Casablanca (1942): Play it Sam, Play As Time Goes By. Ingrid Bergman, Humphrey Bogart, Sinatra sings - YouTube Casablanca (1942): Play it Sam, Play As Time Goes By. Ingrid Bergman, Humphrey Bogart, Sinatra sings Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 17, 2011 Casablanca (1942): Play it Sam, Play As Time Goes By, Ingrid Bergman, Humphrey Bogart, Frank Sinatra sings, Ilsa: Play it once, Sam, for old times' sake. Sam: I don't know what you mean, Miss Ilsa. Ilsa: [whispered] Play it, Sam. Play As Time Goes By. Sam: Why, I can't remember it, Miss Ilsa. I'm a little rusty on it. Ilsa: I'll hum it for you. [Ilsa hums two bars.

Sam starts to play] Sing it, Sam. Sam: [singing] You must remember this A kiss is just a kiss A sigh is just a sigh The fundamental things apply As Time Goes By (A kiss is just a kiss) lyrics You must remember this A kiss is still a kiss, a sigh is just a sigh The fundamental things apply And when two lovers woo They still say, "I love you" On that you can rely No matter what the future brings As time goes by And man must have his mate That no one can deny it's still the same old story A fight for love and glory A case of do or die The world will always welcome lovers As time goes by And man must have his mate That no one can deny it's still the same old story A fight for love and glory A case of do or die The world will always welcome lovers As time goes by ---------------------------------------------------------------- Ilsa spots Sam and asks him to "Play it once, Sam, for old times' sake." When he feigns ignorance, she responds, "Play it, Sam.

Play 'As Time Goes By.'" Later that night, alone with Sam, Rick says, "You played it for her and you can play it for me," and "If she can stand it, I can! Play it!" ---------------------------------------------------------------- Famous quotes One of the lines most closely associated with the film — "Play it again, Sam" — is a misquotation. When Ilsa first enters the Café Americain, she spots Sam and asks him to "Play it once, Sam, for old times' sake." When he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By.'" Later that night, alone with Sam, Rick says, "You played it for her and you can play it for me," and "If she can stand it, I can! Play it!" Rick's remark to Ilsa, "Here's looking at you, kid," is not in the draft screenplays, but has been attributed to something Bogart said to Bergman as he taught her poker between takes.

---------------------------------------------------------------- Casablanca is a 1942 American romantic drama film directed by Michael Curtiz, starring Humphrey Bogart, Ingrid Bergman and Paul Henreid, and featuring Claude Rains, Conrad Veidt, Sydney Greenstreet and Peter Lorre. Set during World War II, it focuses on a man torn between, in the words of one character, love and virtue. He must choose between his love for a woman and helping her and her Czech Resistance leader husband escape from the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis. Although it was an A-list film, with established stars and first-rate writers—Julius J. Epstein, Philip G. Epstein and Howard Koch received credit for the screenplay—no one involved with its production expected Casablanca to be anything out of the ordinary;[1] it was just one of dozens of pictures produced by Hollywood every year.

The film was a solid, if unspectacular, success in its initial run, rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier.[2] Despite a changing assortment of screenwriters frantically adapting an unstaged play and barely keeping ahead of production, and Bogart attempting his first romantic lead role, Casablanca won three Academy Awards, including Best Picture. Its characters, dialogue, and music have become iconic, and Casablanca has grown in popularity to the point that it now consistently ranks near the top of lists of the greatest films of all time. Category Casablanca - As Time Goes By - Original Song by Sam (Dooley Wilson) - YouTube Casablanca - As Time Goes By - Original Song by Sam (Dooley Wilson) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Apr 3, 2010 Category Dooley Wilson - Biography - IMDb Dooley Wilson Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trivia (6) | Salary (1) Overview (3) Arthur Wilson Mini Bio (1) "You must remember this, a kiss is still a kiss, a sigh is just a sigh; the fundamental things apply, as time goes by...". Anyone unfamiliar with this legendary movie lyric must either live in a well-insulated modern world or perhaps on Mars. The gentleman who crooned this tune for the morose Humphrey Bogart and moist-eyed Ingrid Bergman at Rick's Cafe Americain amid the bleak WWII backdrop was none other than diminutive, 56-year-old Arthur "Dooley" Wilson, an African-American actor and singer who earned a comfortable niche for himself in film history with this simple, dramatic, piano-playing scene. Dooley was born Arthur Wilson in Tyler, Texas. His exact year of birth was debated for years, listed in reference books as either 1886 or 1894.

His grave marker, however, at Angelus Rosedale Cemetery in Los Angeles gives the year 1886. At age 12 he performed in minstrel shows and later became a fixture in black theater in both Chicago and New York (circa 1908). He received the nickname "Dooley" while working in the Pekin Theatre in Chicago, because of his then-signature Irish song "Mr. Dooley," which he usually performed in whiteface as an Irishman. In subsequent years Dooley displayed his musical skills in various forms. As a vaudevillian, drummer and jazz band leader, he entertained both here and in 1920s European tours (Paris, London, etc). From the 1930s to the 1950s he focused on theatrical musicals and occasional films. Appearing in such diverse Broadway plays as the comedy "Conjur Man Dies (1936) and the melodrama "The Strangler Fig" (1940), along with various Federal Theater productions for Orson Welles and John Houseman . This exposure led directly to his signing on as a contract player with Paramount Pictures in Hollywood.

