspense, and some humor all rolled into one. Yet, it's a remarkable film that swoons in its bending of genres as its done with such style and rhythmic dialogue from screenwriters Howard Koch and the Epstein brothers. The screenplay is filled with wonderful set-ups, twists, turns, and back stories about the Rick-Ilsa relationship in Paris to how they broke apart and why leaving Rick very bitter. Yet, the film is about what Rick would do for the woman he loves and what would happen afterwards. The film also delves into his own background working for resistence causes for other wars in previous years as he now claims he fights only for himself. His motivation to fight for himself and then be helpful for a cause is Ilsa as she reveals why she left and her own conflicts for her feelings for both Rick and Laszlo.

The script is truly brilliant in its plotting, set-ups, motivations, and development as it's all well told in the direction of Michael Curtiz. Curtiz's direction is very stylish in playing to the script's structure where the first act is largely told in Rick's club leaving the other two acts to wander in various locations and setting along with Rick's club. It's also because that since the story was based on a play, Curtiz sets it up as if it's a play in all of its intimacy and staging. With shots to emphasize the drama and tension with close-ups providing a soft look, Curtiz's direction is truly amazing in its look, tension, and compositions. Overall, Curtiz creates a film that is truly spectacular in its drama and staging.

Cinematographer Arthur Edeson does superb work with the film's black-and-white photography with dark shades of black and grey to convey the bitter mood of Rick along with more lighter colors to reflect his happiness. Even in some scenes at the club where everything is fun as Edeson's photography is exquisite. Particularly in its shading and set-ups to create moods for some of the film's dramatic moments along with its final scene with soft touches for the film's romantic portions. Editor Owen Marks does a fantastic job with the film's editing in the use of dissolves and wipe-transitions to give the film a nice rhythm as well as emphasizing its structure. Marks' editing is wonderful in playing up the drama and intensity of the romance between Rick and Ilsa.

Art director Carl Jules Wyle and set decorator George James Hopkins does an excellent job in recreating the look of the Casablanca shops and bars in its exteriors along with a wonderful look in Rick's club. Notably the atmosphere as it's a hotbed of different cultures and people where things could go right or wrong as the art direction is truly worth noting. The costume designs Orry-Kelly on the gowns that the women wear, notably the white gown that Ilsa wears on her arrival to Rick's club is gorgeous. With Anthony Gasbarri on the tuxedos that Humphrey Bogart wears, the close have a classy, sophisticated look that is truly divine. The sound work of Francis J. Scheid and recordist Edward Ullman are excellent for the atmosphere of the club in all of its grandeur and chaos. It's also great for its suspense, notably the last scene of the film that's a wide mix of emotions and tension.

The music score by Max Steiner is phenomenal in all of its arrangements and styles. From its suspenseful, intense pieces to more light-hearted scores for some of the film's non-dramatic, non-suspenseful scenes. Steiner brings versatility to the music while creating sweeping, somber arrangements for the film's romantic portions. Steiner also brings unique touches to the French national anthem with its triumphant arrangements and pieces. The soundtrack includes standards that plays up to the club scenes with one notable song is As Time Goes By that serves as romantic piece for Ilsa and Rick to hear.

The casting is phenomenal with its array of small performances and standout characters that are memorable throughout the film. Notable small roles from Ludwig Stossel and Ilka Grunig as the Leuchtag, a German couple who are friends of Carl, Gregory Gaye as a German banker refused to enter the casino, Helmut Dantine as a young Bulgarian casino player, Curt Bois as a pickpocket, Madeleine LeBeau as Rick's discarded girlfriend Yvonne, and John Qualen as Laszlo's Norwegian contact. Other memorable small roles include Marcel Dalio as the croupier Emil, S.Z. Sakall as waiter Carl, Leonid Kinskey as bartender Sascha, Joy Page as a young Bulgarian refugee who breaks Rick's cynical persona, and Dooley Wilson as Rick's longtime friend and piano player Sam.

Conrad Veidt is excellent as Major Strasser, a Nazi official who is trying to nab Laszlo for his government while hoping to get more support from Captain Renault. Peter Lorre is great as Ugarte, a slimy thief who tries to get Rick to hide some transit papers as he makes a memorable appearance. Sydney Greenstreet is very good as Ferrari, a club owner who is a friendly rival of Rick's who tries to help out Laszlo and Ilsa while making some deals with Rick. The film's best supporting performance is easily Claude Rains as Captain Renault. A shady police captain who is corruptive but only willing to play on a side that he feels will win as Renault brings a complexity and charm to his character who is an anti-hero that doesn't play by the rules. Renault's performance is truly the standout character of the film.

Paul Henreid is superb as Laszlo, a Czech resistence leader trying to go to America as he reveals what he knows about Rick and Ilsa. Henreid doesn't play the kind of guy who wants to go into conflict with Humphrey Bogart but rather as someone who needs Bogart's help. He's also the guy you kind of don't want to root for but want to help his cause which represents a great duality to his role. Ingrid Bergman is amazing as Ilsa Lund, Rick's former lover who is in conflict over her loyalty for Laszlo as well as her love for Rick. Bergman's radiant beauty and fierce performance is truly spellbinding to watch in all of her torment and desperation as Bergman truly captivates in her performance. Finally, there's Humphrey Bogart in a phenomenal performance as Rick Blaine, the cynical club owner not wanting to be involved in anything. Blaine is a great anti-hero who is in it for himself and not wanting to help anyone until he faces Ilsa. Bogart shows great depth into his own emotional torment without dabbling into any kind of theatrics as it's a great performance from the legendary actor.

Released in New York City in November of 1942 around the time the city of Casablanca had been captured by the Allies. The film went into wide release in January 1943 to great acclaim as a year later, it won three Oscars for Best Picture, Best Director, and Best Adapted Screenplay. Though its box office reception was modest, the film since its release has remained influential and powerful. The film has been considered a classic in American cinema as it places itself in the top 5 greatest films of all-time by the American Film Association along with several other lists where it would top some. The film has been released in several formats in VHS and DVD where it recently got a recent Blu-ray DVD release in late 2008 to great acclaim for its high-definition transfer.

More than 65 years since its release, Casablanca is a timeless classic that still holds up with today's films. Thanks to Michael Curtiz's stylish direction, a fantastic script filled with memorable one liners, great technical work, and a superb cast led by Humphrey Bogart, Ingrid Bergman, Paul Henreid, and Claude Rains. It's a film that is romantic, suspenseful, and thoroughly entertaining. Audiences who haven't seen this film should see this as it lives up to its hype and acclaim while audiences who have seen this film should get a chance to see it again. It's a film that truly lives up to its brilliance. In the end, Casablanca is a brilliant film that ages gracefully since its 1942 release.

(C) thevoid99 2010