Tag: Casablanca

6 Degrees: Friday Flix-St Patrick’s Day Edition

 

6degreesLogogif (2)
Happy St Patrick’s Day to my fellow Film Fans!

 

Happy St Patrick’s Day to my fellow film fans!

At the movies: This week in movies, we see the opening of another Benji, which has been reviewed as something so close to the original Benji as to be redundant. But those of us who are Uber Dog lovers will not quibble. The remake is sufficiently cute and heartstring-inducing to be acceptable.

The Subject is Objectivity: On the subject of Film Criticism, there’s a good article this week in 6 Degrees magazine about Casablanca, where the critic writes, “How could I have written a…book on 1940’s Hollywood and …devoted so little space to Casablanca?” He goes on to admit that Casablanca isn’t a favorite, and then cites a long list of classics that DO arouse his passion.

I forgive him because if we’re honest, then that’s true of all of us. I do acknowledge many of the classics don’t exactly move me to watch them over and over. However, you can acknowledge the excellence and innovative techniques used by the filmmakers, and still allow the film may not ‘move you’ in a significant way. With film, often there is a gut reaction that embeds them in your psyche and compels you to want to see the film again and again. It can allow you to identify with a mood or character and makes you ‘get it’ on that deeply psychic level.

To that end, in my book, 6 Degrees of Film, I compiled the “List of 100’, and as noted before on the 6 Degrees blog, the endless lists we see, from everything that can be compiled including science-fiction films, horror, rom-com, classics and any combination of categories and genres that go on and on are rendered meaningless by their ubiquitous nature. One of my pet peeves is the overly large number of films listed in these articles (I’ll leave my list of 100 films out of the argument for the moment!).

When compiling the best films lists of any recent year, reaching the number of up to 50 or 100 seems high to me. Yes, we can compile lists for the best films of the decade, or for an entire genre to reach the higher numbers, but there should be some discernment and discretion with critics compiling these long lists of films where, when actually perused, as I have done, seem to include lots of questionable picks and sometimes just feel loosely pulled together in order to create the headline, rather than fulfilling the headline’s narrative with the content required to follow up. (For example: Best Villains who dress well or Best Looking supporting actresses wearing swimsuits….)

About the List of 100: In the book. 6 Degrees of Film: The Future of Film in the Global Village, there is a list compiled of favorite films in the back of the book. Among the films listed is 2001: A Space Odyssey, which is a landmark film in so many ways. The film’s fiftieth anniversary has arrived, and there are a few articles about the making of Kubrick’s classic in the 6 Degrees Magazine.

Here’s an excerpt from my book that points to the reasons that this film made such a significant impact on future filmmakers such as George Lucas:

The Roots of ILM
A Life magazine story from the 1960s summed up
the crisis in visual effects in movies: “There were so many
innovations occurring in film, but in the field of special
effects, there was a dearth of ideas. The big studios couldn’t
finance the large Technicolor spectacles that had been the
signature entertainment for decades at studios like MGM and
Paramount. By the sixties, the film industry had begun to
resemble, a company town where the mine has closed.” 116
Demographics had changed, and audiences had changed. Even
television had evolved, and the world was rapidly changing too.
This meant that movies needed to evolve and adapt to the changing
times. There was an opening for a big turnaround movie.
One appeared in 2001: A Space Odyssey. At 2001’s release in
1969, Stanley Kubrick’s innovations were the cutting edge in
technological advancement in films. But Kubrick’s innovations
did not translate into other copy-cat films, and Kubrick
remained something of a lone-wolf figure. For one thing, the
film was made in England and was too big and too expensive
to emulate. The film failed to revive the waning special-effects
industry in Hollywood. But it did inspire a generation of
young filmmakers who saw that it could be done.
George Lucas was one who acted on that inspiration. He
said, “Almost from the moment film was invented, there was
this idea that you could play tricks, make an audience believe
they were seeing things that really weren’t there. But this was
completely lost by the 1960s.”

From the list of 100, there are a few more films recommended for viewing this week. One of the films is in honor of St Patrick’s Day, and is usually shown each year for this occasion. The Quiet Man, the quintessentially Irish film for all things Irish that we love….Also recommended, Casablanca, which we’ve discussed recently on 6 Degrees. And one of my favorite Bogey films in the Film Noir category, The Big Sleep.

Enjoy watching the classics and until next time, see you at the movies!-ML

6 Degrees of Film: Who wrote Casablanca?

Authors Note: 6 Degrees of Film: The Future of Film in the Global Village is soon celebrating three years of print! Still available on Amazon.com- here’s an excerpt from the book about the authorship of the film Casablanca-where a hodge-podge of ideas and egos resulted in one of the most iconic films ever made!

