Casablanca (1942) - Quotes - IMDb Casablanca (1942) Quotes Showing all 100 items Rick : Of all the gin joints, in all the towns, in all the world, she walks into mine. Major Strasser : What is your nationality? Rick : I'm a drunkard. Captain Renault : That makes Rick a citizen of the world. [all laugh] Yvonne : Where were you last night? Rick : That's so long ago, I don't remember. Yvonne : Will I see you tonight? Rick : I never make plans that far ahead. Share this: Facebook | Twitter | Permalink Hide options Rick : Last night we said a great many things. You said I was to do the thinking for both of us. Well, I've done a lot of it since then, and it all adds up to one thing: you're getting on that plane with Victor where you belong. Ilsa : But, Richard, no, I... I... Rick : Now, you've got to listen to me! You have any idea what you'd have to look forward to if you stayed here?

Nine chances out of ten, we'd both wind up in a concentration camp. Isn't that true, Louie? Captain Renault : I'm afraid Major Strasser would insist. Ilsa : You're saying this only to make me go. Rick : I'm saying it because it's true. Inside of us, we both know you belong with Victor. You're part of his work, the thing that keeps him going. If that plane leaves the ground and you're not with him, you'll regret it. Maybe not today. Maybe not tomorrow, but soon and for the rest of your life. Ilsa : But what about us? Rick : We'll always have Paris. We didn't have, we, we lost it until you came to Casablanca. We got it back last night. Ilsa : When I said I would never leave you. Rick : And you never will. But I've got a job to do, too. Where I'm going, you can't follow. What I've got to do, you can't be any part of.

Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. [Ilsa lowers her head and begins to cry] [Rick gently places his hand under her chin and raises it so their eyes meet] Rick : Here's looking at you kid. Ilsa : Play it once, Sam. For old times' sake. Sam : [lying] I don't know what you mean, Miss Ilsa. Ilsa : Play it, Sam. Play "As Time Goes By." Sam : [lying] Oh, I can't remember it, Miss Ilsa. I'm a little rusty on it. Ilsa : I'll hum it for you. Da-dy-da-dy-da-dum, da-dy-da-dee-da-dum... [Sam begins playing] Ilsa : Sing it, Sam. Sam : [singing] You must remember this / A kiss is still a kiss / A sigh is just a sigh / The fundamental things apply / As time goes by.

/ And when two lovers woo, / They still say, "I love you" / On that you can rely / No matter what the future brings-... Rick : [rushing up] Sam, I thought I told you never to play-... [Sees Ilsa. Sam closes the piano and rolls it away] Captain Renault : Ask Mr. Rick. Rick : [sees Strasser begin to move toward the telephone, and draws a gun] Get away from that phone! Major Strasser : I would advise you not to interfere. Rick : I was willing to shoot Captain Renault and I'm willing to shoot you. Major Strasser : [picks up the telephone] Hello? Rick : Put that phone down! Major Strasser : Get me the radio tower. Rick : PUT IT DOWN! [Strasser draws a gun, he and Rick both fire simultaneously, Strasser falls mortally wounded, shortly afterward, some police arrive on the scene] Captain Renault : Major Strasser's been shot. [Renault looks at Rick, Rick gives him a look] Captain Renault : Round up the usual suspects.

[the police pick up Major Strasser's body and leave, Renault looks over at Rick, who is smiling] [he pours a drink] Rick : Why did you have to come to Casablanca? There are other places. Ilsa : I wouldn't have come if I'd known that you were here. Believe me Rick, it's true I didn't know... Rick : It's funny about your voice, how it hasn't changed. I can still hear it. "Richard, dear, I'll go with you anyplace. We'll get on a train together and never stop - " Ilsa : Don't, Rick! I can understand how you feel. Rick : [scoffs] You understand how I feel. How long was it we had, honey? Ilsa : [on the verge of tears] I didn't count the days. Rick : Well, I did. Every one of 'em. Mostly I remember the last one. The wow finish. A guy standing on a station platform in the rain with a comical look in his face because his insides have been kicked out. Ilsa : Can I tell you a story, Rick? Rick : Has it got a wow finish?

Ilsa : I don't know the finish yet. Rick : Well, go on. Tell it - maybe one will come to you as you go along. Ilsa : It's about a girl who had just come to Paris from her home in Oslo. At the house of some friends, she met a man about whom she'd heard her whole life. A very great and courageous man. He opened up for her a whole beautiful world full of knowledge and thoughts and ideals. Everything she knew or ever became was because of him. And she looked up to him and worshiped him... with a feeling she supposed was love. Rick : [bitterly] Yes, it's very pretty. I heard a story once - as a matter of fact, I've heard a lot of stories in my time. They went along with the sound of a tinny piano playing in the parlor downstairs. "Mister, I met a man once when I was a kid," it always began. [laughs] Rick : Well, I guess neither one of our stories is very funny. Tell me, who was it you left me for? Was it Lazlo, or were there others in between or... aren't you the kind that tells?

[Ilsa tearfully and silently leaves. Rick's face falls in his hands sadly, knowing that he's said all the wrong things] Share this: Facebook | Twitter | Permalink Hide options [first lines] Narrator : With the coming of the Second World War, many eyes in imprisoned Europe turned hopefully, or desperately, toward the freedom of the Americas. Lisbon became the great embarkation point. But, not everybody could get to Lisbon directly, and so a tortuous, roundabout refugee trail sprang up - Paris to Marseilles... across the Mediterranean to Oran... then by train, or auto, or foot across the rim of Africa, to Casablanca in French Morocco. Here, the fortunate ones through money, or influence, or luck, might obtain exit visas and scurry to Lisbon; and from Lisbon, to the New World. But the others wait in Casablanca... and wait... and wait... and wait. French officer: To all officers - two German couriers carrying important official documents murdered on train from Oran. Murderer and possible accomplices headed for Casablanca. Round up all suspicious characters and search them for stolen documents. Important.

Share this: Facebook | Twitter | Permalink Hide options [at the bar, where Yvonne and a German officer are ordering drinks] French Officer Insulting Yvonne : [in French, to Yvonne] Say, you are French, yet you go out with a German like this! Yvonne : [in French] What are you butting in for? French Officer Insulting Yvonne : [in French] I am butting in... Yvonne : [in French] It's none of your business! [the German officer approaches the Frenchman] German Officer with Yvonne : [in English to the French officer] What did you say to her? Would you kindly repeat it to me? French Officer Insulting Yvonne : [in English] What I said is none of your business. German Officer with Yvonne : Then I will make it my business! [brief scuffle between German officer and French officer; Yvonne screams at them in French to stop; Rick intervenes and orders them to desist] Rick : I don't like disturbances in my place. Either lay off politics or get out!

