This is not to imply, however, that Mr. Huston has imitated any one.
Rick’s Café Américain never existed, so a US ex-diplomat decided to build it in Casablanca
He has worked out his own style, which is brisk and supremely hardboiled. But we'll wager it wasn't half as tough nor half as flavored with idioms as is this present version, in which Humphrey Bogart hits his peak. For the trick which Mr. Huston has pulled is a combination of American ruggedness with the suavity of the English crime school—a blend of mind and muscle—plus a slight touch of pathos.
Perhaps you know the story it was one of Mr.
Of all the gin joints ... Rick’s Cafe recreated in Casablanca
Hammett's best : of a private detective in San Francisco who becomes involved through a beautiful but evasive dame in a complicated plot to gain possession of a fabulous jeweled statuette. As Mr. Huston has adapted it, the mystery is as thick as a wall and the facts are completely obscure as the picture gets under way.
But slowly the bits fall together, the complications draw out and a monstrous but logical intrigue of international proportions is revealed. Much of the quality of the picture lies in its excellent revelation of character. Bogart is a shrewd, tough detective with a mind that cuts like a blade, a temperament that sometimes betrays him, and a code of morals which is coolly cynical. Mary Astor is well nigh perfect as the beautiful woman whose cupidity is forever to be suspect.
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Also, if you look closely, you'll see Walter Huston, John's father, in a bit part. Don't miss "The Maltese Falcon" if your taste is for mystery fare.
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After all, when the now-classic film premiered in New York City on Nov. Before the U.
go to link The city was known to European refugees as a desperate whistle stop on the underground railway to Lisbon. This picture is about some refugees who were stranded in Casablanca and some of the people who helped or hindered them. Among them:. Once in Paris she thought she was a widow, and fell in love with Rick. But she left him as soon as she learned that Laszlo was alive.
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Rick is still trying to get over it. Though largely confined to a few rooms, he kept people on the move and has used an intrusive hurricane for some slam-bang melodramatic effects.
He has also got stinging performances out of most of his cast—notably out of Mr. Robinson, who plays the last of the red-hot gangsters in top-notch style.
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Indeed, Mr. Robinson's performance is an expertly timed and timbred scan of the vulgarity, corruption and egoism of a criminal man. Bogart's enactment of a fellow who blows both hot and cold is also penetrating, largely because it's on the acid side. Lionel Barrymore is sharp as an old codger who is full of ineffectual bravery, and Lauren Bacall is solemnly righteous as a war-widowed country girl.
But the script prepared by Mr.
Huston and Richard Brooks was too full of words and highly cross-purposed implications to give the action full chance. Talk—endless talk—about courage and the way the world goes gums it up. And the simple fact is that much of it is pompous and remote. Also the presentation of old-time gangsterism in this light shows up its obsolescence. The Warners were sentimental, perhaps. At the Strand. Frank McCloud. Humphrey BogartJohnny Rocco.