Casablanca 1942 123movies

Watch: Casablanca 1942 123movies, Full Movie Online – The story of Rick Blaine, a cynical world-weary ex-patriate who runs a nightclub in Casablanca, Morocco during the early stages of WWII. Despite the pressure he constantly receives from the local authorities, Rick’s cafe has become a kind of haven for refugees seeking to obtain illicit letters that will help them escape to America. But when Ilsa, a former lover of Rick’s, and her husband, show up to his cafe one day, Rick faces a tough challenge which will bring up unforeseen complications, heartbreak and ultimately an excruciating decision to make..
Plot: In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.
Smart Tags: #nazi #love_triangle #casablanca_morocco #nightclub #anti_nazi #french_morocco #lovers_reunited #resistance_fighter #macguffin #police #immigration_document #world_war_two #drunkenness #war_refugee #nazi_occupation #sacrifice #american_expatriate #1940s #la_marseillaise #visa #morocco

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Ratings:

	8.5/10 Votes: 570,558
	99% | RottenTomatoes
	100/100 | MetaCritic
	N/A Votes: 4482 Popularity: 24.035 | TMDB

Reviews:

I’ve just seen this on a big screen for the first time in over thirty years – no enhancements, 4K, HD – just as Michael Curtiz saw it back in 1942 and it’s a cracking piece of cinema. “Rick Blaine” (Humphrey Bogart) runs his Casablanca café as a literal oasis in the North African desert – a refuge for all sorts fleeing the oppression of the Nazis in nearby Europe. Enter “Ilsa” (Ingrid Bergman) and her husband, a Czech resistance leader “Hector Lazlo” (Paul Henried) and we discover that “Rick” and her have a past, and when the pursuing “Maj. Strasser” (Conrad Veidt) and local police chief Claude Rains (“Capt. Renault”) get involved in this cocktail of deceit and duplicity things gradually come to the boil in a wonderfully evocative, sophisticated fashion. Bogart and Bergman positively smoulder; the chemistry is electric – she, as usual, doesn’t actually act – she is just herself, and that’s all she needs to do. Rains is great as the conniving policeman as is Veidt delivering the rather sparse, but no less potent, dialogue perfectly. Like most of the best films, the key to this is it’s (seemingly effortless) simplicity – and this one also has a wonderful musical score to complement the tensely directed, eerily shot, story augmented by an hugely talented supporting cast with the likes of Peter Lorre and the superbly sleazy Sydney Greenstreet. There was a great deal wrong and inhibiting with the “studio system” that prevailed at the time, but when it did work it could pull together an astonishing collection of people in front of, and behind the camera and create masterpieces like this.

**One of the best movies of all time.**

Unlike some people, I believe that there are perfect movies. It doesn’t happen easily, but they do exist, and I’m pretty sure this is one of them. A classic in its own right, which has withstood the test of time and continues to win sympathies today, it is one of the most outstanding films in American cinema, a work that goes beyond aesthetics, art and culture, and which, over the decades, became part of the collective memory, part of the universal cultural heritage.

The film was made in 1942, in the midst of World War II, and its production was conditioned by severe restrictions on the use of raw materials considered important for the American war effort. So many of the sets are recycled, they were used in a number of other Warner films and adapted here. Another direct consequence that the war brought to this film is the huge amount of real refugees that made up the technical team and the extras, and who are deeply emotionally moved in that famous scene where the French anthem, sung with all their lungs, completely drowns out the chorus of German officers while singing a patriotic march.

The script brings us a love story: Rick and Ilsa meet and fall in love quickly in Paris. However, after a few days, the arrival of the victorious Germans in the city forces them to flee, and makes her decide to end the romance. Years later, Rick finds himself established with a bar in the city of Casablanca, in a part of Morocco controlled by the Free France, and where many refugees drink, gamble and seek the money necessary to pay the passes and visas that the authorities demand to be able to go to Portugal, a neutral country where they can, if they wish, head to the United States. It is there that the two lovers end up meeting again, in the midst of a plot that also includes a corrupt French officer, a ruthless German officer and two stolen passes, which everyone seems to want.

The cast is elegantly led by two of the biggest stars of their time: on the one hand, the heartthrob Humphrey Bogart, with his characteristic voice and pose, impeccable in one of the most complete and powerful works of his career. He knew perfectly how to give his character a pleasant dose of cynicism, self-centeredness and disenchantment. On the other hand, the beautiful and intelligent Ingrid Bergman in one of her life’s works. The film also has good performances by several supporting actors, such as Peter Lorre, Sydney Greenstreet, Conrad Veidt and also Paul Henreid and Claude Rains.

Technically, we have great praise for the masterful direction of Michael Curtiz, who had the wisdom to give the film the pace, ambience and elegance it needed to be able to flourish and marvel. With discreet production values ​​and an effort to contain expenses, the film still never feels cheap, and there’s never a moment where we can say that we didn’t have money to buy a certain prop, to improve a specific set or costume. The cinematography works very well, and the filming work seems to have been impeccable, with some strategic and well-positioned zooms marking the most dramatic scenes and the juiciest dialogues. The soundtrack doesn’t have very resonant themes, but it’s impossible to forget “As Time Goes By” after we’ve seen this film.