[other French officers come forward and forcibly remove the French officer from the club] French Officer Insulting Yvonne : [in French, to German officer] Dirty Boche. Someday we'll have our revenge! Share this: Facebook | Twitter | Permalink Hide options Victor Laszlo : I know a good deal more about you than you suspect. I know, for instance, that you're in love with a woman. It is perhaps a strange circumstance that we both should be in love with the same woman. The first evening I came to this café, I knew there was something between you and Ilsa. Since no one is to blame, I - I demand no explanation. I ask only one thing. You won't give me the letters of transit: all right, but I want my wife to be safe. I ask you as a favor, to use the letters to take her away from Casablanca. Rick : You love her that much? Victor Laszlo : Apparently you think of me only as the leader of a cause. Well, I'm also a human being. Yes, I love her that much. Casablanca ending - YouTube Casablanca ending 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 Jul 24, 2007 ending of the film, Casablanca where Rick tells Louie, "Louie, I think this is the beginning of a beautiful friendship." Category SparkNotes: Casablanca: Important Quotations Explained Important Quotations Explained 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. 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." The tune of "As Time Goes By" is one of Casablanca's most important themes, but the words are sung only on two occasions.

Sam sings the first two verses at Ilsa's request on the night of her arrival with Laszlo in Casablanca. Rick, who has forbidden the song in his bar, reacts angrily, but he catches sight of Ilsa just as he begins to reprimand Sam. The song becomes the occasion of their re-acquaintance. Later, Sam sings the last two verses during Rick's Paris flashback. As the song plays, Ilsa and Rick stand beside the piano and Rick fills glasses with champagne. Ilsa is noticeably distracted, and presumably she has already learned that Laszlo is still alive. Rick casts a glance at Ilsa that suggests he knows something is bothering her, but he doesn't mention it in the dialogue that follows. In this case, the song marks a missed opportunity to tell the truth and prevent years of resentment. The actual lyrics of "As Time Goes By" are also significant, since the message of the song suggests that the world is a complicated place full of continuous change, but that one thing remains constant: timeless, enduring romantic love. Casablanca does not accept these words at face value but puts them to the test.

The passing of time is one of the film's main themes, and the question of whether love endures is one of its central questions. Before Ilsa shows up in Casablanca, Rick seems to have given up on the possibility of a pure, timeless love. Ilsa's confession of love in his apartment complicates the picture, but at the movie's finale, time, not love, triumphs. Time and history, in the form of the war, dominate the present and steer the future. If the love between Rick and Ilsa does survive, it will do so only as memory. The significance of the words of "As Time Goes By," therefore, is that they are ultimately false. The future can and does bring situations that interrupt love, and the fundamental things don't always apply. 2. Rick: “Who are you really and what were you before? What did you do and what did you think?" Ilsa: “We said no questions." Rick: “Here's looking at you, kid." Rick and Ilsa exchange these words in Rick's flashback to their time together in Paris.

Rick remembers this exchange the night he first sees Ilsa in Casablanca, as he drinks alone late at night in the empty bar while Sam plays "As Time Goes By." Rick remembers the days in Paris as idyllic and untroubled. The war had not yet come to the city, and Rick believed he had found true happiness with Ilsa. In the flashback, Rick is lighthearted and smiling, a person altogether different from the heavy brooder we see in Casablanca. In this dialogue, Rick wants to know all about Ilsa, but she rebuffs his questions by reminding him that they agreed not to discuss each other's pasts. This agreement protects the innocence of their relationship, but it also prevents Rick from learning the truth about Ilsa, which might have saved him years of heartbreak. Although the war has not yet come to Paris, it has already spread to Czechoslovakia, where Ilsa's husband, Laszlo, was arrested, sent to a concentration camp, and, she believes, killed. The past is too painful for her to think about, and she most likely also fears Rick's reaction to the news of her marriage.

In Casablanca, whenever Ilsa tries to explain to Rick what happened in Paris, she points out that they knew very little about each other. In effect, this reminder becomes her excuse for the emotional pain she caused him, but it is also a rebuke to Rick. She intentionally maintained his ignorance about her. At the same time, had Ilsa answered honestly, the whole tone of the memory would be different. Ilsa and Rick's simple love would be turned on its head. Rick seems to have a choice: a painful present and a perfect memory, or a complicated understanding of both. As he remembers the Paris days, Rick seems to prefer to keep the memory pure. But eventually he embraces the truth about his time with Ilsa both in Paris and in Casablanca, which is necessary if he is going to move on with his life. He recasts the memory by repeating the line "Here's looking at you, kid" at the end of the film. 3. Louis: “I'm shocked, shocked, to find that gambling is going on in here." Louis makes this announcement in Rick's after the patrons' spontaneous rendition of “La Marseillaise” angers Strasser and he demands that Rick's be shut down.

Louis must find some excuse to carry out the order, and gambling is what he comes up with. Louis is the film's great wit, and this is probably his best line. He delivers it with a straight face—then politely accepts his gambling winnings from that evening. Louis brings levity and comic relief to an ensemble of intense, brooding characters: Laszlo, the passionate politician; Ilsa, trapped in a heart-wrenching conflict; Rick, the silently suffering sentimentalist; and Strasser, the determined villain. In Casablanca, not all characters suffer from the anxiety of the war, and Louis lives a pleasant life of easygoing hedonism and harmless corruption. Petty crime is everywhere in Casablanca, and this line serves as its official stamp of approval. It also reveals something fundamental about Louis's character. A gambler himself, he has known for some time that gambling takes place at Rick's. Not only does Louis shut down Rick's with his deadpan announcement, but he also effectively reminds us that he always could have shut down the bar in the past, but never did.

Ironically, by flexing his muscle at this moment, and at the request of Strasser, Louis shows where his true loyalties lie. Had Strasser not said a word, Louis would have done nothing, as he always had before. Moreover, Louis knows that gambling is not the only illegal activity to go on at Rick's. Rick's is also a place where stolen letters of transit are sold and where members of the underground resistance meet to discuss their plans without arousing suspicion. That Louis uses gambling, rather than political activities, as the excuse to shut down Rick's is significant. Louis's eventual rejection of Vichy and collaboration is anticipated by this statement. At the height of Louis's moral hypocrisy, he reveals the seeds of his political idealism. 4. Rick: “Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now. Here's looking at you, kid." Rick says these words to Ilsa at the airport during the final scene.

As the scene unwinds, who exactly will depart Casablanca that night and which man, Rick or Laszlo, will wind up with Ilsa remain unclear. Just before Rick says these words, he states clearly his decision: Ilsa and Laszlo will leave together on the plane, and Rick will remain in Casablanca. With these lines, which culminate the most dramatic exchange of dialogue in the film, Rick recasts the entire question. The real concern, he suggests, is not which man will get the woman. In the larger scheme of things, such a concern doesn't matter. A war is raging is Europe, and the happiness of these three people is insignificant. These lines are the clearest statement of Casablanca's moral resolution: the triumph of the political over the personal. But Rick is saying more than just this. Although Rick calls himself, Ilsa, and Laszlo "little people," he also recognizes that Laszlo is something more. These lines are not a cry of despair but a recognition of the fact that large political considerations trump the individual concerns of lovers. Laszlo must survive in order to continue his political work.

Ilsa must accompany him, not necessarily because she loves him, but because he loves her, and her presence will make him more effective politically. Through the personal sacrifice these words imply, Rick catapults himself from the realm of "little people" into the sphere of large causes. Like Laszlo, Rick becomes a partisan, a warrior, and a hero, and he seems to realize that whereas Laszlo's heroism is amplified by Ilsa's presence, Rick himself functions best on his own. While Rick claims heroism for himself with these words, he denies the same privilege to Ilsa. Rick claims to have learned that their love means nothing, but Ilsa, he says, can't understand that yet. Only in the future will she figure it out. At best, her actions are passively, or accidentally, heroic. Those who see Rick as exacting some sort of revenge against Ilsa in the finale will find some proof in this scene, as Rick seems to write off as insignificant or foolish any heartbreak Ilsa may feel. He, of all people, should understand how devastating a broken heart can be, and in asking Ilsa to calmly accept and understand his decision, he is asking the impossible.