He unfortunately began things off in demeaning typecasts as porters, chauffeurs and the like. Unhappy with his movie roles he was about to abandon Hollywood altogether when Paramount lent him out to Warner Bros. for the piano-playing role of Sam and the rest is history. In Casablanca (1942), Dooley immortalized the song "As Time Goes By" as boss and nightclub owner Rick Blaine (Bogart) and lost true love Ilsa Lund (Bergman) briefly rekindled an old romantic flame. While paid only $350 a week for his services, Dooley achieve his own immortality as well and that can't be bought. Moreover, he was not a pianist in real life and was dubbed while fingering the keyboard.

In addition to "As Time Goes By," Dooley's character did warm renditions of "It Had To Be You," "Shine," "Knock On Wood" and "Parlez-moi d'amour." Back on the live stage Dooley portrayed an escaped slave in the musical "Bloomer Girl" (1946) and, as a result, made another song famous, "The Eagle and Me," which went on for inclusion in the Smithsonian recordings compilation "American Musical Theatre." He graced approximately twenty other motion pictures in all, including the war-era musicals Stormy Weather (1943) and Higher and Higher (1943). In his final season of performing (1952-1953) Dooley was a regular on the TV sitcom Beulah (1950) which starred Ethel Waters . He played the title maid's boyfriend Bill Jackson and Dooley was the second of three actors who would play the role during its three-season run. Dooley died of natural causes on May 30, 1953, and was survived by wife, Estelle, who subsequently passed away in 1971.

- IMDb Mini Biography By: Gary Brumburgh / gr-home@pacbell.net Spouse (1) (? - 30 May 1953) (his death) Trivia (6) Did not know how to play the piano. In Casablanca, the piano was empty and the music came from a pianist located behind the camera. Was on the board of directors of the Negro Actors Guild of America. Though Wilson received only $350 per week for Casablanca (1942), the cost Paramount imposed on Warner Bros. for the loanout resulted in Wilson being the most expensive of Casablanca's supporting cast. Dooley won the role of Sam over top contender Clarence Muse who later played Sam in a 1950s TV adaptation of "Casablanca." Dooley's piano playing in the film was actually performed by pianist/composer/songwriter Elliot Carpenter , who was placed where Wilson could see and imitate his hand movements. The only black talent on the Casablanca (1942) set, Wilson and Carpenter became and remained friends. There is a line often misquoted from Casablanca (1942).

In a scene where Rick (Bogart) sits in the darkened nightclub, alone except for Dooley's piano-playing Sam, he is seen drinking and tormenting himself by insisting that Sam repeatedly play "As Time Goes By," saying, "You played it for her, you can play it for me... If she can stand it, I can! Play it!" Bogart's line is often misquoted as, "Play it again, Sam!" Salary (1) World's Greatest Songs -- As Time Goes By [ ? ]Subscribe To This Site World's Greatest Songs—As Time Goes By No list of "World's Greatest Songs" would be complete without the ever-endearing "As Time Goes By" from one of the greatest movies of all time, the 1943 Academy Award winning (Best Picture) Casablanca. Who can forget the sadness in the eyes of Ilsa Lund, played by the beautiful Ingrid Bergman, as she implores Sam, played by Dooley Wilson, to play and then sing, "As Time Goes By"? Ilsa: Play it once, Sam, for old times' sake. Sam: I don't know what you mean, Miss Ilsa.

Ilsa: (whispered) Play it, Sam. Play 'As Time Goes By.' Sam: Why, I can't remember it, Miss Ilsa. I'm a little rusty on it. Ilsa: I'll hum it for you. (Ilsa hums two bars. Sam starts to play - without singing the lyrics. She presses him to sing.) Sing it, Sam. After remaining deferential, Sam is finally disarmed by her alluring charm and gives into her persistent requests. He sings the chorus, as the breath-taking Ilsa listens - and remembers a past love affair - with tears welling up in her eyes... — GreatestFilms.org The song is WORLD FAMOUS. The movie is a cross-generational classic. "Bogie," Humphrey Bogart, as well as Bergman, are screen legends largely because of their roles in this film. But there are a lot of interesting facts about "As Time Goes By" that many fans and observers overlook.

Casablanca won the Oscar for Best Picture (and two others as well) and while Max Steiner was nominated for an Academy Award for Original Music Score, it was "As Time Goes By," the only song in the film not composed by Steiner, that is synonymous with the movie (although the music throughout is excellent and memorable). This wasn't the first time "As Time Goes By" stole the show. "As Time Goes By" was written by Tin Pan Alley songwriter Herman Hupfeld for the 1931 Broadway musical, Everybody's Welcome. Academy Award Winning songwriter Sammy Fain ("Love Is A Many Splendored Thing") wrote all of the music for Everybody's Welcome, except Hupfeld's "As Time Goes By." SIDEBAR: Herman Hupfeld was unusual by Tin Pan standards in that he wrote BOTH lyrics and music. Most compositions from the period are collaborations. "As Time Goes By" made another stop, thanks to Everybody's Welcome, before landing in the immortal Casablanca. Murray Burnett and Joan Alison wrote the play Everybody Comes to Rick's, which ultimately became the basis for the movie Casablanca, and included Hupfeld's ballad.

