Louis, I think this is the beginning of a beautiful friendship.
Although director Michael Curtiz and the rest of the team involved with making Casablanca could not have known it at the time, this last line of dialogue from the film perfectly characterizes the love affair movie audiences have had with this quintessential World War II romance since it premiered on November 26, 1942, in New York’s Hollywood Theatre. During the war, audiences were hungry for news and stories about the war, and films like The Battle of Midway (1942) and Mrs. Miniver (1942) mixed with documentaries like The Memphis Belle: The Story of a Flying Fortress (1944), frankly racist anti-Axis cartoons, and newsreels to keep the public informed and morale high; Casablanca was timed to appear about the same time as the Allied invasion of North Africa on November 8 and the presumed liberation of Casablanca itself. While other wartime films have lived on, none have generated the ardor fans feel for this story of “three little people” caught in a love triangle. What makes this film so compelling that it lands regularly among the top romances of all time?
Millions of words have been expended on this classic film, so it would be pointless of me to rehash what has been said better by others. What I will do is zero in on the subject of this countdown: romance. Casablanca is much more than just a boy-meets-girl kind of romance, and to show that, I’m going to have to go all schoolmarm on you. The birthplace of most of the philosophies that guide Western societies is Greece, and the Greeks had four terms for the main types of love human beings experience: agape, eros, philia, and storge. Agape means love in a spiritual or humanitarian sense, wanting the good of another. Eros, the most common love in Hollywood romances, is the passionate love of longing and desire. Philia is more general and can extend to family, friends, or activities. Finally, storge is natural love, as by a parent for a child; importantly, Greek texts also use this term for situations people must tolerate, as in “loving” a dictator. Casablanca activates each of these forms of love, giving audiences a quadruple whammy of loves so powerful that the film has become the stuff of legend, with well-remembered quotes that distill the essence of these forms of love.
Let’s start with eros, the love that’s launched a thousand movies. The central love affair of the film is between Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman), one so intensely romantic that it’s impossible to forget. Certainly, Rick’s passion for Ilsa is undying, but he keeps it under deep cover as he plays the morally indifferent, womanizing proprietor of Rick’s Café Americain, a far cry from the freedom fighter he had been when he met Ilsa in Paris weeks before the Nazis marched into that most romantic of cities. He has forbidden Sam (Dooley Wilson), the piano player he escaped Paris with on the day Ilsa abandoned him, from playing the couple’s song, “As Time Goes By.” When he hears it and races to scold Sam, he comes face to face with Ilsa, dewy-eyed with remembrance and longing for Rick. How many of us wonder at a fate that tears the thing we want most away from us (“Of all the gin joints, in all the towns, in all the world, she walks into mine.”) and then returns it transformed into an instrument of torture (“If she can stand it, I can. Play it!”).
It could be argued that the marriage between Resistance leader Victor Laszlo (Paul Henreid) and Ilsa is an example of eros as well, and for Victor, that is probably true, though the parental role he played in Ilsa’s life might mean that his began as a storge kind of love. For Ilsa, the relationship is most definitely a complicated example of storge. Not only is her love more that of a child than a grown woman—and, to be frank, gender norms often cast women as children in an unequal balance of relational power—but also one of accustoming herself to a man for whom she has no real romantic feelings, something particularly acute once Ilsa and Rick are reunited. Victor has been through great hardship at the hands of the Nazis, but his greatest tragedy is poignantly communicated when he tells Rick that he knows they both love the same woman: “Apparently you think of me only as the leader of a cause. Well, I’m also a human being. Yes, I love her that much.”
Storge and philia are best exemplified by Louis Renault (Claude Rains), Casablanca’s French police captain. A functionary of the Vichy government, Renault is the ultimate survivor, making his way by having no convictions at all. Flattering Major Heinrich Strasser (Conrad Veidt), a Gestapo officer who has been pursuing Laszlo since his escape from a Nazi concentration camp, Renault says, “We are very honored tonight, Rick. Major Strasser is one of the reasons the Third Reich enjoys the reputation it has today.” Strasser says, “You repeat Third Reich as though you expected there to be others!” In a deft sleight of hand that reveals his storge regard for France’s conquerers, Renault replies, “Well, personally, Major, I will take what comes.” Renault’s double meanings in dealing with Strasser are doubled by his philia love for Rick as a man of like mind, “the only one in Casablanca with less scruples than I.” Beneath their nonchalant exteriors, both nurture the love that conquers all in Casablanca—the love of humanity, agape.
