Fear (1954 film)

Based on the novel by Stefan Zweig, Fear is the story of an affair between a renowned scientist’s wife and another man where the latter’s former love threatens to expose them. Directed by Roberto Rossellini and screenplay by Rossellini, Sergio Amidei, and Franz von Treuberg, the film is an exploration of infidelity set in post-war Germany as it is shot on location in Munich. Starring Ingrid Bergman, Mathias Wieman, Renate Mannhardt, and Kurt Krueger. Fear is a compelling yet flawed film by Roberto Rossellini.

Set in post-war Germany, the film revolves the wife of a scientist who decides to end her affair with her lover in order to fix her marriage as she is then blackmailed by her lover’s former lover who threatens to tell the woman’s husband about the affair. It’s a film that plays into a woman coping with guilt as well as trying to move on from it yet there’s forces that want to destroy her. Much of it is told from her perspective in a film noir first-person narrative as Irene (Ingrid Bergman) copes with the guilt and shame of her infidelity as she has to deal with this woman named Johann Schultze (Renate Mannhardt) who has a grudge with Irene over the fact that she stole her lover Enrico (Kurt Krueger) from her. The film’s script plays into Irene trying to move on but the presence of Johann would add to her troubles as there’s more layers to the blackmail as it emerges but the outcome ends up being very predictable.

Roberto Rossellini’s direction is very intriguing for the way it plays into the world of infidelity in Germany where the country is starting to come out of the post-war era. Much of the compositions that Rossellini creates don’t just borrow from the world of film noir but also German Expressionism in terms of its images and moods. It plays into Irene’s own sense of paranoia and anguish with these intricate lighting schemes in the cinematography to add to that eerie mood. Rossellini’s usage of close-ups and medium shots also add to that sense of style that looms all over the film including shots set on location in West Berlin and other parts of Germany.

As much as Rossellini maintains that air of suspense for much of the film, things do start to fall apart in its third act as it relates to a minor plot twist and then comes its ending where it is a cop-out since there was so much invested into Irene’s own anguish and paranoia as there was only one logical conclusion. Instead, the ending strays into conventionalism as its ends up being unsatisfying. Despite its ending, Rossellini does still creates a very engaging suspense drama about a woman coping with her infidelity.

Cinematographers Carlo Carlini and Heinz Schnackertz do excellent work with the film‘s stylish black-and-white photography from the scenes set at night to the usage of lights and shadows for some of the film‘s interiors as it plays into the eerie mood of the film. Editors Iolanda Benveneuti and Walter Boos do terrific work with the editing in terms of its rhythmic cuts as well as knowing when not to cut in certain long takes as it adds to the air suspense in the film. The sound work of Carl Becker is superb for the way it plays into the suspense for some scenes set at the factory lab where Irene and her husband work at as well as a few scenes set in the city. The film’s music by Renzo Rossellini is fantastic for its usage of orchestral flourishes and bombast to play into the suspense as it features themes that help create a mood for a scene as Rossellini’s score is a major highlight of the film.

The film’s amazing cast includes some notable small roles from Gabriele Seitz and Elisabeth Wischert as Irene and Albert’s children and Klaus Kinski as a cabaret performer at a club Irene and Johann meets. Kurt Krueger is terrific as Enrico as Irene’s lover who has no clue about what Johann is doing while Mathias Wieman is excellent as Irene’s husband Albert as a renowned scientist who is freed from prison as he tries to comprehend Irene’s strange behavior. Renate Mannhardt is brilliant as Johann Schultze as Enrico’s former lover who stalks Irene as a woman who is tormented by what Irene has done to her but also has this dark edge that makes her very engaging to watch. Finally, there’s Ingrid Bergman in a sensational performance as Irene as this woman who decides to end her affair in order to fix her marriage as she deals with a jealous woman and cope with the guilt and shame that she caused as it is one of Bergman’s finest performances.

Fear is a stellar film from Roberto Rossellini that features a solid performance from Ingrid Bergman. Despite its conventional third act and ending, the film is still a fascinating noir film that plays into a woman coping with the guilt of infidelity and her attempts to move on. In the end, Fear is a superb film from Roberto Rossellini.