"In the summer of 1938, while on vacation from his job as English teacher at a vocational school, Murray and his wife Frances travelled to occupied Vienna to help Jewish relatives there, for the Nazis had invaded the city in March that year. Later, the couple visited a small town in the South of France, where they went to a nightclub overlooking the Mediterranean Sea. There a black pianist played jazz for a crowd of French, Nazis, and refugees. His experiences in Vienna inspired him to write [Everybody Comes to Rick's] in the summer of 1940..." — Wikipedia Burnett recalled "As Time Goes By" from Everybody's Welcome and thought it was the perfect song for the nightclub scene at "Rick's." He was right. SIDEBAR: Two of the main script writers on Casablanca were the screenwriting Epstein twins, Philip and Julius. Philip Epstein, who died in 1952, is the paternal grandfather of Theo Epstein, wunderkind GM of the Boston Red Sox. Max Steiner, who wrote the scores to many famous films including Gone With The Wind, originally didn't want to retain "As Time Goes By" from Everybody Comes To Rick's.

"Steiner wanted to write his own song to replace it, but had to abandon his plan because Bergman had already cut her hair short for her next role and could not re-shoot the scenes which incorporated the song." — Wikipedia So Steiner used "As Time Goes By." In fact much of the supporting score is based on the song and the rest, as they say, is history. Oddly, as famous as the song is, most people don't know the real name of the man who sang it: Dooley Wilson. "Unhappy with his [bit-part] movie roles [Wilson] was about to abandon Hollywood altogether when Paramount lent him out to Warner Bros. for the piano-playing role of Sam...in Casablanca...Dooley immortalized the song "As Time Goes By"...While paid only $350 a week for his services, Dooley achieved his own immortality as well...Moreover, he was not a pianist in real life and was dubbed while fingering the keyboard." — Wikipedia Click the button below to hear a snippett of Dooley Wilson's performance of "As Time Goes By" in Casablanca.

Another oft-overlooked detail regarding "As Time Goes By" is that only part of the actual song was used, and has become famous. The prelude to the song, printed below, is a substantially different melody and likely unrecognizable to most as the song known the world over as "As Time Goes By." Prelude to "As Time Goes By" This day and age we're living in Gives cause for apprehension With speed and new invention And things like fourth dimension. Yet we get a trifle weary With Mr. Einstein's theory. So we must get down to earth at times Relax relieve the tension And no matter what the progress Or what may yet be proved The simple facts of life are such They cannot be removed... As Time Goes By Lyrics (Words and Music by Herman Hupfeld) You must remember this A kiss is just a kiss, a sigh is just a sigh. The fundamental things apply Editing film history Richard "Rick" Blaine ( Humphrey Bogart's character) never says "Play it again, Sam." In fact, nobody does. There are two exchanges that come close. The first takes place between Ilsa Lund Laszlo ( Ingrid Bergman ) and Sam (Dooley Wilson).

Ilsa Lund: Play it once, Sam. For old times' sake. Sam: [lying] I don't know what you mean, Miss Elsa. Ilsa Lund: Play it, Sam. Play "As Time Goes By." Sam: [lying] Oh, I can't remember it, Miss Elsa. I'm a little rusty on it. The second takes place between Rick and Sam. Rick: You played it for her, you can play it for me! Sam: [lying] Well, I don't think I can remember... Rick: If she can stand it, I can! Play it! It's been reported that "play it again, Sam" originated in the 1946 Marx Brothers film A Night in Casablanca, but we can't confirm that, not having seen the film ourselves. For more movie history and information check out the Movie channel at infoplease.com. —The Editors Casablanca and Popular Music as Film Music Casablanca and Popular Music as Film Music Birger Langkjær In its combining of several genres and archetypical situations, Casablanca has acquired an outstanding reputation as the quintessential Hollywood movie (Eco 1987).

Dramatic conflicts of love and politics are given flavor by combining the style and mood of exotic settings with popular American tunes. It has often been stated that almost any line spoken in Casablanca is quotable (Jørholt 1989). The central use of popular music, including As Time Goes By, somehow matches this as the quotability of dialogue is complemented by a "hummability" or "singability" of the music. In the case of film music, Casablanca can be considered a case study in how popular music as film music can be highly foregrounded at a time when the pop score pure and simple was an option not even to be considered. POPULAR MUSIC AND THE FILM SCORE The name Max Steiner ought to be familiar to anyone who has ever glanced at the names written with big letters in the opening credits of films from the 1930s and 1940s. He is one of the most productive Hollywood composers, and has written scores for about 150 films.

Apart from Casablanca, he has done music for movies such as King Kong (1933), Gone with the Wind (1939), and The Big Sleep (1946). But even though every film in Hollywood has its musical composer, many a tune heard as the story unfolds has a previous life. They can be popular tunes to be heard in scenes in restaurants, clubs, from a radio or the like. As those popular tunes often appear as part of the fiction, they will be played in the manner of contemporary popular music and combine instrumental and vocal means of expression, including lyrics. Otherwise, an already popular tune might provide melodic material to be combined with other motifs in the instrumental musical score and thus be part of the symphonic orchestral sound. Furthermore, some well-known songs and melodies, like national anthems and "classical highlights," can be used together with recognizable pastiches of specific musical styles, to signal time, place or cultural identity (see Langkjær 1996). Thus, a Hollywood composer will both compose new music and use and arrange already written tunes for specific narrative purposes. And all of this applies to Casablanca.