Yes, the central love of Casablanca is agape after all. What sacrifice will the characters in this film not make for love of country, of humanity. It is this attachment to an ideal, to the thread that binds us all together at the most basic, spiritual level that resounds in generation after generation of movie fans. While there are incredible scenes of romantic love throughout Casablanca, led by Ingrid Bergman’s luminous presence and Humphrey Bogart’s commanding tenderness, the most soul-stirring scenes are explosions of agape, such as when Laszlo commands the combo at Rick’s to play “La Marseillaise” to counter the Germans singing “Die Wacht am Rhein” in celebration of their own camaraderie. The two songs are perfectly counterpointed in Curtiz’s editing and Max Steiner’s scoring, a symbolic battle of ideals to justify the sacrifices the film’s audiences and their proxies on the screen were then making on and off the battlefield. That this scene still resonates relates only in part to what modern audiences know about the horrors perpetrated by the Nazis—the love of freedom is a love that’s bred in the bone.
Curtiz and the smart script by Julius and Philip Epstein and Howard Koch continually counterpoint the soul-shriveled with the virtuous. The murdering, greedy fixer Ugarte (Peter Lorre), whose possession of the letters of transit that could see Ilsa and Victor safely out of Casablanca constitutes nothing more than a get-rich-quick scheme, contrasts Rick’s motives in keeping the letters, a way to regain his lost love and not for sale to Victor at any price. Yvonne (Madeleine Lebeau), Rick’s jilted lover, perverts romantic love by keeping company with the German officers.
Yet both Rick and Yvonne let go of their bitterness when confronted with the power of agape. Yvonne joins in singing “La Marseillaise,” tears streaming down her face, and Rick utters his immortal speech as he sends Victor and Ilsa off to continue the fight in America: “I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do, you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.” His eros love resolved and transformed by these paternalistic words into storge love, he has set Ilsa free to make her marriage a real one and found freedom for himself to return to a life that can express its love of humanity and perhaps, one day, to find romantic love again. Casablanca’s rare and wonderful ending leaves us not longing for the lovers to unite, but uplifted by the universal love that it so beautifully affirms.
Superb. I for one have nothing to add.
Very fine review of a movie masterpiece. I agree it is smart script and one of the most famous ever written. One of those rare films where so many quotes have entered the movie vocabulary. If ever there were a perfect film this would be a prime candidate.
In a word: excellent!
Let’s start with eros, the love that’s launched a thousand movies. The central love affair of the film is between Rick Blaine (Humphrey Bogart) and Ilsa Lund (Ingrid Bergman), one so intensely romantic that it’s impossible to forget.
Well Marilyn, needless to say as I fully expected you have ended this countdown in high style, with a very unique and enthralling approach to the central theme of CASABLANCA – one that has kept the film so wildly popular all these years, despite so much appeal with other of its noted attributes, including the celebrated one Frank mentions as a follow-up to your original contention during the review proper. In a countdown of some fantastic and superlative submissions yours certainly has made a rendezvous with them in the spirit of this glorious project’s coda. I do love the “eros” exploration quite a bit, and salute you with the same vigor as those singing the French national anthem in the cafe did.
And here’s to Max Steiner, the iconic cast, the utter definition of a screenplay, and some of the greatest scenes ever filmed by an American director. Somehow we all knew this film would end up Number 1, right?
Splendid piece for my all-time favorite film, Marilyn.
Thank you, all. There is so much that could be said about this superb film, and many avenues to explore. I hope nobody is disappointed that I didn’t travel them all, but wanted to add something a little unique to the ongoing cultural discussion that has been Casablanca.
I had no idea for this as number one! I tried to conjured what would be, of course my study of the movies is not as abundant as the knowledge of this group.
I was surprised at first, and said “of course” what else. For some odd reason I don’t or didn’t consider this as a romantic film, not like so many others.
Marilyn you have allowed me to see this film from such a deeper place. These Archetypes of love and survival which carry this film are so entrenched one may only feel them rather than see them.
Friendship, honor, and romantic relationships blend like the black and white film in the mist of our memories…
Wonderfully expressed! Thank you Marilyn!
Jeff I agree with all you say here. This is absolutely the best and most original review of CASABLANCA I have read anywhere, anytime, and I have read over a hundred. Just an incredible way to end this countdown.
“I’ve got a job to do, too. Where I’m going, you can’t follow. What I’ve got to do, you can’t be any part of. Ilsa, I’m no good at being noble, but it doesn’t take much to see that the problems of three little people don’t amount to a hill of beans in this crazy world. Someday you’ll understand that.” His eros love resolved and transformed by these paternalistic words into storge love, he has set Ilsa free to make her marriage a real one and found freedom for himself to return to a life that can express its love of humanity and perhaps, one day, to find romantic love again. Casablanca’s rare and wonderful ending leaves us not longing for the lovers to unite, but uplifted by the universal love that it so beautifully affirms.”