Roberto Rossellini Films: (La Vispa Teresa) - (Desiderio) - (Paisan) - (L’Amore-Il Miracolo) - Rome, Open City - (Germany Year Zero) - Stromboli - The Flowers of St. Francis - Europe '51 - (Medico Condotto) - (The Seven Deadly Sins-Envie, L’Envy) - (Machine to Kill Bad People) - (We, the Women-Ingrid Bergman) - Journey to Italy - (Giovanna d’Arco al rogo) - (General della Rovere) - (Escape by Night) - (Viva l’Italia!) - (Vanina Vanini) - (Benito Mussolini) - (Ro.Go.Pa.G.-Illbatezza) - (The Carabineers) - (Rice University) - (Anno uno)

© thevoid99 2015

Journey to Italy

Based on the novel Duo by Colette, Journey to Italy is the story of a couple traveling to Italy on a holiday as they cope with their disintegrating marriage. Directed by Roberto Rossellini and screenplay by Rossellini and Vitaliano Brancati, the film is an exploration of couple’s attempt to save their marriage on a vacation through countryside in Naples as they deal with themselves. Starring Ingrid Bergman, George Sanders, Maria Mauban, Anna Proclemer, and Leslie Daniels. Journey to Italy is an evocative film from Roberto Rossellini.

Set largely in Naples, the film explores a married couple traveling to the Italian city and its nearby surroundings hoping to save their marriage as they both cope with the loss of a friend and a villa they plan to sell. During the course of their Italian vacation, Alex (George Sanders) and Katherine Joyce (Ingrid Bergman) find themselves out of step with each other and in the activities they want to do. While it’s a story that doesn’t have much of a plot, it is about the slow disintegration of a marriage as it is told in the matter of days where Alex is fed up with Katherine’s obsession for museums and historical landmarks as it relates to a friend of theirs. Katherine feels that Alex has been spending too much time either working or socializing with their friends as the film’s script plays into the tension as much of the second act plays into the two spending time with other people. It then leads to this very dramatic third act where the two go to Pompeii where all of these emotions between the two finally come to ahead.

Roberto Rossellini’s direction is quite intoxicating for not just the usage of the different locations in Italy such as the island of Capri, Pompeii, and Naples but also in how it plays into a couple’s attempt to save their marriage in this beautiful country. Rossellini’s usage of wide and medium shots help play into the majestic look of the locations as well as the growing dissolution between Alex and Katherine. There aren’t a lot of close-ups except in certain locations of where Katherine goes including some of the ruins of Pompeii and the volcanic landscape nearby. Yet, there are moments where it adds to the sense of despair as well as scenes where Alex encounters temptation as he ponders whether or not he should make things worse. The film’s climax in Pompeii doesn’t just play into what Alex and Katherine discover but also questions about whether or not they should try to work it out or call it quits. Overall, Rossellini creates a compelling yet touching study about marriage and its complexities through a couple on vacation in Italy.

Cinematographer Enzo Serafin does excellent work with the film‘s black-and-white photography to play into some of the nighttime interior/exterior scenes set at night as well as some of the interiors of the museum and landmarks that Katherine goes to. Editor Iolanda Benvenuti does fantastic work with the editing as much of it is straightforward with some rhythmic cuts in the early scenes set on the road as well as in the film‘s climax at a ceremony in Naples. Production designer Piero Filippone does amazing work with the look of the villa and the rooms in the villa that Alex and Katherine live at. The sound work of Eraldo Giordani is superb for some of the moments that occur from usage of live music heard in the streets to some of the raucous moments in the city of Naples. The film’s music by Renzo Rossellini is brilliant for its orchestral-based score mixed in with traditional Italian folk music to play into the world of Italy as well as the lush string arrangements to play into the dramatic elements of the film.

The film’s terrific cast include some notable small roles from Leslie Daniels and Natalia Ray in their respective roles as friends Tony and Natalie Burton, Paul Muller as the villa house sitter Paul Dupont, Anna Proclemer as a young prostitute Alex picks up, and Maria Mauban as a friend of Alex and Katherine in Marie who tries to flirt with Alex. George Sanders is marvelous as Alex Joyce as a workaholic businessman who tries to move on from the death of a friend as he later goes on his own as he tries to ponder his own feelings about himself and his wife. Finally, there’s Ingrid Bergman in a remarkable performance as Katherine Joyce as a woman trying to cope with loss as well as a marriage that is disintegrating as she goes to various Italian landmarks in order to try and comprehend everything is happening to her and her marriage as it’s a very radiant performance from Bergman.

