It's simply ---- GREAT

Rating: 10/10 (26 August 2006)

This movie can only be described as GREAT - and it gets even better with the passage of time and the more you see it. The tone of the story, and the presentation of the legendary Bogart persona, and his most famous characterization, Rick, the American ex-patriot owner of the famous Casablanca night club, is completely exemplified in two early scenes. The essence of "cool" and "authoritative," Rick is in the private area of his establishment. Sitting alone at a chess board, he nods to his large guardian (in Mideastern attire and fez) at the entry door as to whether persons seeking entry are to be permitted or not. One man, tall and pompous, a key official (perhaps the head) of Deutsche Bank, gets a "no" nod from Rick. As he protests, Rick joins the guard at the door, and indicates the man must limit his patronage to the bar. As the man, protesting still, hands Rick his card, Rick rips it and tosses the pieces aside.
The arrogant big-shot shouts, "What!? Do you know who I am!?" Rick,/Bogie replies with his unique look and tone, "I do; you're lucky the bar's open to you!!"
Next, Peter Lorre, as the smarmy, little, shady character, Ugarte, sits down at Rick's table. He has the "Letters of Transit" which he later gives to Rick for keeping, and which comprise a key element to this story.
But before this, conversing, he says to Rick, in his quiet nasal voice, "You despise me, don't you?" To which Bogie replies, "Oh, if I gave you any thought, I probably would."
It would be worth watching the entire film if only those two brief exchanges were all there was to enjoy. But they are only a preliminary to a picture and story which have offered everything one could desire, but even more as time passes. The drama, the depiction of the mood of the time and feeling of WW II, and sensational performances from the four principals - Bogart, Bergman, Rains and Henreid - and Lorre, Greenstreet, Wilson, Veidt, and the remainder of the supporting cast, all provide one of the most entertaining couple of hours you can find, regardless of medium or period presented.
Regarding this turbulent time during the maturation of WW II in Europe and northern Africa - as an historical, nostalgic representation of that part of our history, and this film's representation of the best of Hollywood's craft during that era - it provides us more to appreciate today than it did when produced, or when it may have been viewed during years past, and closer to the time period of the story.
If someone were to place a gun to my head and demand a criticism of any aspect of this film, the only thing I could cite would be the thought that Henreid's Victor character show perhaps a bit more energy and charisma. Henreid was one of Hollywood's most suave, virile, "continental" characters, and the man who was already noted for his lighting two cigarettes simultaneously, for Bette Davis and him in "Now Voyager." In "Casablanca" we are given to assume that the fate of the free world may hinge on his patriotic, underground leadership, and that the Nazis must fear his abilities more than Eisenhower's or Montgomery's. Granted he would have been low-key in not wanting to stir-up the authorities while seeking to leave - but Paul seemed to "lower the key" a bit more than he might have in his performance. However, this is minor, and in no way diminishes this film's greatness.