As is the case for many other popular tunes used in Hollywood movies, As Time Goes By had an earlier life. It was written by Herman Hupfeld and first appeared on Broadway in 1931 in Everybody's Welcome. By way of the play Everybody Comes to Rick's (never to be produced on stage but nevertheless the basis for the movie that became Casablanca), the song ended up in Casablanca. It was sung by Dooley Wilson as the character Sam (and probably played by the pianist Elliot Carpenter). According to imdb.com the song remained on the radio "Hit Parade" for 21 weeks - but not in the same version as in the film: However, because of the coincidental musicians' union recording ban, the 1931 Rudy Vallee version became the smash hit. (It contains the rarely-sung introductory verse, not heard in the film.) Max Steiner, in a 1943 interview, admitted that the song "must have had something to attract so much attention." ( imdb.com\Casablanca\Trivia , august, 2002).

Even though the sound track album is a more recent invention of the combined music and film industry, the circulation of popular tunes between movies and theaters, and later records and radio, has its origin back in the early years of the 20th century: "Between 1936 and 1942, film songs were regularly found atop Variety's weekly roster of the twenty-five most-played songs. Additionally, a Peatman survey showed that Hollywood and Broadway together accounted for more than 80 percent of the most-performed songs in 1942" (Smith 1998: 31). In that sense, much movie music is certainly heard by its audience; both as part of and apart from the film in which it appears. As noted by Jeff Smith (1998), popular music was for a long time thought to be unsuitable for underscoring the reason being its lack of dynamic change and its repetitive form that made it unable to adjust to the changing actions and events on screen. This view was probably enhanced by a certain elitism (and vanity) on part of the composers.

Many of them had their formal training and cultural background in European art music and were somehow mental strangers to the American film industry. Max Steiner did not choose As Time Goes By himself: it was given to him. As he later, in 1966, was to complain: "Composition is a highly developed art that's now dominated by young men who can only hum a tune" (Steiner quoted in Prendergast 1992:148). The pop score proper was not to be made before the late 1950s. As is the case in Hollywood films in the 1930s and 1940s, the musical style or idiom is closely tied to the reality-status of the music, whether that is diegetic or non-diegetic. The actual underscoring is often in the style of late romanticism and turn-of-the-century opera, that is, rich orchestral texture, recognizable but often tonally and otherwise transformed melodic material (a game of melodic hide and seek), and expressive dynamics. Diegetic music, on the other hand, is most often heard as tunes and vocal songs in the idiom of today or nearby yesterday.

They are hummable and singable, easy to remember and accessible, often have lyrics and consist in repetitions with minor deviations. Whereas the first can be recognized (and sometimes hummed), the second can be recognized and sung. In Casablanca, it is not only Sam that is singing. The Knock on Wood song (music by M. K. Jerome, lyrics by Jack Scholl) basically has a song and response structure. As Sam sings "who is knocking", the people at Rick's reply "we are knocking." This is a moment in the film where the kind of common human space established by the entertainment culture is most visible - but never without a prevalent feeling of nostalgia, the felt presence of something distant or unreachable in the past. In Casablanca, the collective nostalgia is one for America, a nostalgic object that is framed by the exotic scenery that surrounds Rick's Café Américain. Thus, in Casablanca music is very much part of establishing spatial and cultural identity.

Rick's Café Américain gives the film makers an excuse for playing plenty of music, most of it popular and somehow nostalgic tunes from the thirties like It Had To Be You by Isham Jones and Gus Kahn, Shine by Ford Dabney, some rhythmic improvisations on piano, and, as already mentioned, Knock On Wood and As Time Goes By. Songs like these create a microcosm, a small scale imaginary America. But it is an America in African exile, full of Europeans, and, except for Rick and Sam, without any Americans. And, ironically, Rick is for some reason not allowed to go back to America. Thus, the nostalgia related to the impossible love-affair between Rick and Ilsa, certainly has its emotional equivalent in terms of national and cultural belonging very much prevalent in its music. Other kinds of familiar songs can be heard as is the case with La Marsellaise. Basically, it is a march with its characteristic triumphant upwards leaps in the melody line so typical for many western European anthems. It is first heard during the credit sequence (it triumphantly accompanies the name of Max Steiner!) as a musical foreshadowing of the drama to come.

In the opening sequence, it has a somehow ironic effect. A mocking snap of the melody line (in the minor mode) is heard as a man is shot in front of a huge poster for the Vichy-regime. In his hands they find a poster for The Free French. Later, as Sam enters the bar late at night to find Rick drinking on his own, there follows a flash-back sequence in which it is used as a signature for France (to evade any possible misunderstandings both the Eiffel Tower, the Arch of Triumph and the Seine is seen as back-projections behind Rick and Ilsa). And later, in a variation in the minor mode, it is heard before the Germans march into Paris and, finally, as Rick stands alone on the platform in the rain with the farewell-letter from Ilsa. Apart from its use as part of the score, it gains its most triumphant expression during the virtual battle on anthems at Rick's. Beforehand, Victor Laszlo tries to buy from Rick the much needed "letters of transit" and offers him a big sum of money. But Rick refuses.

As Laszlo asks him why, Rick replies: "Ask your wife." They are now interrupted by the off-screen sound of a group of German officers singing Die Wacht Am Rhein. Maybe because he is somehow upset about Rick's reply, Laszlo throws away any caution and asks the band to play La Marsellaise. Their hesitation is brief as Rick nods silently. And with Laszlo in the lead, more and more people sing along, even the French girl Yvonne, that earlier came together with a German officer. The Germans react by singing louder but their small group is soon to give up, thereby loosing the battle on anthems. This extended and symbolic use of La Marsellaise results in the closing of Rick's place and the political thriller plot is intensified. From being snatches of melody in the score, the song has been foregrounded as part of the action. And as I will argue in general, foregrounding music is the essential strategy in Casablanca. This will be even more obvious in the case with As Time Goes by.