Journey to Italy is a spectacular film from Roberto Rossellini that features great performances from Ingrid Bergman and George Sanders. It’s a film that isn’t just a captivating drama that explores a couple coming apart but also a film that plays into people taking on two different journeys to find themselves in Italy. In the end, Journey to Italy is a phenomenal film from Roberto Rossellini.

Roberto Rossellini Films: (La Vispa Teresa) - (Desiderio) - (Paisan) - (L’Amore-Il Miracolo) - Rome, Open City - (Germany Year Zero) - Stromboli - The Flowers of St. Francis - Europe '51 - (Medico Condotto) - (The Seven Deadly Sins-Envie, L’Envy) - (Machine to Kill Bad People) - (We, the Women-Ingrid Bergman) - Fear (1954 film) - (Giovanna d’Arco al rogo) - (General della Rovere) - (Escape by Night) - (Viva l’Italia!) - (Vanina Vanini) - (Benito Mussolini) - (Ro.Go.Pa.G.-Illbatezza) - (The Carabineers) - (Rice University) - (Anno uno)

© thevoid99 2015

Europe '51

Directed by Roberto Rossellini and screenplay by Sandro de Feo, Mario Pannunzio, Ivo Perilli, and Brunello Rondi from a story by Rossellini, Europe ‘51 is the story of a wealthy woman who is certified insane after the death of young son as she tries to find redemption. The film is an exploration into grief as well as a woman coming to terms with her loss and the need to help others. Starring Ingrid Bergman, Alexander Knox, Sandro Franchina, Ettore Giannini, and Giulietta Masina. Europe ‘51 is an extraordinary and touching film from Roberto Rossellini.

The film is an exploration of a wealthy woman whose life crashes following the suicide attempt of her young son who would unfortunately die from that attempt as her grief forces her to try and help those who are suffering. It’s a story that plays into a woman who sees the world in a different light as she becomes concerned with those who are ill and those that need help as her husband is convinced that she’s having an affair or is becoming insane. The film’s script does play into a traditional structure in which the first act is about Irene (Ingrid Bergman) coping with her son’s suicide attempt and the reality about her sense of neglect towards him. The second act is about her encounter with the poor with the aid of her socialist cousin Andre (Ettore Giannini) as she would also meet a poor mother of six in Passerotto (Giulietta Masina). It then leads to this third act of not just self-realization but also about the world that Irene was once a part of.

Roberto Rossellini’s direction is quite mesmerizing in the way he captures a woman’s plight over her son’s death and the grief that would drive her to do something. Much of the film’s first act has this sense of artificiality and comfort in the atmosphere it’s in as it is shot in these more posh areas of room as the compositions has an air of style. Even in scenes such as Irene finding about her son’s fall from the stairs and the close-ups that Rossellini puts to play into the drama. By the film’s second and third act, the air of realism becomes prominent where Rossellini would shoot in these urban areas of Rome where he uses a lot of wide and medium shots to capture the look of the locations as well as Irene’s own broadening view of things.

Though her actions would cause confusion among a group of people including her husband George (Alexander Knox), it does play into Irene’s own sense of growth and her chance to find redemption no matter how much she hates herself for her son’s death. Yet, the people she does touch including a family whose son turns to crime or a prostitute shunned by many as it shows what she tries to do to help them. Overall, Rossellini creates an evocative and harrowing film about a woman who tries to help others in the wake of her grief.

Cinematographer Aldo Tonti does excellent work with the film‘s black-and-white photography from some of the exteriors of the urban locations in Rome to some of the more artificial look in some of the interiors in Irene‘s posh apartment home. Editor Iolanda Benvenuti does brilliant work with the editing as much of it is straightforward in terms of the drama while there‘s a notable sequence where Irene goes to a factory as it‘s usage of rhythms help play to her reaction. Production designer Virgilio Marchi and set decorator Ferdinando Ruffo do nice work with the look of the posh apartment that Irene and George live in to the riverside shack that Passerotto lives in. Sound recorder Piero Cavazzuti does terrific work with the sound to capture some of the things that goes on in the urban areas of Rome including the factory. The film’s music by Renzo Rossellini is fantastic for its mixture of somber orchestral music with lush strings to more bombastic arrangements to play into some of the film’s melodrama.