Casablanca

Script authorship of Casablanca also was disputed, only this time it was writer versus writer who vied for the lone credits. Someone said about this B movie classic, “One of the charms of Casablanca lies in its awkwardness. Not only do the politics and romance sit side by side, but that there are two or three contrasting manners of style. There’s the comic-cynical, the soppy-elegiac, and the solemn-propagandist … [It’s] not so much a story as a stringing together of great moments to remember. How, and in what order we remember them is left to us, and this is part of why we like the film so much.”
Four authors claim to be the true author of Casablanca. There is Howard Koch, who claimed he was brought in “to shape the film’s politics”; the brothers Julius and Philip Epstein, who wrote as a team; and Casey Robinson. Robinson said that he had the idea for a film “out of a ‘lousy play’ called Everybody Comes to Rick’s.”
According to Koch, the story was, “So they start shooting and Hal comes to me and says, ‘We need some help. There’s a little trouble.’ Bogart had said, ‘I won’t shoot this __________’; and he had used a very nasty word and gone home.”
Ingrid Bergman on the Casablanca shoot said this: “Every day, we were shooting off the cuff; every day they were handing out dialogue, and we were trying to make sense of it. No one knew where the picture was going, and no one knew how it was going to end … We said, “Well, who are we?” … and Curtiz would say, “We’re not quite sure … It was ridiculous. Just awful … Bogart didn’t know what was going on, so he retired to his trailer … I wanted to know who I was supposed to be in love with, Paul Henreid or Humphrey Bogart?”
The Epstein brothers had gone on to another project for Frank Capra and were not available, so they sent the script in from Washington page by page. Two scripts were floating around, one from the Epsteins and one from Howard Koch. Robinson was brought in to add the love-interest angle. It was apparent that “none of them knew he was working on a movie that would turn out to be something to boast about; all the signs were that Casablanca would be a stinker.”
The facts are this: The film used some lines from the play, Everybody Comes to Rick’s, including the line “Then play it, Sam” and the song As Time Goes By. The irony was that Julius Epstein was not proud of his part in scripting Casablanca. He called it “slick shit,” and said, “Casablanca is one of my least favorite pictures. I’m tired of talking about it after thirty years. I can explain its success only by the Bogey cult … I can recognize that the picture is entertaining and that people love it. The whole thing was shot in the back lot. Furthermore, there were never any such things as letters of transit around which the entire plot revolved. The movie is completely phony.”

On the subject of Casablanca

 

Editor’s Note: Casablanca is playing this Sunday, September 18th at Tampa Theatre as part of the Summer Film Series. The film begins at 3:00 pm.

 

Casablanca

 

Casablanca is one of the best B movies ever made. The local paper here in Tampa had a dispute over whether it should be designated as a “Chick Flick” or simply a classic film. In my role as a film critic, I’m moving away from the term “Chick Flick” in describing movies. There are Fem flicks-defined as films for women, by women and about women…I would not put Casablanca in this genre.

Casablanca is much more than just a chick flick. It was a film written with quite a convoluted history of authorship, as you can tell in the following excerpt. No one really knew how it was going to turn out even when they were shooting it!

The following is an excerpt from “6 Degrees of Film: The future of film in the Global Village” by Mary L Johnson. The book is available on Amazon at http://www.amazon.com/Degrees-Film-Future-Global-Village/

Casablanca
Script authorship of Casablanca also was disputed, only this time it was writer versus writer who vied for the lone credits. Someone said about this B movie classic, “One of the charms of Casablanca lies in its awkwardness. Not only do the politics and romance sit side by side, but that there are two or three contrasting manners of style. There’s the comic-cynical, the soppy-elegiac, and the solemn-propagandist … [It’s] not so much a story as a stringing together of great moments to remember. How, and in what order we remember them is left to us, and this is part of why we like the film so much.”
Four authors claim to be the true author of Casablanca. There is Howard Koch, who claimed he was brought in “to shape the film’s politics”; the brothers Julius and Philip Epstein, who wrote as a team; and Casey Robinson. Robinson said that he had the idea for a film “out of a ‘lousy play’ called Everybody Comes to Rick’s.”
According to Koch, the story was, “So they start shooting and Hal comes to me and says, ‘We need some help. There’s a little trouble.’ Bogart had said, ‘I won’t shoot this __________’; and he had used a very nasty word and gone home.”
Ingrid Bergman on the Casablanca shoot said this: “Every day, we were shooting off the cuff; every day they were handing out dialogue, and we were trying to make sense of it. No one knew where the picture was going, and no one knew how it was going to end … We said, “Well, who are we?” … and Curtiz would say, “We’re not quite sure … It was ridiculous. Just awful … Bogart didn’t know what was going on, so he retired to his trailer … I wanted to know who I was supposed to be in love with, Paul Henreid or Humphrey Bogart?”
The Epstein brothers had gone on to another project for Frank Capra and were not available, so they sent the script in from Washington page by page. Two scripts were floating around, one from the Epsteins and one from Howard Koch. Robinson was brought in to add the love-interest angle. It was apparent that “none of them knew he was working on a movie that would turn out to be something to boast about; all the signs were that Casablanca would be a stinker.”
The facts are this: The film used some lines from the play, Everybody Comes to Rick’s, including the line “Then play it, Sam” and the song As Time Goes By. The irony was that Julius Epstein was not proud of his part in scripting Casablanca. He called it “slick shit,” and said, “Casablanca is one of my least favorite pictures. I’m tired of talking about it after thirty years. I can explain its success only by the Bogie cult … I can recognize that the picture is entertaining and that people love it. The whole thing was shot in the back lot. Furthermore, there were never any such things as letters of transit around which the entire plot revolved. The movie is completely phony.”

Excerpt from 6 Degrees of Film: The Future of Film in the Global Village