Rick tries to comfort the heartbroken Ilsa with the words "Now, now," but he also calls attention to their differing priorities. She still believes in the importance of love, while he understands that some things are even greater. Shortly after this speech, Rick tells Laszlo that Ilsa visited him the previous evening and pretended still to be in love with him to get the letters. Rick prefers the certainty of being noble to the uncertainty of love, despite the ambiguities of each person's true feelings. In making the choice to let Ilsa go, he rebukes Ilsa, who, unlike Laszlo and Rick, seems still to consider love the higher value. At the speech's finale, Rick repeats his favorite phrase of affection: "Here's looking at you, kid." The repetition of this phrase, like the consoling words "Now, now," suggests that love continues to endure, despite the circumstantial barriers that keep Ilsa and Rick apart. At the same time, the phrase takes on a new resonance. "Here's looking at you, kid," when Rick said it in Paris, implied a childlike sense of an interminable present, when the looking promised to last forever.

The playful "kid" at the end suggests the innocence of Rick and Ilsa's love. In this final statement, we understand Rick to be saying, "Here's looking at you for the last time." The "kid" comes across as ironic, for the events of the past two years have forced both characters to see the world for what it is, a lawless and often hostile place that leaves no room for childish innocence or ignorance. Rick is not only saying goodbye to Ilsa here, but to the child within himself. His act of self-sacrifice is his political coming of age, just like that of his nation as it decided to enter World War II. 5. Rick: “Louis, I think this is the beginning of a beautiful friendship." This sentence, spoken by Rick, concludes Casablanca. Rick says this to Louis after the plane carrying Ilsa and Laszlo to Lisbon has departed, Strasser has been killed, and Louis has abandoned his cynical neutrality to embrace the Allied cause. As Louis and Rick walk side by side down the airport's empty runway, we see that their fates are linked, most overtly in their shared decision to leave Casablanca for Brazzaville, in French Congo.

Their fates are linked in other ways as well. On the one hand, friendship with Louis is a consolation to Rick after Ilsa's departure. However, the words speak of hope, not resignation. Both Rick and Louis have earned a new beginning. The friendship between Louis and Rick is not itself new, and their mutual affection has been evident throughout the film. Rick's calling this a "beginning," therefore, implies that the terms of the friendship have changed. Whereas the two were once joined by bonds of self-interest and generally interacted out of necessity, now they share a political bond. Political idealism, in the form of active resistance to Nazi rule and the consolidation of the American-French alliance, has replaced casino kickbacks as the cement of their relationship. More Help 20 Greatest Ending Lines in Film History – Page 20 Flipboard 1. Casablanca "Louis, I think this is the beginning of a beautiful friendship." Casablanca is such an old, classic movie that we sort of forget how unusual the ending is. It's a romance where the two lovers not only don't end up together, but Rick actively works to keep Ilsa and her husband safe and well away from him.

His last line both explains his decision and completes his character arc. At the beginning of the film, Rick is a cynical figure, determined to go with the flow and not stick his neck out for anyone. He's been hurt too many times, and he doesn't want to get involved anymore. But this last line signifies change. Not only has he done the honorable thing by sending Ilsa off with her husband, but the implication is that he's going to actively become involved in the resistance movement. Greatest Film Misquotes Greatest Film Misquotes Greatest Movie Misquotes (Part 2) Greatest Movie Mis-Quotes: Some of the most classic film lines or scenes are really only legendary and/or apocryphal, or they are merely movie misquotes, but after many years of repetition and being misquoted in subsequent films, they have become part of the filmgoing public's consciousness. Many of these examples are film quotes that were either commonly attributed wrongly, or in fact were never actually spoken.

The top 10 most misquoted film lines are marked with an icon Rhett Butler's (Clark Gable) scandalous, swear-word farewell to Scarlett (Vivien Leigh) in Gone With the Wind (1939) did not include Scarlett's name. It was: "Frankly, my dear, I don't give a damn." (long version) It was NOT: "Frankly, Scarlett, I don't give a damn." The misquote was heard in Clue (1985), when Miss Scarlet (Lesley Ann Warren) begged Wadsworth (Tim Curry) to forgive her for trying to shoot him: Scarlet: "Wadsworth.

Don't hate me for trying to shoot you." Wadsworth: "Frankly, Scarlet, I don't give a damn." Play clip from Clue (1985): And in The Mask (1994), the Mask/Stanley Ipkiss (Jim Carrey) spoofed the line (along with other semi-familiar lines) after being shot: - "Tell Scarlett I do give a damn." Play clip from The Mask (1994): The other lines were referential: - "Hold me closer, Ed." Flo (Esther Muir): "I want to be near you. I want you to hold me. Hold me closer! Closer! Closer!" Dr. Hackenbush (Groucho Marx): "If I hold you any closer, I'll be in back of ya!" Referencing both The Wizard of Oz (1939) and Old Yeller (1957). - "Tell Tiny Tim I won't be comin' home this Christmas." Referencing A Christmas Carol.

- "Thank you, You love me, you really love me." This line misquoted the end of Sally Field's Oscar acceptance speech in 1985 for her performance in Places in the Heart (1984): "...The first time, I didn't feel it, but this time I feel it, and I can't deny the fact that you like me, right now. You like me!" Play end of Sally Field's speech: Contrary to popular opinion, Gone With the Wind (1939) was not the first use of the word 'damn' in a film. It reportedly was said a few times in Glorifying the American Girl (1929) and in Pygmalion (1938, UK). Also, the phrase "March and sweat the whole damned day" appeared on a dialogue card in the silent epic war film The Big Parade (1925) . In Only Angels Have Wings (1939) , Cary Grant said the name 'Judy' numerous times to costar Rita Hayworth (playing a character named Judith McPherson), such as: "Hello, Judy" - but never repeated her name in rapid succession.

"Helly, Judy." Play clip from Only Angels Have Wings (1939) : "Judy...Judy...Judy" - was falsely attributed to Cary Grant. Cary Grant vaguely recalled that at a party he attended, someone introduced Judy Garland by saying, "Judy, Judy, Judy" and the phrase was attributed to him. A 1960 New Yorker ad for several Judy Garland albums ("Judy! Judy! Judy!") reinforced the incorrect quote.

The most beloved family film, The Wizard of Oz (1939) has had problems with one of its most famous lines spoken by Judy Garland (as Dorothy Gale) to her dog Toto: "Toto, I've a feeling we're not in Kansas anymore." Play clip from The Wizard of Oz (1939) : It's generally misquoted as: "Toto, I've got a feeling we're not in Kansas anymore" or "I don't think we're in Kansas anymore, Toto." A misquote was heard in Honey, I Shrunk the Kids (1989), when the two Szalinski siblings, Amy (Amy O'Neill) and Nick (Robert Oliveri) realized that they had been miniaturized and trapped in a plastic garbage bag in their backyard: Amy Szalinski: "I don't think we're in Kansas anymore, Toto." Nick Szalinski: "I don't think we're in the food chain anymore, Dorothy." Play clip from Honey, I Shrunk the Kids (1989): Quite often, an actual quote has been adapted or abbreviated.