The film’s superb cast include some notable small roles from Sandro Franchina as George and Irene’s son Michel, Tina Perna as the maid Cesira, Teresa Pellati as the prostitute Ines, Alfred Browne as a priest, and Antonio Pietrangeli as a hospital psychiatrist. Alexander Knox is excellent as Irene’s husband George who ponders his wife’s frequent absences at home as he wonders if she has gone crazy. Ettore Giannini is fantastic as Irene’s cousin Andre whose socialist views would introduce her to the world of the poor and disenfranchised.

Giuletta Masina is amazing as Passerotto as this single mother of six children whom Irene befriends as Masina’s performance is full of charm despite the fact that she and many of the actors’ voices are dubbed in American English for the international version of the film. Finally, there’s Ingrid Bergman in a remarkable performance as Irene as this woman whose grief forces her to see things in a different light as she tries to make a difference to help those of need as it’s a performance full of humility and power from Bergman.

Europe ‘51 is a phenomenal film from Roberto Rossellini that features an incredible performance from Ingrid Bergman. The film isn’t just one of Rossellini’s more compelling dramas but also a unique study of faith and generosity amidst the world of death. Especially in the way post-war Italy still tried to ignore common people at a time when they were in need as a woman with that power tried to do something. In the end, Europe ‘51 is a sensational film from Roberto Rossellini.

Roberto Rossellini Films: (La Vispa Teresa) - (Desiderio) - (Paisan) - (L’Amore-Il Miracolo) - Rome, Open City - (Germany Year Zero) - Stromboli - The Flowers of St. Francis - (Medico Condotto) - (The Seven Deadly Sins-Envie, L’Envy) - (Machine to Kill Bad People) - (We, the Women-Ingrid Bergman) - Journey to Italy - Fear (1954 film) - (Giovanna d’Arco al rogo) - (General della Rovere) - (Escape by Night) - (Viva l’Italia!) - (Vanina Vanini) - (Benito Mussolini) - (Ro.Go.Pa.G.-Illbatezza) - (The Carabineers) - (Rice University) - (Anno uno)

© thevoid99 2015

Stromboli

Directed by Roberto Rossellini and screenplay by Sergio Amidei, Gian Paolo Callegari, Art Cohn, and Renzo Cesana from a story by Rossellini, Stromboli is the story of a Lithuanian refugee whose marriage to an Italian fisherman forces her to question the decisions she’s made in her life following the end of World War II. The film is a mixture of traditional melodrama but with an air of neorealism which plays into a woman coping with her identity and the new environment she is following her stay at a war prison camp. Starring Ingrid Bergman, Mario Vitale, Renzo Cesana, and Mario Sponza. Stromboli is a chilling yet mesmerizing film from Roberto Rossellini.

The film revolves around a refugee who meets and marries an Italian POW as they live in his home island of Stromboli in Italy where she endures a world that is completely foreign to her with people that see her as an outsider. It’s a film that explores a woman living in this island with her husband who hasn’t had the worldly experience that she had while her surroundings in this island with an active volcano. At the same time, the residents are people who are wary of outsiders as they don’t see her as modest nor humble as Karin (Ingrid Bergman) tries to adjust to her situation and marriage. Yet, life with Antonio (Mario Vitale) becomes troubling as Antonio isn’t mature nor willing to broaden things in his life as he wants to stay the way things are. The film’s script plays into not just Karin’s own plight but also her attempts to fit in with the aid of a priest and a lighthouse keeper.

Roberto Rossellini’s direction is very complex for not just the sense of realism that he creates but also infuse it with an air of melodrama. Many of the scenes involving Antonio’s fishing and life in the island of Stromboli are presented with that documentary approach to display these things as something that is real. It adds to the sense of despair that Karin would endure in her surroundings as it feels too real for her. Most notably the danger that lurks in the island as it adds a lot of weight to the drama. While much of the landscape of Stromboli was shot on the exact location where it villages and residents are characters in the film. It does play into something that is sort of cut off from the rest of the world which Karin is confused by as her attempts to connect with others become impossible where she would even get the help of another village outsider which adds to her alienation. Especially for the climax where Rossellini’s usage of the locations and the close-ups he capture in Karin’s face says it all. Overall, Rossellini creates an evocative yet haunting film about a woman dealing with a new and harsh environment.