Absolutely right on Marilyn. This film isn’t just romantic, it inspires a kind of belief in goodness and we as viewers are indeed uplifted in many ways. I love your analysis of the forms of love. Really makes one think of how the film works it’s magic, but, it’s all so effortless that it doesn’t feel like the film is ever stretching too far. It’s a film I love more and more each time I see it. I also pick up little things each time. The BluRay looks absolutely beautiful as well. This is also a film where the dialogue is so rich. There’s a deftness to it yet it’s filled with so many beautiful lines. I marvel at how enjoyable the film is just to listen to. This was my number one film. Great review!
It is indeed so apparently effortless in its craft, Jon, that it’s easy to take for granted how incredibly sophisticated its construction is. We’ve been taught to look at romance as eros only, and in those types of films, if the lovers don’t get together, it’s anything from a letdown to a tragedy, as with Romeo & Juliet. The Allied effort to defeat the Axis powers inspired some really terrible propaganda and cardboard films. Only Casablanca seemed to know what we were fighting for in the universal sense.
Fascinating approach. With all the feathers in Casablanca’s cap, we can conclude this is another one. Marvelous and engaging read on one film that is in an analytical sense inexhaustible.
Marilyn –
A truly brilliant review. Framing your analysis within the Greek concept of the four loves gives you review a fresh and original concept, which is damned difficult to pull off, given how beloved and often written about is CASABLANCA. But you did it splendidly. And beyond that, just a very engaging, enjoyable read.
Pat, that was exactly the challenge I set myself when choosing Casablanca. It really forced me to think about why this film has held up and is held in such high regard even today. I’m glad you think I pulled it off.
Brilliant job Marilyn. This is not an easy review to pen down, especially since so much has been written as you point out. That is why your approach is so refreshing and a delight to read. I am really glad you tackled the film through the prism of romance. Just a perfect way to end this wonderful countdown.
Thanks, Sachin. It has been a great countdown, and an honor to be the writer for the Number 1 film.
An astounding review, perfectly capturing a much-poured-over film’s essence and, further, fully defining all aspects of love, thus making it the perfect capper for this superb series. How I wish I could write like this!! Breezy, smart, fresh. You make it seem effortless, Marilyn. I bow to you in humble awe. And I do mean awe: I think I might have been paralyzed by the notion of covering such an iconic work.
Oh, Dean, you flatter me too much. I’ve been writing a long, long time. Practice does really count. But thank you.
A remarkably inspired review on the greatest of films. Can’t think of any other film more difficult to added to, but this is genius. One of the best countdown reviews I have read.
Thank you kindly, Tim.
Millions of words have been expended on this classic film, so it would be pointless of me to rehash what has been said better by others. What I will do is zero in on the subject of this countdown: romance.
There couldn’t be a better approach, and the results have produced a tour de force from Ms. Ferdinand. Using the term from the ancient Greek was a novel idea, and I’d say the shoes fit in every relationship. Some of us kid ourselves into thinking Casablanca is a war movie or a suspense yarn about letters of transit. It even makes a bid to hang out on the border of film noir. But none of it would have worked without the emotional center from the romances described, especially of course the one shared by Bogart and Bergman.
The idea of romance examined in this essay can serve as the final word for this outstanding, sometimes brilliant project.
I don’t like to be the final word, David, but in terms of the countdown, I guess I am. Glad you enjoyed my approach.
Someone has to say it. Not only is this a great romance, it’s a great. early, bro-mance.
Yes, John, it is.
I’m a bit late to the party, Marilyn, but feel the need to comment, as others have, on the excellence of your approach to discussing this film. The choice to address the different kinds of love is brilliant and truly pinpoints the essence of the film’s quality and popularity over the years. Your essay couldn’t have been any finer to highlight the #1 choice in this countdown.
My own love of this film was late in coming. I think I resisted liking it because it was so popular. It wasn’t until the last 10 years or so that I acknowledged to myself that it really is a great film. And, as you seem to be saying, the reason this is so is because the film isn’t just about eros but all the other types of love as well. Bravo, Marilyn.
Pierre – Thank you so much for your kind praise. I had the same resistance as you, so I completely understand. As I’ve learned more about film and how it works, I find Casablanca to be just about the most completely realized film we have. Its archetypal dynamics mix so seamlessly with its musical score and cinematography, and the script is exceedingly well written. Even the romance between Bogey and Bergman, which I found a little hard to take given their relative ages, makes so much sense with how Ilsa is written. The entire package is so well balanced, paced, and directed that it seems like a little miracle to me.
Wow, Marilyn, your last comment here gives us all a capsule clue as to the direction you might have taken had you decided to go the conventional route – complete with rightful acknowledgments to its iconic components- though I still wouldn’t trade in the masterpiece you did write for it, “As Time Goes By” or no “As Time Goes By.” 🙂
Yes, but I chose NOT to “play it again, Sam!” 🙂
Ah ha, love it!!!! 🙂
A quite brilliantly novel approach to a much beloved iconic classic and a perfect conclusion to one of the very best countdowns there’s been. Thank you.
Bobby – I thank you. I’ve enjoyed this very much.