FOREGROUNDING MUSIC: AS TIME GOES BY Baldly stated, some of the fundamental functions of film music are to secure that the plot gets through and to enhance our pro-attitude towards certain characters and whatever they might wish for (see Langkjær 2000). As the film begins, two German couriers carrying exit-visas have been killed. Major Strasser arrives from the third Reich to secure that the famous resistance leader, Victor Laszlo, will not succeed in leaving Casablanca. This war/thriller plot is intensified with the confrontation between Strasser (with some dubious help from Renault) and Laszlo. Narrative closure is achieved as he - and his wife - leave Casablanca on an airplane and Major Strasser is shot. Thus, the thriller plot provides some limitations that puts pressures on characters. It gives the plot a forward drive, and leads to some final action that closes down the chain of events. Even though the romantic plot somehow complicates the thriller plot, it is the thriller plot that forces Rick to decide on love. In this (narrative) sense, the thriller plot is the central plot that frames and structures the chain of events, and the love-plot a secondary one.

But as is often the case, the secondary plot-line is the most interesting, the one the audience really cares about. And even though some musical attention is given to the central plot in the last third of the film by use of suspenseful musical motives and harmonics, the music in the first half of the film concentrates on two other functions: to characterize the place and to characterize the inner state of the two central persons of the romantic plot, Rick and Ilsa. In the first quarter of Casablanca, underscoring has "characterization of locale" as its major functions. Arabic sound-alike melodic figures are heard (pentatonic scales and movement along chromatic intervals, enhanced in its cultural color by instrumentation). Whereas the film as such supplies its audience with a rich, varied, and numerous cast of characters and a more narrowly focused suspense-plot, the music focuses on place. The only deviation is the chase scene, mentioned above, taking place in the streets of Casablanca. No music related to the psychology of the characters will be heard before Rick and Ilsa meet. As Time Goes by is heard as the first quarter of the film has passed.

In terms of plot structure this fits in with the first so-called plot-point (Field 1979), that is, some action or event in a scene or sequence that gives the plot a new direction and supplies it with a forward drive. Everybody has been presented at Rick's Café Américain, except for two people that up until now have only been spoken about: Victor Lazslo and Ilsa Lund. An important set-up is the fact that Ugarte has been arrested for having stolen the much needed exit visas some few moments before they enter the cafe. And from that moment, it will be more and more clear that both Strasser and Renault will do anything in their power to prevent Laszlo from having those exit visas (which, by the way, happen to be hidden in Sam's piano) and leaving Casablanca. And, in return, Laszlo will do his best to succeed in leaving (the thriller plot). Secondly, the verbal exchanges, acting, and editing make it all to clear that there is a past between Rick and Ilsa yet to be revealed to the audience (the romantic plot). As the two enter the café, Ilsa gives Sam a strange look and vice versa.

Later, Ilsa asks a waiter to call Sam over and he places himself at the piano (for those who find bad continuity funny, the very useful piano that suddenly appears next to the table of Ilsa is absent in previous shots). Ilsa asks questions about Rick, and Sam obviously feels this to be unpleasant. At a certain point she asks him to play some of the old songs: "Play, it Sam. Play As Time Goes by." As Sam replies "I'm a little rusty on that," Ilsa insists: "I'll hum it for you." And so she does. When he plays it on the piano, she will insist once again: "Sing it, Sam." The lyrics go like this: You must remember this A kiss is just a kiss A sigh is just a sigh The fundamental things apply And when two lovers woo They still say "I love you" On that you can rely No matter what the future brings As time goes by. The piano-accompanied song is a slow ballad in regular beats. In the scene mentioned above only part of the song is heard, basically two verses of eight bars each.

The first bar (and the first line of the lyrics) consists of a six-note melodic figure starting with a small upward movement (a small second) and ending on a sustained note. The second bar starts with a larger tonal leap (a small third) but otherwise the melodic rhythm and the intervals between tones are repeated. And again, the third bar repeats the pattern even though it begins with a bigger tonal leap (a fourth). The fourth bar is without a melodic line, thereby preparing us for the next two bars that vary and give a certain closure to the melodic figure and are to be followed by a two bar interlude. Thus, the six-note melodic line undergoes small variations in the first half of the verse, but the melodic contour is somehow repeated. The last half provides variation and closure. These eight bars are repeated in the second verse as only the lyrics (and the last note in the seventh bar) change. Thus, the song has its musical identity from the principle of likeness (melodic rhythm and contour) and some variation (as the sudden leap by a fourth at the beginning of the third bar), thereby making it somehow easier to remember and to recognize by ear.

As soon as Sam begins to sing, there follows a visual cut to Ilsa. She is seen in soft-focus with a downward glance, inward and dreamy as if listening to the lyrics and tone of the song. At the end of the third bar in the second verse (before "no matter what the future brings"), the camera cuts to Rick forcefully moving through the café. Sam stops playing and Rick immediately scolds him: "Sam, I thought I told you never to play...." Sam nods out of frame and Rick looks up. Then follows a visual cut to a close-up of Ilsa in soft-focus. A light-pitched and vibrating musical drone is heard (non-diegetically). As the two exchange glances, the melody line of As Time Goes by is played with a lot of vibrato by a solo-violin. Thus, Ilsa's musical request (including some nice humming), Sam's reluctance to play it, and Rick's highly emotional response to his playing it (otherwise he is not the emotional kind) makes it quite clear to the audience that this is not just another tune. From this moment the melody is part of the underscoring and it will return again and again.