A masterwork for all time…
There is a scene about halfway through the movie Casablanca that has become commonly known as ‘The Battle of the Anthems’ throughout the film’s long history. A group of German soldiers has come into Rick’s Café American and are drunkenly singing the German National Anthem at the top of their voice. Victor Lazlo, the leader of the French Resistance, cannot stand this act and while the rest of the club stares appalled at the Germans, Lazlo orders the band to play ‘Le Marseilles (sic?)’ the French National Anthem. With a nod from Rick, the band begins playing, with Victor singing at the top of HIS voice. This in turn, inspires the whole club to begin singing and the Germans are forced to surrender and sit down at their table, humbled by the crowd’s dedication. This scene is a turning point in the movie, for reasons that I leave to you to discover.

As I watched this movie again tonight for what must be the 100th time, I noticed there was a much smaller scene wrapped inside the bigger scene that, unless you look for it, you may never notice. Yvonne, a minor character who is hurt by Rick emotionally, falls into the company of a German soldier. In a land occupied by the Germans, but populated by the French, this is an unforgivable sin. She comes into the bar desperately seeking happiness in the club’s wine, song, and gambling. Later, as the Germans begin singing we catch a glimpse of Yvonne sitting dejectedly at a table alone and in this brief glimpse, it is conveyed that she has discovered that this is not her path to fulfillment and she has no idea where to go from there. As the singing progresses, we see Yvonne slowly become inspired by Lazlo’s act of defiance and by the end of the song, tears streaming down her face, she is singing at the top of her voice too. She has found her redemption. She has found something that will make her life never the same again from that point on.

Basically, this is Casablanca in a nutshell. On the surface, you may see it as a romance, or as a story of intrigue, but that is only partially correct.

The thing that makes Casablanca great is that it speaks to that place in each of us that seeks some kind of inspiration or redemption. On some level, every character in the story receives the same kind of catharsis and their lives are irrevocably changed. Rick’s is the most obvious in that he learns to live again, instead of hiding from a lost love. He is reminded that there are things in the world more noble and important than he is and he wants to be a part of them. Louis, the scoundrel, gets his redemption by seeing the sacrifice Rick makes and is inspired to choose a side, where he had maintained careful neutrality. The stoic Lazlo gets his redemption by being shown that while thousands may need him to be a hero, there is someone he can rely upon when he needs inspiration in the form of his wife, who was ready to sacrifice her happiness for the chance that he would go on living. Even Ferrai, the local organized crime leader gets a measure of redemption by pointing Ilsa and Lazlo to Rick as a source of escape even though there is nothing in it for him.

This is the beauty of this movie. Every time I see it (and I have seen it a lot) it never fails that I see some subtle nuance that I have never seen before. Considering that the director would put that much meaning into what is basically a throw away moment (not the entire scene, but Yvonne’s portion) speaks bundles about the quality of the film. My wife and I watched this movie on our first date, and since that first time over 12 years ago, it has grown to be, in my mind, the greatest movie ever made.

HOW TO WATCH THIS MOVIE
There are literally hundreds of comments about this movie on IMDB. Many of them exhort its greatness. I don’t disagree with them.

But I’d like to add a suggestion to those of you out there who haven’t seen this film. I’d like to tell you HOW to watch it.

The people who made this movie didn’t think they were producing a masterpiece. Bergman left the shoot disgusted. The screenwriters were on salary for Warners, writing half a dozen movies a year, and this was just one more. Bogie was punching the clock in the middle of a workhorse career.

So as an audience member, you can’t sit down expecting gilded greatness.

Don’t have a Casablaca party. Don’t watch it on your first date, hoping it will lend that “Romantic Touch.” Don’t watch it as part of your “I need to watch the Best 10 movies of all time” Film School project.

Buy this movie on DVD. Have it at the ready. And then, one Friday night, when your plans fall through and you find it’s 10:30pm and there’s nothing on TV that’s any good, open a six pack of beer, or pour yourself some wine, and watch this movie in a darkened room.

The characters in Casablanca are absolutely devoid of sentimentalism. Every one of them sees the world without a hint of rose color in their lenses. As Rick says, “Three little people don’t amount to a hill of beans in this big old world.” If you’re in a mood where you understand what he’s saying, watch this movie and it will transport you.

There is no single movie that deserves to be called the best movie of all time. Because movies, when all is said and done, don’t amount to a hill of beans. They are meant to entertain us, not for us to worship THEM.

But no movie has ever known this fact like Casablanca.

If you watch Casablance this way, with no expectations, with no “hype,” you might catch 10 percent of its greatness on one viewing. And that will be enough to start you on your way.

Happy viewing, kid.

Other Information:

Original Language en
Runtime 1 hr 42 min (102 min), 1 hr 22 min (82 min) (cut) (West Germany)
Budget 878000
Revenue 10462500
Status Released
Rated PG
Genre Drama, Romance, War
Director Michael Curtiz
Writer Julius J. Epstein, Philip G. Epstein, Howard Koch
Actors Humphrey Bogart, Ingrid Bergman, Paul Henreid
Country United States
Awards Won 3 Oscars. 13 wins & 9 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Camera Mitchell BNC
Laboratory N/A
Film Length 2,811 m, 2,815 m (Sweden)
Negative Format 35 mm (Eastman Plus-X 1231)
Cinematographic Process Digital Intermediate (4K) (2022 remaster), Spherical
Printed Film Format D-Cinema (2012 2K Digital re-release), 35 mm (Eastman 1302)