Casablanca () - Ingrid Bergman as Ilsa Lund - IMDb
Bringing the big screen to life with description and analysis of Ilsa Lund (Ingrid loves them both, and her relationship with Rick is unfinished business or sure. This passionate exchange between Rick and Ilsa suggests that Ilsa truly . Ilsa's relationship with Victor Lazlo is undoubtedly characterized by. Casablanca is a American romantic drama film directed by Michael Curtiz based on . Laszlo, aware of Rick's love for Ilsa, tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo . The difference between Bergman's and Bogart's height caused some problems. She was two inches (5.
He was a refugee German actor who had appeared in The Cabinet of Dr. He fled the Nazisbut was frequently cast as a Nazi in American films. A major star in German cinema before the Nazi era, he was the highest paid member of the cast despite his second billing.
Peter Lorre as Signor Ugarte. Greenstreet and Lorre appeared in several films together over the next few years, although they did not share a scene in Casablanca. Curt Bois as the pickpocket. Bois was a German-Jewish actor and refugee. He had one of the longest careers in film, making his first appearance in and his last in Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne.
He was born into a Jewish family in Russia and had immigrated to the United States. The Making of Casablanca, that he was cast because he was Bogart's drinking buddy.
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The French actress was married to fellow Casablanca performer Marcel Dalio until their divorce in She was the last surviving cast member at her death on May 1, The third credited American, she was the stepdaughter of Jack L. Warnerthe studio head. John Qualen as Berger, Laszlo's Resistance contact. He was born in Canada, but grew up in the United States. He appeared in many of John Ford 's films. Sakall credited as S. Sakall as Carl, the waiter. The Jewish-Hungarian actor fled Germany in His three sisters and his niece later died in a concentration camp.
Dooley Wilson as Sam. He was one of the few American-born members of the cast. A drummer, he had to fake playing the piano. Even after shooting had been completed, producer Wallis considered dubbing over Wilson's voice for the songs.
Notable uncredited actors are: Marcel Dalio as Emil the croupier.
After he fled the fall of France and went to America, he was reduced to bit parts in Hollywood. Another Austrian, he had spent time in a concentration camp after the Anschlussbut left Europe after being freed. Gregory Gaye as the German banker who is refused entry to the casino by Rick. Torben Meyer as the Dutch banker who runs "the second largest banking house in Amsterdam".
Meyer was a Danish actor. Frank Puglia as a Moroccan rug merchant. Dan Seymour as Abdul the doorman. He was an American actor who often played villains, including the principal one in To Have and Have Not, and one of the secondary ones in Key Largoboth opposite Bogart. Gerald Oliver Smith as the Englishman whose wallet is stolen. Smith was an English actor. Norma Varden as the Englishwoman whose husband has his wallet stolen. She was a famous English character actress.
Much of the emotional impact of the film has been attributed to the large proportion of European exiles and refugees who were extras or played minor roles in addition to leading actors Paul Henreid, Conrad Veidt and Peter Lorre: A witness to the filming of the "duel of the anthems" sequence said he saw many of the actors crying and "realized that they were all real refugees".
The comedian Jack Benny may have had an unbilled cameo role, as was claimed by a contemporary newspaper advertisement  and in the Casablanca press book. That's all I can say.
The Jack Benny Fan Club can feel vindicated. The background of the final scene, which shows a Lockheed Model 12 Electra Junior airplane with personnel walking around it, was staged using little person extras and a proportionate cardboard plane.
It proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged "it would be a terrible mistake to change the ending. In the south of France, they went to a nightclub that had a multinational clientele, among them many exiles and refugees, and the prototype of Sam.
As Tangier was in Spanish territory, the theatre's wartime bar heaved with spies, refugees and underworld hoods, securing its place in cinematic history as the inspiration for Rick's Cafe in Casablanca. Koch later commented, "When we began, we didn't have a finished script Ingrid Bergman came to me and said, 'Which man should I love more?
Rick is a lawyer. To make Rick's motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the attack on Pearl Harbor. Bogart had to be called in a month after the end of filming to dub it.
Koch later claimed it was the tension between his own approach and Curtiz's which accounted for this: But when corn works, there's nothing better. Had Casablanca been made today, undoubtedly there would be skillfully photographed bedroom scenes showing sweaty skin and faces in an altered state of consciousness.
Passionate physical love is a bio-chemical bliss so powerful that many people get stuck there, preferring to be ecstasy junkies at Stage I of relationships instead of struggling to achieve true intimacy by facing the tedious emotional challenges of developed partnerships. Any mature adult knows this.
We all know this and this is exactly why we love romantic stories: Rick and Ilsa's love is the love of the erotic with a large dose of magical thinking. The flashbacks don't really show us much but if we fill in the blanks we can well imagine how they fell in love. Ilsa sexually responded to a cluster of attitudes: Rick found the beautiful Scandinavian woman uninhibited, open and responsive.
We can only guess how they are together in the bedroom but it is evident that when Rick wakes up Ilsa's Aphrodite, Athena disappears. Two years later when Ilsa walks into his cafe and rediscovers him, the feelings return. I know I'll never have the strength to leave you again.
I can't fight it anymore. I ran away from you once.
I can't do it again. Casablanca is a film classic for many reasons, one of which is its black and white photography. Theoreticians of media aesthetics tell us that black and white images are low definition, containing less information than colored ones.
Rick, Ilsa, and Laszlo: A Closer Look at Characterization in Casablanca -- Bernard J. Paris
Less information requires the perceivers to work harder in order to decode the message. By increasing our participation in decoding the message, we invest more of ourselves and the experience becomes more subjective. We first meet Rick in a foreground close-up. Only his hand is seen authorizing an advance of 1, francs.
Other close-ups reveal the objects in front of him - an ashtray with a cigarette, an empty glass, a chess board, and a pen.
Casablanca (Michael Curtiz, ) - Ilsa Only Loves Rick - south-park-episodes.info Forums
Then a slow tilt up the white tuxedoed arm to his face as he drags on his cigarette. Rick drinks and sits by himself, playing a solitary game of chess. He is a lonely man. We feel his loneliness and that's just the beginning.Casablanca Back Paris
Eventually, we will experience every emotion in the script. Even committed feminists can identify with Ilsa when she gives up her independence. Oh, I don't know what's right any longer. You have to think for both of us. How many women have loved men like Rick, the wrong men who gave them the right feelings? No matter how much pleasure we get from watching Rick and Ilsa, we know this is a relationship that would never really work. Whatever it was that brought Ilsa Lund into Victor Lazlo's life and work is still a large part of her.
She is refined, educated and noble. Rick knows this too which is why he decides to send Ilsa away with Lazlo. Inside we both know that you belong with Victor. If you stay, you'll regret it. Maybe not today, maybe not tomorrow but soon and for the rest of your life.
But Rick, what about us? We'll always have Paris. We lost it until you came to Casablanca. We got it back last night. Intuitively, we know that what happened in Paris was an illusion. In order to preserve it, they must lock it away forever, avoiding the contamination that would inevitably result from day to day reality. What follows is the most famous good-bye in cinema history: Where I'm going you can't follow.
What I've got to do you can't be any part of.