As Renault interferes and presents Rick to Victor Laszlo, the melody disappears for a short while. As they talk about Germans and Laszlo's work, a low rumbling of timpanies are heard. But as soon Rick turns towards Ilsa, the As Time Goes by motif returns as a variation in the light strings. And when Ilsa talks about "the day the Germans marched in," dark timbered and dissonant brasses are heard together with a high-pitched version of the As Time Goes By-melody, as if the music both resonates the dangers of war and the love-affair. And as Lazslo and Ilsa finally leaves the café, Ilsa comments to Rick that "there is still nobody in the world who can play As Time Goes By like Sam." Thus, dialogue, character-reactions, and visual editing appears as if almost excessively trying to frame and foreground the small melody and its lyrics. Thereby, it is given every possible chance of making itself heard.

It will be the major musical motif to appear again and again, accompanying Rick lost in sad memories; in the long flash-back sequence in Paris; in some scenes between Victor and Ilsa in which her possible doubt as to whether or not to stay with Victor is in play; and, of cause, every time Rick and Ilsa are together. This is one of the clearest examples I know of in a film that educates its audience into knowing what a certain musical melody is all about. The song and its melody are framed in such a way that probably no person with a normal hearing ability will leave the theater without remembering this little sentimental tune and the romance it makes salient. Hollywood films are man-made artifacts designed for mass consumption. Accessibility is a prime intention among producers and something expected by its audience. Music is part of what makes a film accessible. Popular music will often work to enhance accessibility by using easily recognized and singable or at least hummable tunes and melodic lines that hook into the memory of the audience. In some sense, Casablanca can be seen and heard as a predecessor to the pop-score of the late 1950s and later on.

But whereas the pop-score does sound like pop-music pure and simple (e.g. in its style, orchestration, arrangements, etc.), the score of Casablanca presents itself as an idiom and as an orchestral sound typical of late romanticism. Even though the melodic material can be recognized as a popular tune, its actual sound and manner belong to a previous century.

FRANK SINATRA - AS TIME GOES BY LYRICS As Time Goes By Lyrics Frank Sinatra - As Time Goes By Lyrics A kiss is still a kiss A sigh is just a sigh The fundamental things apply And when two lovers woo They still say: "I love you" On that you can rely No matter what the future brings As time goes by Moonlight and love songs, never out of date Hearts full of passion, jealousy, and hate Woman needs man and man must have his mate That no one can deny It's still the same old story A fight for love and glory A case of do or die The world will always welcome lovers As time goes by Moonlight and love songs, never out of date Hearts full of passion, jealousy, and hate Woman needs man and man must have his mate That no one can deny It's still the same old story A fight for love and glory A case of do or die The world will always welcome lovers As time goes by Add Comment Anonymous hi, i am 14, and i hav seen Casablanca probably about 50 times,and i still cry as Rick gets his heart broken, and when, he sends, Ilsa on the plane for her saftey instead of himself, but my most favorite parts

 are as Dooly Wilson sings the beautiful song As Time Goes By, it tells a story as the piano man Sam plays.

As Ilsa would say 'Play it Sam, Play As Time Goes By.' Miscellaneous Tracklist Embed Get the embed code <table class="songlyrics" style="width: 100%; table-layout: fixed;"><col width="40" /><col /><tbody><tr><th colspan="2">Frank Sinatra - Miscellaneous Album Lyrics</th></tr><tr><td class="sl-td-left">1.</td><td class="sl-td-right"><a href="" title="Moon Song Lyrics Frank Sinatra">Moon Song</a></td></tr><tr><td class="sl-td-left">2.</td><td class="sl-td-right"><a href="" title="The Way You Look Tonight Lyrics Frank Sinatra">The Way You Look Tonight</a></td></tr><tr><td class="sl-td-left">3.</td><td class="sl-td-right"><a href="" title="New York, New York Lyrics Frank Sinatra">New York, New York</a></td></tr><tr><td class="sl-td-left">4.</td><td class="sl-td-right"><a href="" title="A Foggy Day Lyrics Frank Sinatra">A Foggy Day</a></td

></tr><tr><td class="sl-td-left">5.</td><td class="sl-td-right"><a href="" title="All the Way Lyrics Frank Sinatra">All the Way</a></td></tr><tr><td class="sl-td-left">6.</td><td class="sl-td-right"><a href="" title="Come Fly With Me Lyrics Frank Sinatra">Come Fly With Me</a></td></tr><tr><td class="sl-td-left">7.</td><td class="sl-td-right"><a href="" title="Come Rain or Come Shine Lyrics Frank Sinatra">Come Rain or Come Shine</a></td></tr><tr><td class="sl-td-left">8.</td><td class="sl-td-right"><a href="" title="In the Wee Small Hours of the Morning Lyrics Frank Sinatra">In the Wee Small Hours of the Morning</a></td></tr><tr><td class="sl-td-left">9.</td><td class="sl-td-right"><a href="" title="It Was A Very Good Year Lyrics Frank Sinatra">It Was A Very Good Year</a></td></tr><tr><td class="sl-td-left