This original lengthy line was from Knute Rockne: All-American (1940) , spoken by team coach Knute Rockne (Pat O'Brien) as a pep-talk to his losing team during half-time: "And the last thing he said to me, 'Rock,' he said, 'sometime when the team is up against it and the breaks are beating the boys, tell them to go out there with all they got and win just one for the Gipper." Play clip from Knute Rockne: All-American (1940) : He was recalling what his most famous player, George Gipp (portrayed by Ronald Reagan), had said earlier in the film: "Ask 'em to go in there with all they've got, win just one for the Gipper." It has often been stated simply as: "Win one for the Gipper," or "Win this one for the Gipper." George Gipp was a real-life football star who died young of pneumonia and provided an inspiring anecdote to his coach.

The last line of the film noirish detective story The Maltese Falcon (1941) was a two-line conversation between Police Sergeant Tom Polhaus (Ward Bond) and Sam Spade (Humphrey Bogart): - "It's heavy. What is it?" - "The uh, stuff that dreams are made of." - "Huh?" Play clip from The Maltese Falcon (1941) : The actual final word of the film was the sergeant's puzzled response, "Huh?" The unusual reference paraphrased Prospero's speech in Act IV of Shakespeare's The Tempest, although it was a misquote of: "We are such stuff as dreams are made on" (NOT "made of"). "Play it again, Sam" - was a line never spoken by either Ingrid Bergman or Humphrey Bogart in Casablanca (1942) to Sam (Dooley Wilson), the nightclub pianist and reluctant performer of the sentimental song 'As Time Goes By' (written by Herman Hupfeld).

When "Play It Again Sam" became the title of a Woody Allen comedy Play It Again, Sam (1972) that, in part, spoofed the classic 1942 film, the misquote was further reinforced. Variations on the line were spoken, however, by both leads in the 1942 film: Ingrid Bergman (as Ilsa Lund) requested: "Play it once, Sam, for old time's sake...Play it, Sam. Play 'As Time Goes By'." I Want Candy (2007) - "Well, play it again, Sam." - "OK. I will...That was a misquote from Casablanca, by the way. I don't know if I can look at you." Play clip from I Want Candy (2007): (excerpt) In Casablanca (1942) , Humphrey Bogart never said: "Drop the gun, Louis." However, he did gave the following warning: "Not so fast, Louis. Nobody is gonna be arrested.

Not for a while yet." Play clip from Casablanca (1942) : The last line of Casablanca (1942) is also often misquoted (and the name Louis, pronounced 'Louie' (in French), is often mis-spelled as Louie) - the correct line, spoken by Humphrey Bogart, is: "Louis, I think this is the beginning of a beautiful friendship." Play clip from Casablanca (1942) : It is often mis-stated as: "This could be the beginning of a beautiful friendship," or "I think this is the start of a beautiful friendship." One of the most oft-quoted lines in cinema history was in director John Huston's The Treasure of the Sierra Madre (1948) : "Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" (short) (long) It has often been misquoted or paraphrased, notably in director Mel Brooks' Blazing Saddles (1974) , spoken by a Mexican bandit (Rick Garcia) as: "Badges?

We don't need no stinkin' badges!" Play clip from Blazing Saddles (1974) : It was also misquoted in: The Ninth Configuration (1980) Manolo (Nick Corri): "Don't show me your badges, we don't know nothing about no stinking badges." "Weird Al" Yankovic's UHF (1989): Animal Deliveryman (Cliff Stephens): "Well, let's see. I got one aardvark, one flamingo, four porcupines, two armadillos, three badgers..." Raul Hernandez (Trinidad Silva): "Badgers??? Badgers??? We don't need no steenkin' badgers!" Play clip from UHF (1989): Troop Beverly Hills (1989): (regarding the patches of the Wilderness Girls Troop) Rosa the Maid (Shelley Morrison): "Patches? We don't need no stinkin' patches." The 1935 novel by B. Traven consisted of the following similar dialogue, with some Spanish obscenities thrown in: "All right, "Curtain shouted back.

"If you are the police, where are your badges? Let's see them." "Badges, to god-damned hell with badges! We have no badges. In fact, we don't need badges. I don't have to show you any stinking badges, you god-damned cabrón and ching' tu madre! Come out there from that s--t-hole of yours. I have to speak to you." The following popular catchphrase has multiple origins, and probably goes way back. It was first heard in the movies in Otto Preminger's film-noir Fallen Angel (1945), and then was famously uttered by Bette Davis (as Rose Moline) in Beyond the Forest (1949) . Eric Stanton (Dana Andrews): "What a dump!" June Mills (Alice Faye): "It isn't so bad." Play clip from Fallen Angel (1945): Rose Moline (Bette Davis): "What a dump!" Play clip from Beyond the Forest (1949) : It was not popularized until heard in the opening scene of the 1961 Edward Albee play, upon which the highly-acclaimed film Who's Afraid of Virginia Woolf?

(1966) was based. In the film, the exact same line was uttered by actress Elizabeth Taylor (as 52 year-old wife Martha) who then berated her professor-husband Richard Burton (as George) for not remembering the film the line was from: "...What's it from, for Christ's sake?...some damn Bette Davis picture, some god-damned Warner Bros epic." Play clip from Who's Afraid of Virginia Woolf? (1966) : Actor John Derek (Bo Derek's future husband) in his first major film role (as young Italian hoodlum Nick Romano in the Chicago slums, who was accused of murdering a cop) stated the following line in the classic Humphrey Bogart film noir Knock on Any Door (1949), directed by Nicholas Ray. He told his girlfriend Emma (Allene Roberts) that his motto or credo in life remained as: "What I used to say still goes.

Live fast, die young and have a good-looking corpse!" Play clip from Knock on Any Door (1949): This saying, although wrongly modified as “Live fast, die young and leave a good-looking corpse!” has often been wrongly attributed to actor James Dean - a quintessential symbol of disenfranchised youth. The last part of the phrase is fairly original (derived from the text of the 1947 novel written by the African-American novelist Willard Motley), while the phrase "live fast and die young" dates back to the early 1900s. In the classic gangster film White Heat (1949) , James Cagney's triumphant shout atop a oil tank before blasting himself into oblivion has often been erroneously quoted. The actual line was: "Made it, Ma. Top of the world!" Play clip from White Heat (1949) : The line was not: "Top of the world, Ma!" Bette Davis' most famous film line as aging, jealous stage actress Margo Channing in All About Eve (1950) was delivered after she took another stiff drink during a birthday party.

She walked over to the staircase, turned, and told everyone to buckle up their airplane seatbelts (cars didn't have seatbelts in the 1950s!): "Fasten your seatbelts, it's going to be a bumpy night." The line has often been misquoted, substituting the word "ride" for "night." "Fasten your seatbelts, it's going to be a bumpy ride." "I'm ready for my closeup, Mr. DeMille" has often been presented as Norma Desmond's (Gloria Swanson) line, but it's actually a misquote of her original closing in Sunset Boulevard (1950) : "All right, Mr. DeMille, I'm ready for my closeup." Play clip from Sunset Boulevard (1950) : The line was misquoted in Mrs. Doubtfire (1993) by Daniel Hillard/Mrs.

