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Purchase Casablanca (1942) Movie Online and Download - Michael Curtiz 🎥
Year:
1942
Country:
USA
Genre:
Drama, War, Romance
IMDB rating:
8.6
Director:
Michael Curtiz
Humphrey Bogart as Rick Blaine
Ingrid Bergman as Ilsa Lund
Paul Henreid as Victor Laszlo
Claude Rains as Captain Renault
Conrad Veidt as Major Strasser
Sydney Greenstreet as Signor Ferrari
Peter Lorre as Ugarte
Joy Page as Annina Brandel
John Qualen as Berger
Leonid Kinskey as Sascha
Curt Bois as Pickpocket
Storyline: In World War II Casablanca, Rick Blaine, exiled American and former freedom fighter, runs the most popular nightspot in town. The cynical lone wolf Blaine comes into the possession of two valuable letters of transit. When Nazi Major Strasser arrives in Casablanca, the sycophantic police Captain Renault does what he can to please him, including detaining a Czechoslovak underground leader Victor Laszlo. Much to Rick's surprise, Lazslo arrives with Ilsa, Rick's one time love. Rick is very bitter towards Ilsa, who ran out on him in Paris, but when he learns she had good reason to, they plan to run off together again using the letters of transit. Well, that was their original plan....
Type Resolution File Size Codec Bitrate Format
720p 1472x1080 px 8137 Mb h264 11090 Kbps mkv Purchase
HQ DVD-rip 720x480 px 1507 Mb h264 2052 Kbps avi Purchase
DVD-rip 640x360 px 1316 Mb h264 1792 Kbps avi Purchase
Reviews
Time Hasn't Gone By This Classic!
I saw this movie in college 20 years ago with over seventy 18-23 year old fellow students. And the audience reaction was like the movie just came out yesterday. Here's a movie that assumes that the average audience has intelligence. And the tons of laughs were all in the right places for the right reasons. Twenty years later, I can still hear the laughter and applause...and the cheers; especially for that now classic closing line.

If more black and white classics were given this kind of DVD treatment (the recent 2 disc release), then I'd own more black and white classics. Bogart's brilliant portrayal was ahead of its time and no one else but Bergman could of been Elsa. Same for Rains, Henreid, Sakall, Veidt and EVERYONE else. Perfect cast, perfect acting.

It's a shame most people will never see this with an audience because this is a crowd pleaser if ever there was one. So the next best thing is the quality and care that was put into the new DVD. Believe it or not, this makes a great "at home" date flick. And even have a few friends over...but not the 'chatty' ones. There's just too much to miss if so and so starts to "yackitty! yackitty! yackitty! during the many (& there are many) priceless and subtle moments. This movie deserves full attention. And the nice thing is...you pick up more the 2nd time seeing it (& 3rd, 4th...etc).

My favorite line (no way am I repeating it or any others) is Rick's "poor salesmanship" rejection. This one film has more great 'one liners' than some hundred movies put together. And it still seems as fresh today as when...well; when I saw it the 1st time.

It's not that "they don't make em like this anymore" applies to 'Casablanca' because most movies, for every year, in every era (since the 1920's); aren't very good. It's always the very few that rise above the heap, every year; especially when you take into account that over 100 movies are made every year. But 'Casablanca' represents a sample of damn fine storytelling for that particular era that time has proved to be...timeless.

A 'must see' for most movie lovers (but not the 'yackitty' ones).

10 out of 10!

(Can't wait for Bogart's "Treasure of the Sierra Madre"s 2 disc DVD release next month. Another sample of just how brilliant Bogart's acting is.)

2003-08-18
One of the two greatest American films
"Casablanca" is unquestionably one of the two greatest American films. Everything about it (except possibly the special effects) is either perfect or so close it doesn't even matter. I'm writing this having just gone to see it with my sweetie at a packed-house Valentine's Day showing in a restored classic movie palace. If you ever have the chance to see a beautiful print of this film on a really big screen in such a venue, with an audience totally in love with it, DO NOT DO NOT DO NOT pass up the opportunity! When people used to refer to the "silver screen," it's this movie and a few others that they were talking about--it literally shimmers like finely wrought silver.

Oh yes, the other greatest American film? "Citizen Kane," and for many of the same reasons. Interesting that these two films were made almost at the same time, "CK" being released in 1941 and "Casablanca" in 1942.
2007-02-10
Romance? Yes, But Men Will Like It, Too!
"Here's looking at you, kid."

"This could be the beginning of a beautiful friendship."

"I don't stick my neck out for nobody."

"Round up the usual suspects."

"I'm shocked, SHOCKED, to find that gambling is going on in here!"

