Casablanca: the Greatest Screenplay
Fade in:
A black and white screen displays a churning globe that settles on Paris France. And the deep and ominous sounding voice of Lou Marcelle begins the journey that is Michael Curtiz’s 1943 film, “Casablanca”:
“With the coming of the second World War many eyes in imprisoned Europe turned hopefully, or desperately, to the freedom of the Americas. Lisbon became the great embarkation point, but not everyone could get to Lisbon directly, and so a tortuous, roundabout, refugee trail sprang up; Paris to Marseille, across the Mediterranean to Oran, then by train, or auto, or foot to Casablanca in French Morocco.”
Last stop: Rick’s Café Americain—December 1941. “Here, the fortunate ones, through money, or influence, or luck, might obtain exit visas and scurry to Lisbon, and from Lisbon to the New World. But the others wait in Casablanca – and wait – and wait – and wait.” for all the waiting though there is hardly a lull in the momentum of “Casablanca”.
It is a truly remarkable film with a cast as diverse as World War II Casablanca itself which aides the film in capturing the essence of the time perfectly. However, it is not just star power like Humphrey Bogart, and cast diversity, or authenticity, from the likes of German star Conrad Veidt that brings “Casablanca” to life. The film achieves its legendary status through a harmonious blend of dynamic characters, and music, brilliant camera work, and in the shared opinion of myself, and the Writers Guild of America (West), the greatest screenwriting ever conducted in Hollywood.
Responsible for the dramatic continuity and witty dialogue that so masterfully show, and tell, the story of “Casablanca” are the writers Howard Koch, and the twin brothers Julius J. and Philip G. Epstein. It is unlikely that a better trio of writers could have been assembled to collaborate in the creation of Warner Brother’s “Casablanca”. Koch, a successful playwright, and author of sophisticated screenplays, earned a reputation for the
A black and white screen displays a churning globe that settles on Paris France. And the deep and ominous sounding voice of Lou Marcelle begins the journey that is Michael Curtiz’s 1943 film, “Casablanca”:
“With the coming of the second World War many eyes in imprisoned Europe turned hopefully, or desperately, to the freedom of the Americas. Lisbon became the great embarkation point, but not everyone could get to Lisbon directly, and so a tortuous, roundabout, refugee trail sprang up; Paris to Marseille, across the Mediterranean to Oran, then by train, or auto, or foot to Casablanca in French Morocco.”
Last stop: Rick’s Café Americain—December 1941. “Here, the fortunate ones, through money, or influence, or luck, might obtain exit visas and scurry to Lisbon, and from Lisbon to the New World. But the others wait in Casablanca – and wait – and wait – and wait.” for all the waiting though there is hardly a lull in the momentum of “Casablanca”.
It is a truly remarkable film with a cast as diverse as World War II Casablanca itself which aides the film in capturing the essence of the time perfectly. However, it is not just star power like Humphrey Bogart, and cast diversity, or authenticity, from the likes of German star Conrad Veidt that brings “Casablanca” to life. The film achieves its legendary status through a harmonious blend of dynamic characters, and music, brilliant camera work, and in the shared opinion of myself, and the Writers Guild of America (West), the greatest screenwriting ever conducted in Hollywood.
Responsible for the dramatic continuity and witty dialogue that so masterfully show, and tell, the story of “Casablanca” are the writers Howard Koch, and the twin brothers Julius J. and Philip G. Epstein. It is unlikely that a better trio of writers could have been assembled to collaborate in the creation of Warner Brother’s “Casablanca”. Koch, a successful playwright, and author of sophisticated screenplays, earned a reputation for the