Cinematographer Otello Martelli does excellent work with the black-and-white cinematography as it has this air of realism in its look as well in some of the exteriors and interior scenes at night while using some artificial light for a few dramatic moments. Editor Iolanda Benvenuti does brilliant work with the editing as it is very straightforward with some stylish cuts to play into the drama and some of action that occurs in the daily environment of the fishermen. The sound work of Terry Kellum and Eraldo Giordani is terrific for the natural sound that occurs including the locations of the sea and the sound of the volcano in the island. The film’s music by Renzo Rossellini is fantastic for its soaring orchestral score that plays into the dramatic elements of the film while music director Constantin Bakaleinikoff provides a soundtrack filled with traditional Italian sea chants and other traditional folk songs in that world.

Much of the film’s cast features largely non-professional actors as many of them are actual residents of Stromboli which plays to the realistic tone of the film while there’s a couple of notable small performances from Mario Sponzo as the kind lighthouse man who offers to help Karin out and Renzo Cesana as the village priest who tries to reason with Karin while understanding that Antonio is just a simple young man. Mario Vitale is superb as Antonio as a young soldier who takes Karin to his home island unaware of what her needs are as he’s essentially a simpleton that really has no broad view of the world outside of Stromboli or Italy. Finally, there’s Ingrid Bergman in a remarkable performance as Karin as this Lithuanian refugee who is freed from camp by marrying Antonio hoping for a better life as she contends with her surroundings and marriage as it’s a very gripping and towering performance from Bergman.

Stromboli is an incredible film from Roberto Rossellini that features an exhilarating performance from Ingrid Bergman. The film isn’t just one of Rossellini’s more compelling films that blends his neorealist ideas with melodrama but also stands as one of his most accessible films. In the end, Stromboli is a phenomenal film from Roberto Rossellini.

Roberto Rossellini Films: (La Vispa Teresa) - (Desiderio) - (Paisan) - (L’Amore-Il Miracolo) - Rome, Open City - (Germany Year Zero) - The Flowers of St. Francis - (Medico Condotto) - (The Seven Deadly Sins-Envie, L’Envy) - Machine to Kill Bad People) - Europe ‘51 - (We, the Women-Ingrid Bergman) - Journey to Italy - Fear (1954 film) - (Giovanna d’Arco al rogo) - (General della Rovere) - (Escape by Night) - (Viva l’Italia!) - (Vanina Vanini) - (Benito Mussolini) - (Ro.Go.Pa.G.-Illbatezza) - (The Carabineers) - (Rice University) - (Anno uno)

© thevoid99 2015

Autumn Sonata

Written and directed by Ingmar Bergman, Hostsonaten (Autumn Sonata) is the story of a celebrated classical pianist who gets an unexpected visit from her estranged daughter leading to a confrontation between the two. The film is an exploration into the dynamics of mother and daughter who are driven apart by ambition. Starring Ingrid Bergman, Liv Ullmann, Lena Nyman, and Halvar Bjork. Hostsonaten is a chilling yet intense drama from Ingmar Bergman.

After having not seen each other for seven years, Eva (Liv Ullmann) has asked her famous concert pianist mother Charlotte (Ingrid Bergman) to visit for a few days at her home. Charlotte arrives hoping the visit would be great as she’s greeted by her daughter and son-in-law Viktor (Halvar Bjork) as also there is Charlotte’s youngest daughter Helena (Lena Nyman) who has become physically and mentally disabled due to an illness. The meeting becomes tense due to lingering tension between mother and daughter as both try to be civil until later on at night where the two vent out their frustrations towards one another leading to revelations about their fragile relationship.

The film is about a mother-daughter reunion that eventually turns sour due to resentments as it’s told largely in the span of one day with some flashbacks in the story. Especially when a daughter asks her mother to visit in hopes of a reconciliation yet the lingering tension between the two eventually seeps in as the mother deals with her own regrets and wonder if she’s guilty for everything. Even as the daughter reveals her own hatred for her mother and the fear that she was consumed by for many years. It’s a film that explores the troubled relationship between mother and daughter as the mother is grieving the loss of a friend while the son-in-law tries to deal with the tension as well as caring for an ill sister-in-law who is also plays to the tension between Eva and Charlotte.

The film’s unconventional screenplay allows Ingmar Bergman to create a film that is quite intimate but also intense in the way he frames the actors and have Viktor open the film talking to the camera as if he’s talking to the audience about how he met Eva as she is in the background writing a letter. The way Bergman frames his actors in a scene or how he stages the conversations is among the many highlights of the film. Including the way he uses close-ups to play out the emotions that occur where he waits for something to explode. Even as he would have scenes where characters talk to themselves or flashback scenes to help tell the story.