"Did you abscond with the church funds?"

"We'll always have Paris."

These are just some of the lines from this movie which have made their way into our lexicon. Of course, I did save the most famous one for last: "Of all the gin joints in all the towns in all the world, she walks into mine."

Welcome to "Casablanca", regarded as one of the most popular movies of all time. I know, I know, everybody says that, but it's true. When people criticize movies today, Casablanca is usually one of the "go-to" films they turn to when they say "They don't make 'em like they used to."

And, they would be correct.

Ask any woman to name her top-five most romantic movies, and "Casablanca" will likely show up on her list. And when it comes to movie romances, men's eyes usually glaze over at the mere mention of them. Well, I am here to tell you there is plenty to keep a man's attention in this film and, in the end, he may actually walk away in a non-catatonic state.

First, you have Humphrey Bogart as Rick Blaine, owner and proprietor of Rick's Café Americain in the city of Casablanca. An expatriated American, Rick is a cynic whose establishment is just this side of illegal, yet he manages to stay in business and make a good living at it. And besides, it's Bogey!

Then there's Claude Rains as the local chief of police, Louis Renault. Captain Renault is slippery as an eel, especially when it comes to dealing with those in authority above him. He's also inquisitive, intelligent, and hypocritical.

Up next are the Nazis. Morocco was French territory in 1941, and the Germans occupied France during that time. Here, they are presented as ambitious warmongers bent on world domination (and that would be correct). With the Nazis around, there is an inbred conflict from the get-go, as Casablanca is portrayed as a hub for the French Resistance during World War II. I should also point out that this is the earliest American film I know of that not only uses the term "concentration camp" by name, but it also suggests that people have died within them.

Throw in a murder or two, and you have the makings of a good film-noir. Okay, so "film-noir" officially sprang up after World War II, but it still feels like one. The camera angles, shot composition, lighting, use of shadow, a brooding leading man (Bogart), and a tormented femme fatale (Ingrid Bergman) all add up toward the formula.

All of this is capped off with sardonic wit and tight drama, signs of a well-written script (which, interestingly enough, was cobbled together right up to the very end of filming). Also, the timing of this movie is what made it such a hit. It ranks right up there with "On the Waterfront" (1954), "The China Syndrome" (1979), "Guess Who's Coming to Dinner" (1967), "In the Heat of the Night" (1967), and "The Deer Hunter" (1978) in terms of topicality within the society of the day.

So, you men out there, when your woman suggests watching "Casablanca", throw some popcorn in the microwave. Trust me, you'll be able to sit through this one!
2006-11-18
"I should never have switched from scotch to martinis."
The Petrified Forest convinced the world Bogart was a bad guy. And for years he shocked and awed the audience with roles fitting that image. The Maltese Falcon showed a new kind hero, one with an edge. Bogart, with all the right things to say and seemingly never losing his cool. Then came Casablanca and the ages. The man's – man comes with a heart. Arguably, three of his best pictures. All showing a change in a man's character and the depths of what acting is supposed to be. Maybe it was Warner Bros all along. Maybe Bogart was simply Bogart.

What can I say about this film that hasn't been said in over 60 years since its release. Is it a great film? Yes. Is it a showcase for Bogart? If not, than what else. Was Bogart the coolest guy to ever live? Absolutely. Casablanca is a different kind of love story, more likely to infect rather than effect.

She almost makes me believe it every time. When she says, "You're very kind." Bergman was more than just beautiful. And with Paul Henreid, Claude Rains, Conrad Veidt and Peter Lorre, cinema magic was created. But to me, Bogart was the greatest actor of all time. It's hard for me to believe he died almost 50 years ago. Every time I watch his films, it's like they were made yesterday. And that's why he is timeless. I'm still trying to figure him out.

"I should never have switched from scotch to martinis." Is said to be Bogart's last words. A legend, indeed.
2006-12-06
Of all the gin joints, in all the world...
Sunday, November the 20th is the anniversary of Marcel Dalio's death in 1983. It was the end of a serendipitous life. You know him. He was a citizen of the world. Born Israel Moshe Blauschild, in Paris, in 1900, he became a much sought-after character actor. His lovely animated face with its great expressive eyes became familiar across Europe. He appeared in Jean Renoir's idiosyncratic Rules of the Game, and Grand Illusion, arguably the greatest of all films. True to his Frenchman's heart, he married the very young, breathtaking beauty Madeleine LeBeau. He worked with von Stroheim and Pierre Chenal. He had it all.