">10.</td><td class="sl-td-right"><a href="" title="I've Got You Under My Skin Lyrics Frank Sinatra">I've Got You Under My Skin</a></td></tr><tr><td class="sl-td-left">11.</td><td class="sl-td-right"><a href="" title="Let's Fall In Love Lyrics Frank Sinatra">Let's Fall In Love</a></td></tr><tr><td class="sl-td-left">12.</td><td class="sl-td-right"><a href="" title="Love And Marriage Lyrics Frank Sinatra">Love And Marriage</a></td></tr><tr><td class="sl-td-left">13.</td><td class="sl-td-right"><a href="" title="Luck Be a Lady Lyrics Frank Sinatra">Luck Be a Lady</a></td></tr><tr><td class="sl-td-left">14.</td><td class="sl-td-right"><a href="" title="My Kind of Town Lyrics Frank Sinatra">My Kind of Town</a></td></tr><tr><td class="sl-td-left">15.</td><td class="sl-td-right"><a

 href="" title="Nancy (With the Laughing Face) Lyrics Frank Sinatra">Nancy (With the Laughing Face)</a></td></tr><tr><td class="sl-td-left">16.</td><td class="sl-td-right"><a href="" title="Nice Work If You Can Get It Lyrics Frank Sinatra">Nice Work If You Can Get It</a></td></tr><tr><td class="sl-td-left">17.</td><td class="sl-td-right"><a href="" title="Night and Day Lyrics Frank Sinatra">Night and Day</a></td></tr><tr><td class="sl-td-left">18.</td><td class="sl-td-right"><a href="" title="Old Devil Moon Lyrics Frank Sinatra">Old Devil Moon</a></td></tr><tr><td class="sl-td-left">19.</td><td class="sl-td-right"><a href="" title="Please Be Kind Lyrics Frank Sinatra">Please Be Kind</a></td></tr><tr><td class="sl-td-left">20.</td><td class="sl-td-right"><a href="" title="Pocketful Of Miracles Lyrics Frank Sinatra

">Pocketful Of Miracles</a></td></tr><tr><td class="sl-td-left">21.</td><td class="sl-td-right"><a href="" title="Put Your Dreams Away Lyrics Frank Sinatra">Put Your Dreams Away</a></td></tr><tr><td class="sl-td-left">22.</td><td class="sl-td-right"><a href="" title="Softly As I Leave You Lyrics Frank Sinatra">Softly As I Leave You</a></td></tr><tr><td class="sl-td-left">23.</td><td class="sl-td-right"><a href="" title="Something Stupid Lyrics Frank Sinatra">Something Stupid</a></td></tr><tr><td class="sl-td-left">24.</td><td class="sl-td-right"><a href="" title="Stardust Lyrics Frank Sinatra">Stardust</a></td></tr><tr><td class="sl-td-left">25.</td><td class="sl-td-right"><a href="" title="The Best Is yet to Come Lyrics Frank Sinatra">The Best Is yet to Come</a></td></tr><tr><td class

="sl-td-left">26.</td><td class="sl-td-right"><a href="" title="The Girl Next Door Lyrics Frank Sinatra">The Girl Next Door</a></td></tr><tr><td class="sl-td-left">27.</td><td class="sl-td-right"><a href="" title="The Second Time Around Lyrics Frank Sinatra">The Second Time Around</a></td></tr><tr><td class="sl-td-left">28.</td><td class="sl-td-right"><a href="" title="Wave Lyrics Frank Sinatra">Wave</a></td></tr><tr><td class="sl-td-left">29.</td><td class="sl-td-right"><a href="" title="The Tender Trap Lyrics Frank Sinatra">The Tender Trap</a></td></tr><tr><td class="sl-td-left">30.</td><td class="sl-td-right"><a href="" title="Too Marvelous for Words Lyrics Frank Sinatra">Too Marvelous for Words</a></td></tr></tbody></table><p class="sl-credit"><a href="" title="Frank Sinatra Lyrics">Frank Sinatra Lyrics</a> provided by <a href

="/" title="Lyrics">SongLyrics.com</a></p> Note: When you embed the widget in your site, it will match your site's styles (CSS).

This is just a preview! Preview the embedded widget Dooley Wilson - IMDb IMDb Actor | Soundtrack "You must remember this, a kiss is still a kiss, a sigh is just a sigh; the fundamental things apply, as time goes by...". Anyone unfamiliar with this legendary movie lyric must either live in a well-insulated modern world or perhaps on Mars. The gentleman who crooned this tune for the morose Humphrey Bogart and moist-eyed Ingrid Bergman at Rick's... See full bio » Born: a list of 35 images created 14 Aug 2014 a list of 33 images created 03 May 2015 a list of 40 people created 02 Dec 2015 a list of 33 people created 6 months ago a list of 18 images created 3 months ago Do you have a demo reel? Add it to your IMDbPage How much of Dooley Wilson's work have you seen?

User Polls Baron Skinner (as Arthur 'Dooley' Wilson) Hide 2012 Woody Allen: A Documentary (Documentary) (performer: "As Time Goes By") 2006 The Sopranos (TV Series) (performer - 1 episode) - Cold Stones (2006) ... (performer: "As Time Goes By" - uncredited) 2003 Monkey Dust (TV Series) (performer - 1 episode) - Episode #3.4 ... (performer: "As Time Goes By" - uncredited) 2000 Whatever It Takes (performer: "As Time Goes By") 1999 Siskel & Ebert (TV Series) (performer - 1 episode) - Remembering Gene Siskel (1999) ... (performer: "As Time Goes By" - uncredited) 1999 T.V. Kaiser (TV Series) (performer - 1 episode) 1991 Here's Looking at You, Warner Bros.