Doubtfire (Robin Williams), while speaking to Frank (Harvey Fierstein) as he/she was made up: - "I feel like Gloria Swanson." - "You look like her mother." - "I'm ready for my close-up, Mr. DeMille." Play clip from Mrs. Doubtfire (1993): In Disney's animated classic Alice in Wonderland (1951), the Cheshire Cat (voice of Sterling Holloway) has often been thought to say, "We're all mad here." The actual lines in the film were: - "Of course, he's mad too." - "But I don't want to go among mad people." - "Oh, you can't help that. Most everyone's mad here. You may have noticed that I'm not all there myself." Play clip from Alice in Wonderland (1951): In Lewis Carroll's original novel, Alice's Adventures in Wonderland published in 1865 however, the extended quote was: "But I don't want to go among mad people," Alice remarked. "Oh, you can't help that," said the Cat: "We're all mad here. I'm mad.

You're mad." "How do you know I'm mad?" said Alice. "You must be," said the Cat, "or you wouldn't have come here." One of the more interesting misquotes was attributed to actor Tony Curtis. In many tributes and obituaries when he died in the year 2010, he was quoted as having said the following line with a heavy New York accent: "Yonder lies the castle of my father." "Yonda (or yonda) lies da castle of my fodder (faddah, fodda, or fadda)." Although many sources claim that Curtis said the line in The Prince Who Was a Thief (1951) and/or The Black Shield of Falworth (1954), Curtis didn't utter the above quote in either film. However, a variation on the line was spoken by Curtis in Son of Ali Baba (1952): "This is my father’s palace.

And yonder lies the Valley of the Sun." Play clip from Son of Ali Baba (1952): Director Vincente Minnelli's melodramatic Tea and Sympathy (1956) began as playwright Robert Anderson's stage play, debuting in NYC in 1953. The controversial film was about bullying and social prejudice against an "unmanly" prep school student named Tom Lee (John Kerr), who was shown understanding and friendship by Laura Reynolds (Deborah Kerr) - the lonely, frustrated wife of Bill (Leif Erickson), the school's coach.

The film's title came from his description of his wife's role at the school, when she completed his sentence: - "All you're supposed to do is once in a while give the boys a little tea..." - "...tea and sympathy." Play clip from Tea and Sympathy (1956): The Rolling Stones 1969 song Let It Bleed, written by Mick Jagger and Keith Richards (and performed by Mick Jagger) modified the line in one of the verses: She said, "My breasts, they will always be open Baby, you can rest your weary head right on me And there will always be a space in my parking lot When you need a little coke and sympathy." Play clip of Let It Bleed (1969): The film, bowdlerized with a tacked-on ending, should have ended with Laura's advice to Tom: "Years from now, when you talk about this, and you will, be kind." Play clip from Tea and Sympathy (1956): There were a few variations on the famous James Bond 007 drink preference quote: "...shaken, not stirred," first heard uttered by the Bond character (Sean Connery) himself in Goldfinger (

1964) : "...Just a drink.

A martini, shaken, not stirred." Play clip from Goldfinger (1964) : Villain Dr. Julius No (Joseph Wiseman) offered the familiar drink to Bond in the earlier first Bond film Dr. No (1962) - with the words: "A medium dry martini, lemon peel. Shaken, not stirred." Play clip from Dr. No (1962) : In You Only Live Twice (1967) , the drink instructions were reversed, with Bond politely agreeing with his host Henderson (Charles Gray) and accepting the altered drink: "Perfect!" "Oh, that's, uh, stirred, not shaken. That was right, wasn't it?" In the UK film Alfie (1966), Michael Caine (as the title character) said: "Not many people know this." One of his many trivia books was titled, "Not Many People Know That." In the film, he never said: "(And) not a lot of people know that." The tagline from Cool Hand Luke (1967) has often been modified from its original.

In its most famous utterance, the Captain (Strother Martin) said to recalcitrant chain gang prisoner Luke (Paul Newman): "What we've got here is (pause) failure to communicate." Play clip from Cool Hand Luke (1967) : (Captain's line) It was NOT: "What we have here is a failure to communicate" (although the line with the word 'a' was later sarcastically repeated by character Luke to the prison warden before he was shot) -- as: "What we got here is a failure to communicate." Play clip from Cool Hand Luke (1967) : (Luke's line) In The Graduate (1967) , Benjamin Braddock (Dustin Hoffman) made a statement and then asked a question of the Mrs. Robinson (Anne Bancroft) character. As he naively asked his question, the camera shot under her upraised leg, framing Ben underneath: - "For God's sake, Mrs. Robinson, here we are, you've got me into your house. You give me a drink. You put on music, now you start opening up your personal life to me and tell me your husband won't be home for hours... Mrs.

Robinson, you're trying to seduce me. Aren't you?" Play clip from The Graduate (1967) : (short version) (long version) He did NOT ask either of these two questions: "Mrs. Robinson, are you trying to seduce me?" or "Are you trying to seduce me, Mrs. Robinson?" Shortly later upstairs in her home, Mrs. Robinson went further and asked Benjamin: "Would you like me to seduce you?...Is that what you're trying to tell me?" Play clip from The Graduate (1967) : The misquote (in a number of variations) was heard in, for example, The Ladies Man (2000), Van Wilder (2002), and A Walk to Remember (2002). "Mrs. Robinson, are you trying to seduce me?" (The Ladies Man (2000)) Ms. Doris Haver (Cynthia Fancher): "Mr. Wilder, are you trying to seduce me?" Van Wilder (Ryan Reynolds): "Who, me? No!

Hey, hey..." (Van Wilder (2002)) In Planet of the Apes (1968) , captured astronaut George Taylor (Charlton Heston) screamed: "Take your stinkin' paws off me, you damn dirty ape!" Play clip from Planet of the Apes (1968) : He did NOT say: "Get your stinkin' paws off me, you damn dirty ape." In the original British caper film The Italian Job (1969) about a gang stealing gold bullion from a bank vault in Turin, this famous quote was heard from Cockney gangster Charlie Croker (Michael Caine) as the film ended: "Hang on a minute, lads, I’ve got a great idea." Play clip from The Italian Job (1969): He did not say: "I've got an idea," or "Hang on, lads.

I've got a great idea." "You were only supposed to blow the bloody doors off!" Play clip from The Italian Job (1969): The above line by actor Michael Caine was voted the favorite film one-liner in a 2003 poll of 1,000 British film fans, reported in The Telegraph. It demoted the previous most favorite line down to the # 2 spot - Rhett Butler's (Clark Gable) retort to Scarlett O'Hara (Vivien Leigh): "Frankly, my dear, I don't give a damn!" Vigilante SF cop 'Dirty' Harry Callahan (Clint Eastwood), while holding his giant-sized .44 Magnum at a downed bank robber in the opening of Dirty Harry (1971) , said: "I know what you're thinkin'. 'Did he fire six shots or only five?' Well, to tell you the truth, in all this excitement, I've kinda lost track myself.

But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do ya punk?" Play clip from Dirty Harry (1971) : (beginning of film) He never said: "Do you feel lucky, punk?" The same full quotation is ritualistically repeated again almost verbatim at the film's conclusion, when Callahan confronted the killer Scorpio: "I know what you're thinkin', punk. You're thinkin': 'Did he fire six shots or only five?' And to tell you the truth, I forgot myself in all this excitement.