But then the Germans crushed Poland, swept across Belgium and pressed on toward Paris. He waited until the last possible moment and finally, with the sound of artillery clearly audible, with Madeleine, fled in a borrowed car to Orleans and then, in a freight train, to Bordeaux and finally to Portugal. In Lisbon, they bribed a crooked immigration official and were surreptitiously given two visas for Chile. But on arriving in Mexico City, it was discovered the visas were rank forgeries. Facing deportation, Marcel and Madeleine found themselves making application for political asylum with virtually every country in the western hemisphere. Weeks passed until Canada finally issued them temporary visas and they left for Montreal.

Meanwhile, France had fallen and, in the process of subjugating the country, the Germans had found some publicity stills of Dalio. A series of posters were produced and were then displayed throughout the city with the caption 'a typical Jew' so that citizens could more easily report anyone suspected of unrepentant Jewishness. The madness continued. 'Entree des artistes', a popular film, was ordered re-edited so that Dalio's scenes could be deleted and re-shot with another, non-Jewish, actor.

After a short time, friends in the film industry arranged for them to arrive in Hollywood. Nearly broke, Marcel was immediately put to work in a string of largely forgettable films. Madeleine, a budding actress in her own right, was ironically cast in 'Hold Back the Dawn', a vehicle for Charles Boyer with a plot driven by the efforts of an émigré (Boyer) trying desperately to cross into the United States from Mexico. But the real irony was waiting at Warner Brothers.

In early 1942, Jack Warner was driving production of a film based on a one act play, 'Everybody Comes to Rick's' but had no screenplay. What he had was a mishmash of treatments loosely based on the play and two previous movies. But he had a projected release date and a commitment to his distributors to have a movie for that time slot and little else. Warner Brothers started to wing it.

Shooting started without a screenplay and little plot. Principal players were cast and a director hired but casting calls for supporting roles and bit players continued and sometime in the early spring Marcel Dalio and Madeleine LeBeau were cast as, respectively, a croupier and a romantic entanglement for the male lead. Veteran screen-writers were hired to produce a running screenplay, sometimes delivering pages of dialogue one day, for scenes to be shot the following day. No one knew exactly where the plot would go or how the story would turn out. No one was sure of the ending. And, of course, they produced a classic, perhaps the finest American movie.

They produced a screenplay of multiple genres, rich with characterizations, perfectly in tune with the unfolding events in Europe and loaded with talent from top to bottom. Oh, and they changed the title to 'Casablanca'.

It is so well known, that many lines of long-memorized dialogue have passed into the slang idiom. 'We'll always have Paris', 'I was misinformed', 'Here's looking at you, kid', ' I am shocked! Shocked! To find that there's gambling going on in here!', 'Louis, I think this is the beginning of a beautiful friendship', 'Oh he's just like any other man, only more so', 'I don't mind a parasite. I object to a cut-rate one', 'Round up the usual suspects', and, of course, the oft quoted, apocryphal, 'Play it again, Sam'.

Madeleine LeBeau plays Yvonne, the jilted lover of Humphrey Bogart, who is seen drowning her sorrows at the bar early in the film and who later, to get back at Rick and looking for solace takes up with a German officer finding only self-hatred. She is luminous.

And when Claude Rains delivers the signature line, 'I'm shocked! Shocked! To find that there's gambling going on in here!' the croupier, Emil, played by Marcel Dalio, approaches from the roulette table and says simply, 'Your winnings, sir.' It is a delicious moment ripe with scripted irony, one among many in this film, but one made all the more so, knowing where Dalio came from and what he and his wife had endured to arrive at that line.

I have often wondered exactly when they saw the final script or if they only realised the many parallels to their own lives when the film was released.

Alas, they separated and divorced the next year, both going on to long successful careers. Dalio never remarried.

Late in his career, when Mike Nichols was looking for a vaguely familiar face to deliver a long and worldly, near-monologue in Catch-22, he turned to Dalio. Faced with a hopelessly idealistic young American pilot, Dalio, as simply 'old man in whore house', in tight close-up, delivers a discourse on practical people faced with impractical circumstances, of the virtues of expedience in the face of amorality . Using his wonderful plastic features, now beginning to sag, in a voice full of melancholy, the old man reassures the young man that regardless of what 'grand themes' may be afoot in the world, in the end, little matters but survival.
2005-11-18
the problems of two little people ...
Everyone remembers 'As Time Goes By' (the song that only stayed in the film, so popular culture has it, because Bergman had cut her hair for 'Joan of Arc', and couldn't retake scenes using another tune) but there is much more to this world-weary romance.