Shot on location in Norway during Bergman’s tax exile period in Sweden, the film has few exterior shots as a lot of it takes place inside where Bergman allows the camera to be shot from afar or up close to see how the drama will unfold. Notably as it includes a lot of his stylized close-ups that plays up to the quiet tension between mother and daughter that includes a scene where they both play Frederic Chopin’s Prelude No. 2 in A Minor to establish the different emotions of these two women. It’s a key scene that shows who these women are in their personas where both present unique interpretations of Chopin’s piece. Overall, Bergman has crafted a truly mesmerizing drama that explores the troubled dynamics between mother and daughter.

Cinematographer Sven Nykvist does an amazing job with the film‘s photography where many of the interior lighting schemes play to different color palettes to display the look of autumn while using a similar light with dashes of green and gray for its exterior scenes as Nykvist‘s work is a true highlight. Editor Sylvia Ingmarsdotter does excellent work with the editing in using a few dissolves to introduce the flashback scenes while a lot of the cutting is straightforward. Production designer Anna Asp does extraordinary work with the sets for the home that Eva and Viktor live in as it includes a wonderful room to display the personalities of the characters including Eva and Viktor‘s late child Erik.

Costume designer Inger Perhsson does wonderful work with the costumes to display the different personalities of the two women with Eva wearing plain clothes while Charlotte wears more stylish, posh clothing to display her personality. The sound of Owe Svensson is superb for the intimacy created in the film as well as the volume of the conversation that plays out throughout the film.

The film’s cast is brilliant for the ensemble that is created as it features appearances from Linn Ullman as the young Eva, Georg Lokkeberg as Charlotte’s old friend Leonardo, Bergman regulars Gunnar Bjornstrand as Charlotte’s agent Paul and Erland Josephson as Eva’s father Josef in the flashback scene. Lena Nyman is excellent as the physically/mentally-disabled Helena while Halvar Bjork is great as Eva’s husband Viktor who tries to keep his distance from the tension between Eva and Charlotte.

Liv Ullmann is incredible as the troubled Eva who tries to make some reconciliation with her mother only to feel disturbed by her own emotions over the neglect and resentment she’s faced as a child as it’s a truly terrifying role from Ullmann. Finally, there’s Ingrid Bergman in her final film appearance as Charlotte where Bergman displays a wonderful sense of grace but also regret as a woman dealing with her own life as a classical pianist as well as her own failings as a mother where Bergman also displays a realism that is chilling to watch.

Hostsonaten is a marvelous yet haunting film from Ingmar Bergman that features magnificent performances from Ingrid Bergman and Liv Ullmann. The film is definitely one of Ingmar Bergman’s most essential films of his career as he gives Ingrid Bergman one of her great performances of her glorious career. It’s also a film that explores the unique mother-daughter dynamic despite the film’s dark tone. In the end, Hostsonaten is an exhilarating film from Ingmar Bergman.

Ingmar Bergman Films: (Crisis) - (It Rains on Our Love) - (A Ship to India) - (Music is Darkness) - (Port of Call) - (Prison) - (Thirst (1949 film)) - (To Joy) - (This Can’t Be Happen Here) - (Summer Interlude) - Secrets of Women - Summer with Monika - Sawdust and Tinsel - A Lesson in Love - Dreams (1955 film) - Smiles of a Summer Night - The Seventh Seal - (Mr. Sleeman is Coming) - Wild Strawberries - (The Venetian) - (Brink of Life) - (Rabies) - The Magician - The Virgin Spring - The Devil’s Eye - Through a Glass Darkly - Winter Light - The Silence - All These Women - Persona - (Stimulantia-Daniel) - Hour of the Wolf - (Shame (1968 film)) - (The Rite) - The Passion of Anna - (The Touch) - Cries & Whispers - Scenes from a Marriage - (The Magic Flute) - (Face to Face) - (The Serpent’s Egg) - (From the Life of Marionettes) - Fanny & Alexander - (After the Rehearsal) - (Karin‘s Face) - (The Blessed Ones) - (In the Presence of a Clown) - (The Image Makers) - Saraband

© thevoid99 2012

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