(TV Movie documentary) (performer: "As Time Goes By" - uncredited) 1986 Precious Images (Documentary short) (performer: "As Time Goes By") 1971 A Safe Place (performer: "As Time Goes By") 1948 Racing Luck (performer: "Don't Change Your Mind") 1944 Seven Days Ashore (performer: "Apple Blossoms in the Rain" (1944), "The Wedding March" (1843) - uncredited) 1943 Higher and Higher (performer: "It's a Most Important Affair" (1943), "I Couldn't Sleep a Wink Last Night" (1943), "You're On Your Own" (1943) - uncredited) 1942 Casablanca (performer: "It Had to Be You" (1924), "Shine" (1910), "Knock on Wood" (1942), "Baby Face" (1926), "Avalon" (1920), "As Time Goes By"

 (1931), "Piano Improvisation" - uncredited) 1942 Cairo ("Buds Won't Bud" (1937), uncredited) Hide Jazz Standards Songs and Instrumentals (As Time Goes By) Joel Whitburn's Pop Memories 1890-1954 Casablanca , filmed in 1942 and starring Humphrey Bogart and Ingrid Bergman, was based on an unstaged play, Everybody Comes to Rickï¿½s, by Murray Bernett and Joan Alison.

ï¿½As Time Goes Byï¿½ was part of the script of the original play. According to William Zinnser in Easy to Remember: The Great American Songwriters and Their Songs , ï¿½So fetching was Miss Williamsï¿½ record that a Cornell student named Murray Bernett fell in love with it...ï¿½ When Bernett made a trip to Europe in 1938, he was stunned by the Nazi activities there. ï¿½On his way home,ï¿½ continues Zinnser, ï¿½he happened to visit a bar in France that had an exotic clientele and a black man playing the piano. Back in New York, he wrote his impressions into a play set in French North Africa...which Warner Brothers would buy to make into Casablanca. The script specifies that when Ilsa first comes into Rickï¿½s bar she asks the black piano player to play ï¿½As Times Goes By.ï¿½ï¿½ Max Steiner, who scored the movie, wanted to replace the song with a composition of his own, but Bergman was unavailable to reshoot the scenes in which the song appeared.

Steiner ï¿½accepted his fateï¿½ and worked the song into the score as a ï¿½leitmotif.ï¿½ So ï¿½As Time Goes Byï¿½ remained in the film and was sung by Dooley Wilson who was unable to record it because of a musiciansï¿½ strike at the time. (Wilson was a drummer who also had sung with James Reese Europe ï¿½s band and led a band of his own.) No one expected this haphazardly created film to be the success that it was. The script was being rewritten every day, and no one knew how the film would end. But everything seemed to click. The film appealed to the patriotism of the time, and the love story and the song were emotionally touching. Casablanca won three Academy Awards: Best Picture, Best Director (Michael Curtiz), Best Adapted Screenplay (Julius and Philip Epstein and Howard Koch). The film received five other nominations, including one for Steinerï¿½s score.

The film is near the top of almost everyoneï¿½s ï¿½best filmï¿½ list, and in 1999 National Public Radio named ï¿½As Time Goes Byï¿½ to its list of 100 most important American musical works of the 20th century. As a result of the filmï¿½s success, Rudy Vallee ï¿½s 1931 recording of ï¿½As Time Goes Byï¿½ was reissued and remained on Your Hit Parade for 16 weeks, taking over the number one slot for four weeks while Renardï¿½s reissue reached number three. Ray Anthony and his band revived the song in 1952 with vocalist Tommy Mercer, and their recording charted for four weeks, reaching number ten.

After Bogartï¿½s death in 1957 an art cinema near Harvard Yard began a Bogart film festival reviving interest in Casablanca and thus in ï¿½As Time Goes By.ï¿½ ï¿½Since the mid-1970s,ï¿½ says Zinnser, ï¿½Casablanca has been the most popular film shown on television; four of its lines have made it into Bartlettï¿½s Familiar Quotations . But the glue holding it together is ï¿½As Time Goes By.ï¿½ ...It isnï¿½t really a very good song; jazz musicians seldom play it except when someone asks for it. They donï¿½t like it much more than Max Steiner did. Melodically itï¿½s inert, lyrically itï¿½s platitudinous.

But emotionally itï¿½s off the charts.ï¿½ Hupfeld, who led a quiet life in the house where he was born in Montclair, New Jersey, had a couple of minor hits to his credit (ï¿½Letï¿½s Put Out The Lights (And Go To Sleep),ï¿½ ï¿½Sing Something Simple,ï¿½ and ï¿½When Yuba Plays the Rhumba on the Tubaï¿½). Fortunately, he lived long enough to see the great success of ï¿½As Time Goes By.ï¿½ The seldom heard verse to his song speaks of the ï¿½apprehensionï¿½ of the changing times in the early ï¿½30s and the need to balance ï¿½progressï¿½ with the simple facts of life, thus setting the stage for these memorable lines: You must remember this

Question: In what movie did Sam play the song "As Time Goes On"?
Answer: Casablanca