But bein' this is a .44 Magnum, the most powerful handgun in the world, and will blow your head clean off, you could ask yourself a question: 'Do I feel lucky?' Well, do ya, punk?" Play clip from Dirty Harry (1971) : (end of film) Misquotes were heard in a number of films, including: Short Circuit 2 (1988) - Robot Johnny Five imitates both Sylvester Stallone and Clint Eastwood in one line - Johnny Five: "Yo, come on, you bug-eyed geek! Do you feel lucky, punk?" Play clip from Short Circuit 2 (1988): Scary Movie 2 (2001) - Dwight Hartman confronting the Hell House Ghost Dwight (David Cross): "I know what you're thinkin'. Did I fire three shots or a hundred and seventeen? Well, do you feel lucky, (pause) punk? Do you (pause) feel lucky?

Do you feel lucky, punk?" Hell House Ghost (Richard Moll): "Shoot me, motherf--ker." Play clip from Scary Movie 2 (2001): Showtime (2002) - "Confessional" Camera Scene Detective Mitch Preston (Robert DeNiro): "Do you feel lucky, punk? Who said that?" CB News - Casablanca - a tribute to a classic | Chess News More... Warning: if you haven't already seen the film "Casablanca" (1942), then consider stopping here and watching it before reading this article. Much of what follows contains spoilers, and might dampen the freshness of the experience. The news that came out seemed almost innocuous, a footnote of interest only to the most fervent film buffs: Madeleine LeBeau had passed away at age 92. Carried in all the specialized press, here is a eulogy by Variety However, the meaning of it was more than the death of an aged actress, whose name alone probably would not even raise an eyebrow to most (hesitating to write 'all') readers. So who was she?

Madeleine LeBeau was the last credited cast member of the film "Casablanca", one of the movies with the greatest impact in film history, with possibly more popular quotes to this day than any other, not to mention included in almost every single list of Top Ten Films Ever. Even the chess scene with Humphrey Bogart can be considered almost unique. It is strange to say that one of the most iconic and memorable films ever was a slow-burner, taking time to achieve its cult status, but that is indeed the case. It isn't that the film was a flop (it was not), or that it was considered a B-list film (of course not), but nor was it seen or expected to be anything exceptional that would stand out as it did. Not by the director, not by the studio, and not be the actors themselves. Birth of a classic It all started with a play by Americans Murray Burnett and Joan Alison, written in 1940, called "Everybody Comes to Rick's". The idea came after the summer of 1938, when the couple had traveled to Vienna to help Jewish relatives smuggle money out of Austria, which had been occupied by the Nazis since March that year.

Later, on their return, the couple visited a small town in the south of France, where they went to a nightclub overlooking the Mediterranean Sea. A black pianist played jazz for a crowd of French, Nazis, and refugees. Thus was born the inspiration and idea of the play. The cover of the play upon which "Casablanca" was based The play was written in 1940, prior to the entry of the United States into World War II, and was strongly anti-Nazi and pro-French Resistance. The couple tried to convince Broadway producers to back it with no luck, but an extreme windfall befell them when story editor Irene Diamond read it while in New York, and convinced Hollywood film producer Hal B. Wallis to purchase the film rights for a record sum (for a previously unproduced play) of US$20 thousand in January 1942. With the film rights secured, the Epstein brothers, veteran script writers under contract with Warner Bros. were assigned to the project. Although more than one writer was given a task on it, the Epstein brothers were the bulk of it by far, and are credited with the structure and sparkling dialogue that have marked the film. Julius J. (left) & Philip G.

Epstein won an Academy Award for their adapted screenplay As an interesting sidenote, despite their success, the Epstein brothers' 17-year tenure at Warner Bros was tumultuous. In the 1940s and 1950s when government investigators were trying to unmask alleged communists in Hollywood, Philip Epstein, a critic of communism, was asked if he had ever belonged to a subversive organisation. "Yes," he replied. "Warner Bros." In spite of this, or perhaps because of their strong personalities, their work on the Casablanca screenplay earned them the academy award for best screenplay in 1943. One might wonder how much of this credit was deserved as the film did stem from a play. However, by all accounts, while the play did provide the backbone and core of the film, it underwent many powerful changes in not only the characters but details of the plot itself. How deep? In the play Rick Blaine, immortalized on the screen by Humphrey Bogart, calls Ilsa (Ingrid Bergamn in the film) a 'bitch' and Laszlo (Paul Henreid) a 'high-class pimp', which are nothing like the classy character in the movie.

Another distinction is that in the play the Nazi Major Strasser is not after the names of the underground leaders from Laszlo, but seven million dollars that Laszlo enriched himself with thanks to an underground newspaper. Should he turn over the money, he will supposedly be free to leave. The dispute is therefore not about the freedom and lives of resistance leaders but just money. All these details add up and ultimately had a profound effect on the tale and its impact, raising what was an average but promising play to immortal status. As a tribute to just how much attention and care went into the film, consider the tale of the famous last line of the film, not authored by the Epstein brothers or any of the screenwriters. The film's producer Hal B. Wallis wrote the final line, "Louis, I think this is the beginning of a beautiful friendship," after shooting had been completed, and Bogart had to be called in a month after the end of filming to dub it. Although the film was a substantial box-office success, it was not a spectacular one, taking $3.7 million on its initial U.S. release, making it the seventh highest grossing film of 1943.

The film did garner its share of praise, notably with Oscars for Best Picture, Best Director and Best Adapted Screenplay, but even such awards are not enough to ensure such a lasting legacy. On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It was so popular that it began a tradition of screening Casablanca during the week of final exams at Harvard University, which continues to the present day, and has been followed up by other colleges that have adopted the tradition. It is quite likely this tradition that helped the movie remain popular while other famous films of the 1940s faded away, so much so that by 1977, Casablanca was the most frequently broadcast film on American television. Quotefest There is no question that Casablanca is an absolute quotefest. The number of memorable lines that have entered popular culture is legion. For example, the ironic and iconic line "round up the usual suspects" has been incorporated in the titles of business, sociology and political science articles, and is certainly pervasive in conversation and dialogue.

A scene from Casablanca with two of its most famous lines Six lines from Casablanca appeared in the American Film Institute's list of the Top 100 Movie Quotations in American cinema, the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). "Here's looking at you, kid" - 5th "Louis, I think this is the beginning of a beautiful friendship."—20th "Play it, Sam. Play 'As Time Goes By'."—28th "Round up the usual suspects."—32nd "We'll always have Paris."—43rd "Of all the gin joints in all the towns in all the world, she walks into mine."—67th Still, more than just famous lines, the beautiful Madeleine Beau, whose death instigated this article was also a key component of one of the most famous and stirring scenes of the film, that of the Marseillaise, when she is shown singing it with tear-filled eyes.

Chess An avid chess player of expert ability, Bogart reportedly had the idea that Rick Blaine be portrayed as one, a metaphor for the sparring relationship he maintained with friends, enemies, and tenuous allies. One subtle element that makes it stand out over all other scenes is that Rick is visibly analyzing by himself, with no opponent now or later. It is a chess player's thing that makes it stand apart. Every chess player knows the famous scene in "Casablanca" with Humphrey Bogart in front of a chessboard, but here is one off-camera, on the set of the film. In it Claude Rains (left) watches the usual suspects, Humphrey Bogart and Paul Heinreid, play a game.