Bogart, of course, was hardly the usual romantic movie hero. Which is possibly what makes him so perfect for Rick, in his Casablanca nightspot, on nobody's side. He spars with Claude Rains (the crooked police captain) and Sidney Greenstreet (a rival bar owner) like a trooper, has a quiet contempt for Paul Henreid (a freedom fighter) and Peter Lorre (a thief), gives Conrad Veidt (the Nazi Major) as good as he gets, is on the level with employees Dooley Wilson and Cuddles Sakall.

Through all this, truly loves Ingrid Bergman (the beautiful Ilse, the love of his life). It is their story, but not the story you might expect. This is the secret, I think, of 'Casablanca' and its lasting success. From the moment we see the map and the film title to the 'beautiful friendship' line at the end, we're hooked. Every performance is a lasting joy.
2003-07-11
perfect
Casablanca is the closest thing to a perfect movie that has ever been made. It's the perfect length to tell its story but not drag, and it has suspense, humor, drama, romance, music, and everything else you would want in a movie. Screw the AFI-Casablanca is the single best movie ever to come out of Hollywood and I doubt it will ever be topped.
2003-04-10
One of the best ever!
This film works surprisingly well sixty years after its original release. The story unfolds, and as it does it genuinely sucks the viewer in. You actually care about what happens to these people.

The pictures are beautiful and the acting is superb. Bogart of cause shimmers with his unique mix of poppy eyes, heart broken righteousness, and very masculine stoutness. Yes - we have yet to see his like.

It's easy: 10/10

(ohh: By the way, all the actors are marvellous characters: From the fat, patriotic waiter, to the French police inspector – and needless to mention: Ingrid Berman!)
2003-02-03
Hollywood at its absolute best
I just watched Casablanca last night, and it's one of the greatest films I have ever seen in my life. Everything about it is great. For one, it is one of the most gripping love stories ever to hit the screens, and its romantic drama has rarely been matched since it was made. Same goes for the acting, which is some of the finest in film history. All of this and more will put together one of the greatest movies you will ever see. Period.

Rick Blaine (Humphrey Bogart) is an ex-freedom fighter who now runs a nightclub in Casablanca, a place filled entirely with French refugees seeking unauthorized transit passes so they can escape to America. Victor Laszlo (Paul Henreid), who is at the top of the Nazi most wanted list, comes to Casablanca with his wife Ilsa (Ingrid Bergman), a former lover of Blaine who departed him when the Nazis overtook Paris. She wants her husband to escape, but her love for Rick re-ignites, and she wants to stay in Casablanca. However, things become more dangerous for the Laszlos, and despite their revived love for each other, Rick convinces Ilsa that she must leave with her husband. He then sees her off on a plane on a fog-enshrouded runway in one of the greatest movie conclusions of all time.

There are so many moments, many of which will forever be unforgotten, in Casablanca that stand out even when compared to greater or bigger films. Every scene is gripping, like when Rick has a flashback to his romantic times with Ilsa in Paris while piano player Sam (Dooley Wilson) plays "As Time Goes By", or when Rick walks out onto the runway and tells Capt. Renault (Claude Rains), "Louis, I think this could be the start of a beautiful friendship". But these invincible moments obviously don't need retelling, for almost everyone knows of them. As for the timeless cast, Humphrey Bogart is simply stunning as the leading man. The class, drama, and brilliance in his performance are impossible to match, although there have been countless attempts to try to surpass it. Ingrid Bergman is simply gorgeous, and contributes a performance that's worth cheering for. In fact, all of the performances in this movie will have you cheering.

This is the kind of film that many other Hollywood movies have followed the footsteps of, yet probably very few have rivaled or suprassed. In a nutshell, Casablanca is a sweeping classic that will leave you breathless. From Humphrey Bogart's classy acting to the great ending, there is not a flaw to speak of. In the battle of the ultimate classics, it's not as good as Citizen Kane (despite a higher star rating, but star ratings don't speak all of the volumes in my book). But it's still a fantastic movie. Watch it and enjoy it.

`Here's looking at you kid!'

***** out of *****
2003-02-08
Outstanding...
Casablanca is the sort of film that suffers from its reputation. People walk into it expecting to see the greatest film of all time and are disappointed when it doesn't measure up to their own pet faves. But if it doesn't have the depth of some masterpieces, it is certainly among the most entertaining, with a brilliantly witty script, a superb cast and one of the most stirring scenes in all cinema, the so-called Battle Of The Anthems when Laszlo incites Rick's patrons in a recital of La Marseillaise. It also broke social ground, with Sam the pianist (Dooley Wilson) being one of the first black roles to be treated as (almost) an equal. Most of all, it's a film you can watch again and again. If you haven't yet, give it a try; it could be the start of a beautiful friendship.
2007-03-05
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