Casablanca Movie Quotes

Of all the gin joints, in all the towns, in all the world, she walks into mine…

Ugarte: You despise me, don't you? Rick: If I gave you any thought I probably would.

Her favorite animal was sea lions. Mine was giraffes. Her favorite movie was Casablanca, which she said was old and black-and-white and very romantic. She tried to tell me what it was about, but it all sounded about as much fun as eating burned bread crusts.

Hi," I said, IN SCINTILLATING DIALOGUE REMINISCENT OF THE CLASSIC MOVIE CASABLANCA.

Of all the gin joints in the world, she had to walk into mine Casablanca

You know who they wanted to play Rick?" Aaron asked. I shook my head. Why was I so tense? Didn't Aaron's question prove that we were just a couple of old-movie fans swapping Hollywood trivia gossip? "Ronald Reagan," said Aaron. "The worst president ever," I said. "You weren't born yet," he said. "What difference does that make?" I said.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

We stood in the wings together, side by side. Reed's mouth was still agape. "It makes sense when you think about it," I mused. "You get two people together who have you-know-what, and sparks are going to fly." Reed's cue was about to start. He pointed at me and said, "Tonight. There's a party. And we're going to talk." "Yes" "Because this is crazy." "Totally." "Okay. Well." He tugged a strand of my hair. "Good luck out there." "You're not supposed to say that." "Fine. How about..." He squinted at me. "Here's looking at you kid." The smile melted off my face. "What did you say?" "It's a line. From a movie." He shrugged and burst onto the stage with a hee-haw. It was a line. From Casablanca. The same line KARL had said to me when I was Elsa. The same like Karl didn't recognize when I said it to him as Floressa. Which meant... nothing. Right? Lots of people know that line. Just because Reed said it, and Reed was a sub, it didn't mean he was... he was... "You're on," the stage manager whispered. I stumbled onto the stage. The lights were too bright. The theater was packed. Reed gave me a quick, crooked smile, and I knew. My crush on Karl was less complicated than I thought, because it wasn't Karl I'd been with that day in the garden. Now my crush on Reed... ? THAT was a scandal all on its own.

I decided to begin with romantic films specifically mentioned by Rosie. There were four: Casablanca, The Bridges of Madison County, When Harry Met Sally, and An Affair to Remember. I added To Kill a Mockingbird and The Big Country for Gregory Peck, whom Rosie had cited as the sexiest man ever. It took a full week to watch all six, including time for pausing the DVD player and taking notes. The films were incredibly useful but also highly challenging. The emotional dynamics were so complex! I persevered, drawing on movies recommended by Claudia about male-female relationships with both happy and unhappy outcomes. I watched Hitch, Gone with the Wind, Bridget Jones’s Diary, Annie Hall, Notting Hill, Love Actually, and Fatal Attraction. Claudia also suggested I watch As Good as It Gets, “just for fun.” Although her advice was to use it as an example of what not to do, I was impressed that the Jack Nicholson character handled a jacket problem with more finesse than I had. It was also encouraging that, despite serious social incompetence, a significant difference in age between him and the Helen Hunt character, probable multiple psychiatric disorders, and a level of intolerance far more severe than mine, he succeeded in winning the love of the woman in the end. An excellent choice by Claudia.

It is possible that one of the seven other major studios might have bought and made a movie from Everybody comes to Rick's, an unproduced play about a cynical American who owns a bar in Casablanca. (One producer at M-G-M, Sam Marx, did want to buy the play for $5.000, but his boss didn't think it was worth the money.) It wouldn't have been the same movie, not only because it would have starred Gary Cooper at Paramount, Clark Gable at M-G-M, or Tyrone Power at Fox but because another studio's style would have been more languid, less sardonic, or opulently Technicolored.

Movies today are bigger, brighter, technically dazzling, awesome in their computer generated special effects. But they are also thinner; they lack the thick layers of character actors who brought depth to the background and refracted the stars’ light, so that it formed a different and more complicated image.

Today, any movie that didn’t show Rick and Ilsa sweatily grappling with each other’s naked bodies in Rick’s apartment above the café would be considered old-fashioned. But graphic sex wipes out ambiguity, and the ambiguity in Casablanca, the uncertainty about events and motives, is one of the things that still entices us.

The world is a cornucopia of grays. I believed the romantic interpretation of Casablanca then - love lost for the good of the world - and believe it now. But it is the very ambiguity of Casablanca that keeps it current. No movie can last if it cannot find new things to say to new generations. Captain Renault, the one gray character in a black and white time, would’ve been amused.

* In his new concealment almost directly below them at the base of a tall cypress, Mickey was reminded of those boring talk-talk scenes in the movies, the ones you had to wait through for the action to start up again.

By the time she was given the role (of Ilsa Lund) in April, Bergman would have accepted a script much worse than Casablanca. She had been stuck in Rochester, New York, where her husband was in medical school, since August, and she despaired of ever making another movie.

By the time she was given the role (of Ilsa Lund) in April, Bergman would have accepted a script much worse than Casablanca. She had been stuck in Rochester, New York, where her husband was in medical school, since August, and she despaired of ever making another movie. She wrote despairing letters to Ruth Roberts from Rochester, New York where her husband Petter Lindstrom, who had been a dentist in Sweden, was preparing to become a neurosurgeon. "I am so fed up with Rochester and Main Street I am ready to cry," she wrote.

For instance, I love the movie Casablanca. Who doesn’t? No matter how many egghead critics declare Citizen Kane to be the greatest American movie, we all know it’s Casablanca in fact.

Annette says I’m precocious because I always have my nose buried in a book. But then she rarely reads anything more taxing than the latest Hollywood movie magazine and I’d rather be precocious than only ever thinking about film stars and boys and hairdos.

She’s started plucking her eyebrows, too, to look like the photos of Hedy Lamarr in the movie magazines, but I think it just makes her look like she’s surprised the whole time.

But I can keep her sequestered in her room until the case is solved.” “Wonder how long that’ll take, Cy?” “I don’t know. Sometimes it takes years to solve a murder.” The two of us laughed, even though both of us knew that neither of us would be satisfied if the case dragged on. “Okay, Louie, it’s time to inconvenience the guests. Round up the usual suspects.” My partner laughed at my reference to the movie Casablanca, then turned toward the door. Our job wasn’t finished. It had barely begun.

In the film Casablanca, Ilsa Lund (Ingrid Bergman) and Victor Laszlo (Paul Henreid) were to fly to Portela; in fact Portela Airport actually looked rather similar to the movie set version of Casablanca Airport.

But no single star of the genre captivated Osip more than Humphrey Bogart. With the exception of Casablanca (which Osip viewed as a woman’s movie), they had watched all of Bogart’s films at least twice. Whether in The Petrified Forest, To Have and Have Not, or, especially, The Maltese Falcon, Osip appreciated the actor’s hardened looks, his sardonic remarks, his general lack of sentiment. “You notice how in the first act he always seems so removed and indifferent; but once his indignation is roused, Alexander, there is no one more willing to do what is necessary—to act clear-eyed, quick, and without compunction. Here truly is a Man of Intent.