Casablanca is one of those films that never seems to lose its veneer, whatever the explanations, and there are many, from the professional Pulitzer-Prize winning movie critic Roger Ebert, who stated "Citizen Kane is generally considered to be a "greater" film, but Casablanca is more loved.", while Umberto Eco described it as a movie reaching "Homeric depths" as a "phenomenon worthy of awe." One thing is certain, its appeal shows no sign of diminishing, resisting the effects of age like no other. Here's looking at you, kid. Albert Silver Born in the US, he grew up in Paris, France, where he completed his Baccalaureat, and after college moved to Rio de Janeiro, Brazil. He had a peak rating of 2240 FIDE, and was a key designer of Chess Assistant 6. In 2010 he joined the ChessBase family as an editor and writer at ChessBase News. He is also a passionate photographer with work appearing in numerous publications.

Feedback and mail to our news service Please use this account if you want to contribute to or comment on our news page service SparkNotes: Casablanca: Plot Summary Plot Summary Context Character List The film opens with an image of a spinning globe and the sounds of "La Marseillaise," the French national anthem. A voiceover explains the significance of the city of Casablanca, in French-ruled Morocco. During World War II, many people wanted to escape Europe for America, and Lisbon, Portugal, became the most popular port of exit. Getting to Lisbon was not easy. A tortuous refugee path brought people to Casablanca, where they would search for an exit visa for Portugal. As the narrator finishes the description, the camera shows Casablanca's bustling market. Over the radio, the French police announce that two German officers were murdered on a train and that the murderer is headed for Casablanca. Shortly thereafter, an important German officer, Major Strasser, arrives at the Casablanca airport and is greeted by the local French commander, Captain Louis Renault. Strasser asks about the couriers, and Louis says that the murderer, like everyone else, will be at Rick's that evening.

The scene shifts to Rick's Café Americain, a stylish nightclub and casino. Ugarte approaches Rick, the bar's owner, and asks if he will hold some letters of transit for him. Rick observes dryly that the murdered German couriers were carrying letters of transit, but accepts the letters and hides them in the piano played by his house musician, Sam. Signor Ferrari, owner of the rival bar, the Blue Parrot, offers to buy Rick's, but Rick says his bar isn't for sale. Yvonne, Rick's neglected lover, tries to arrange a date for that evening, but Rick dismisses her attempts to pin him down and calls a cab to send her home. Louis tells Rick he's going to make an arrest and warns Rick against protecting the couriers' killer. "I stick my neck out for nobody," Rick responds. Louis also mentions Victor Laszlo, a famous Czech nationalist, will be arriving in Casablanca and warns Rick against trying to assist Laszlo, whose political activities are a threat to Nazi Germany.

In the conversation that ensues, we learn that Rick was involved in anti-fascist wars in the 1930s, supporting the republicans in the Spanish Civil War and the Ethiopians against Italy. Strasser's arrival cuts the conversation short. With the German officer present, Louis decides the time has come to arrest the murderer of the German couriers. Cornered, Ugarte appeals to Rick for help, but Rick does nothing. After things calm down, Laszlo enters the bar with Ilsa. They have come in search of exit visas. Strasser approaches Laszlo with hostility, and Louis politely requests that Laszlo report to his office the next day. Meanwhile, Ilsa and Sam, who recognize each other, begin to talk. At first Sam refuses Ilsa's request that he play "As Time Goes By," but eventually he relents. The music brings Rick to the piano. "I thought I told you never to play—" he begins, breaking off when he sees Ilsa. Laszlo and Louis join the group and Rick sits down for a drink, violating his rule of never drinking with customers. When the couple leaves, Rick picks up the check, breaking another personal rule.

Later that evening, Rick drinks alone after the bar closes. Sam plays "As Time Goes By" again, and Rick thinks about the past. In a flashback, we see a happier, less haggard Rick in Paris with Ilsa by his side. They drive through the city, ride a boat down the Seine, pop open a bottle of champagne, and dance at a club. Although they are clearly in love, they avoid all questions about each other’s pasts. When they hear word that the German army is approaching Paris, Rick knows he will have to leave the city. Rick proposes to Ilsa, who tries her best to hide her anguish, saying she doesn't plan that far in advance. Rick isn't worried, however. He thinks they'll leave together the next day for Marseille. At the train station the next day, Rick waits in the pouring rain, but Ilsa is nowhere to be found. Sam arrives and shows Rick a note. The note is from Ilsa and says that she can never see him again. At this point, the flashback ends, and the scene shifts back to Casablanca. Ilsa enters the bar.

She wants to explain what happened in Paris, but Rick is drunk and angry, and Ilsa leaves. The next day, Ilsa and Laszlo go to Louis's office, where Strasser tells Laszlo he will never escape Casablanca alive. The couple then goes to the Blue Parrot to visit Signor Ferrari and arrive just as Rick is leaving. As Laszlo talks with Ferrari, Ilsa tells Rick that Laszlo is her husband and has been for years, even when she and Rick were together in Paris. Ferrari says he can obtain a visa for Ilsa but not for Laszlo. The couple decides not to split up. Ferrari suggests they speak to Rick, whom he suspects is holding Ugarte's stolen letters of transit. That evening at Rick's, a young Bulgarian woman, Mrs. Brandel, approaches Rick to ask if Louis is "trustworthy." Louis, as Rick knows, has a habit of offering female refugees exit visas in exchange for sex. Rick says Louis's word is good, but, not wanting to let Mrs. Brandel's new marriage be harmed, he arranges for her husband to win big at the roulette table so they can buy a visa on their own.

Later, Laszlo asks to speak to Rick. He offers to buy the letters of transit, but Rick says he'll never sell them. When Laszlo asks why, Rick replies, "Ask your wife." German soldiers have gathered around Sam's piano and are singing the German national anthem. Laszlo tells the band to play "La Marseillaise," the French national anthem, and leads the patrons of the bar in a stirring rendition of the song, which drowns out the Germans. Strasser is furious and demands that Louis shut down Rick's. Louis closes Rick's on the pretext that gambling takes place there, even as he accepts his evening's winnings. Back at their hotel, Laszlo asks Ilsa if there is anything she wants to tell him about Paris, and she replies “No.” Husband and wife reaffirm their love for each other. As Victor leaves for a meeting of the underground resistance, Ilsa leaves too and surprises Rick by showing up in his apartment. She pleads with him for the letters of transit, urging him to put aside his personal feelings for something more important. When Rick still refuses, she pulls a gun on him. Rick dares her to shoot, but Ilsa cannot.

Instead, she breaks down in tears and claims she still loves Rick. They embrace. Later, Ilsa explains what happened in Paris. After she married Laszlo, he had to return to Prague, where he was arrested and put in a concentration camp. Months later, she heard he was killed in an escape attempt. She met Rick shortly thereafter. Ilsa learned Laszlo was still alive just when she and Rick were about to leave Paris together. Laszlo needed her, and she decided to stay with him. She didn't tell Rick because she knew he wouldn't leave Paris if he found out, and then the Gestapo would arrest him. Her story finished, Ilsa says she'll never be able to leave Rick a second time, but she begs that he help Laszlo escape. As for whether she will go with Laszlo or stay with Rick, she says she doesn't know what's right anymore and tells Rick, "You have to think for both of us." Later that evening, Laszlo claims to know that Rick loves Ilsa and asks for the letters of transit for her sake. Just then the German soldiers burst into Rick's and arrest Laszlo.

The next day, Rick pleads with Louis to release Laszlo, saying that Laszlo can be arrested on a more serious charge, possession of the stolen letters of transit. Rick also tells Louis that he plans to use the letters to escape with Ilsa. That afternoon, Rick sells his club to Ferrari. That evening, back at Rick's, as he hands the letters to Laszlo, Louis emerges from the shadows to make the arrest. Just as suddenly, Rick pulls out a gun and points it at Louis. He orders Louis to call the airport to make sure that evening's flight to Lisbon will take off as planned. Louis pretends to call the airport, but actually calls Strasser. At the airport, Rick makes Louis fill in the letters of transit for Mr. and Mrs. Victor Laszlo. Ilsa objects, but Rick says he did the thinking for both of them and decided that for Laszlo to continue doing his work, he needs Ilsa by his side. Rick tells Laszlo that Ilsa visited him last night and pretended to still love him to get the letters. He knew she was lying, Rick says, because it was over a long time ago.

As Rick is talking, Ilsa sobs in the background. After goodbyes, the Laszlos board the plane. Just then Strasser arrives. He calls the radio tower to prevent the plane's taking off, but Rick shoots him, and the plane leaves. The French police arrive, and Louis, who has seen everything, orders, "Round up the usual suspects." As the cops drive off, Louis congratulates Rick on becoming a patriot and then becomes a patriot himself, symbolized by his throwing out a bottle of Vichy water (water produced in the unoccupied region of France that persecuted Jews and tried to win Nazi favor). Rick and Louis walk along the runway together. Louis says he can arrange for Rick to escape to Brazzaville, another French colony in Africa, and then announces he will go, too. The movie ends with Rick saying the famous final line, "Louis, I think this is the beginning of a beautiful friendship." "La Marseillaise" plays in the background.

More Help The Beginning of a Beautiful Friendship - Casablanca (6/6) Movie CLIP (1942) HD - YouTube The Beginning of a Beautiful Friendship - Casablanca (6/6) Movie CLIP (1942) HD 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. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 26, 2011 Casablanca movie clips: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: Captain Renault (Claude Rains) and Rick (Humphrey Bogart) strike up a beautiful new arrangement. FILM DESCRIPTION: One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. Simply put, it is the story of Rick Blaine (Humphrey Bogart), a world-weary ex-freedom fighter who runs a nightclub in Casablanca during the early part of WWII.

Despite pressure from the local authorities, notably the crafty Capt. Renault (Claude Rains), Rick's cafÃ (C) has become a haven for refugees looking to purchase illicit letters of transit which will allow them to escape to America. One day, to Rick's great surprise, he is approached by the famed rebel Victor Laszlo (Paul Henreid) and his wife, Ilsa (Ingrid Bergman), Rick's true love who deserted him when the Nazis invaded Paris. She still wants Victor to escape to America, but now that she's renewed her love for Rick, she wants to stay behind in Casablanca. "You must do the thinking for both of us," she says to Rick. He does, and his plan brings the story to its satisfyingly logical, if not entirely happy, conclusion. CREDITS: Cast: Humphrey Bogart, Claude Rains, Conrad Veidt Director: Michael Curtiz Producers: Hal B. Wallis, Jack L. Warner Screenwriters: Joan Alison, Julius J. Epstein, Philip G. Epstein, Howard Koch, Casey Robinson WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web.

Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS: 70 Years of Movies We're Still Quoting | Glamour 70 Years of Movies We're Still Quoting 1 of 9 Sex & Relationships 70 Years of Movies We're Still Quoting With 70 years of movie news under our belts, Glamour has collected quite a few quotable classic film moments. Check out some of our favorites.

By Lindsey Unterberger 1 of 9 Casablanca (1942) In what is arguably the most romantic movie ever, Humphrey Bogart may not have gotten the girl (Ingrid Bergman), but in the end he does get to say, "Louis, I think this is the beginning of a beautiful friendship." And let's not forget about "Of all the gin joints, in all the towns, in all the world, she walks into mine." And, of course, "We'll always have Paris." Wizard of Oz (1939) From childhood, most of us could probably quote much of the Judy Garland classic—"Toto, I've got a feeling we're not in Kansas anymore." "Lions and tigers and bears, oh my!"—but no line made as a much of an impact as Dorothy's "There's no place like home." It was true when we came home from a sleepover when were nine, and it's true now. If only that click-your-heels-three-times thing worked. A Streetcar Named Desire (1951) Apparently, Blanche's (Vivien Leigh) parents never warned her about stranger danger.

As she's being led away from her sister Stella's home ("STELLAHH!"), she delivers the film's other classic line, "I've always depended on the kindness of strangers." If you're going to use the line, be sure to say it with your best Southern-belle accent. The Graduate (1967) Long before MILF or cougar entered our lexicon, there was Anne Bancroft as Mrs. Robinson. Any guy with a crush on his friend's mom or a thing for his teacher fantasizes about saying something similar to, "Are you trying to seduce me, Mrs. Robinson?" Ferris Bueller's Day Off (1986) Matthew Broderick's boyish charms weren't the only things we loved in the quintessential flick about skipping school. The line we still use is a good shorthand for testing if someone has a clue. Ready?

"Bueller?… Bueller?… Bueller?" Network (1976) Here's a movie that made it OK to express your anger with one little line: "I'm mad as hell, and I'm not going to take it anymore!" In this satire, Peter Finch plays disgruntled news anchor Howard Beale, who upon finding he is fired delivers the now-famous line on air. Jerry Maguire (1996) The '90s were as big on quotable movies as they were on Hammer pants, hypercolor T-shirts and L.A. Gear. There was Clueless ("Ugh, as if!") and Titanic ("Never let go, Jack!") and Forrest Gump ("Mama always said, Life is like a box of chocolates—you never know what you're gonna get.'"). But it was Jerry Maguire that "had us at hello." We're still shouting Cuba Gooding Jr.'s "Show me the money," and given the current economy, we're probably not going to stop any time soon. What's the most quotable movie of the 21st century? We couldn't decide which flick should top our list, so we're putting it to a vote.

Which film from 2000 to today do you think will go down as the most quotable There Will Be Blood (2007):"I drink your milkshake." Mean Girls (2004):"You're a mean girl, Cady.You're a b*tch!" Old School (2003):"You're my boy, Blue. You're my boy." Bring It On (2000):"You wanna make it right? Then when you go to nationals… bring it." Erin Brockovich (2000):"They're called boobs, Ed." Casablanca (1942) In what is arguably the most romantic movie ever, Humphrey Bogart may not have gotten the girl (Ingrid Bergman), but in the end he does get to say, "Louis, I think this is the beginning of a beautiful friendship." And let's not forget about "Of all the gin joints, in all the towns, in all the world, she walks into mine." And, of course, "We'll always have Paris."

Question: Which classic film ends with the line "Louis, I think this is the beginning of a beautiful friendship" ?
Answer: CASABLANCA