Cassablanca, greatest script ever...

[filmnoirphotos]

<<snip>> From CNN entertainment:

'Casablanca': Greatest script ever

LOS ANGELES, California (Hollywood Reporter) -- "Casablanca" has topped the list of "101 Greatest Screenplays," a first-ever ranking by members of the Writers Guild of America that was revealed Thursday night at a reception in Beverly Hills.

The screenplay for "Casablanca," by Julius Epstein, Philip Epstein and Howard Koch, was followed, in order, by Mario Puzo and Francis Ford Coppola's "The Godfather," Robert Towne's "Chinatown," Herman Mankiewicz and Orson Welles' "Citizen Kane" and Joseph Mankiewicz's "All About Eve."

"This list and the films on it are meant to be scrutinized and criticized, dissected and collected, viewed and reviewed," WGA West president Patric Verrone said. "They are the literature of our industry and the legacy of our union."

Added WGA East president Chris Albers: "It's difficult to think of American life without the films on this list. Just reading the titles reminds us of the fantastic journeys they have provided."

The results, sponsored by the unions and Premiere magazine, were revealed at a gala tribute at the Writers Guild Theater.

Members nominated more than 1,400 screenplays. Any produced screenplay was eligible regardless of era or language.

Rounding out the top 10 are Woody Allen and Marshall Brickman's "Annie Hall," Charles Brackett, Billy Wilder and D.M. Marshman Jr.'s "Sunset Blvd.," Paddy Chayefsky's "Network," Billy Wilder and I.A.L. Diamond's "Some Like It Hot" and Coppola and Puzo's "The Godfather Part II."

Three writers -- Allen, Coppola and Wilder -- had four films on the list, while three others had three: William Goldman, John Huston and Charlie Kaufman.

Forty-five were original scripts, while 56 were adaptations; the list also was heavy on dramas (60) as opposed to comedies (26) and comedy/dramas (15).

Full credits and the complete list can be found at www.wga.org.

 

[Vladimir Berkov]

Not sure I agree with this, I would say most of Casablanca's appeal is due to the acting/actors rather than the writing.

 

[Lauren]

I don't agree.

 

[scotrace]

Any reasonable person would think that also

Not sure I agree with this, I would say most of Casablanca's appeal is due to the acting/actors rather than the writing.

But no no, it wasn't the performances that made Casablanca a great film; it was the Unions.

 

[jake_fink]

I don't agree.

With what/whom?

But no no, it wasn't the performances that made Casablanca a great film; it was the Unions.

[huh]

 

[Marc Chevalier]

Nay, I say.

 

[herringbonekid]

not the best script ever perhaps, but the humour in the dialogue is rarely mentioned...

peter lorre: "you despise me don't you rick"
bogart: "i might, if i thought about you any"

 

[Veronica Parra]

Wait, is that funny?

 

[Shaul-Ike Cohen]

This isn't sooo funny, I think, but there are very comic situations, like

Rick: How can you close me up? On what grounds?
Renault: I am shocked, shocked to find that gambling is ging on in here!
Croupier: Your winnings, Sir.
Renault: Oh, thank you very much.​

 

[mysterygal]

I think Cassablanca has a great script, though to dub it the best ever, I'm not too sure about that, what I got from it was the great chemistry between the two main characters that really made the movie

 

[Lauren]

It's an Ok script. To tell you the truth I was really disenchanted when I saw it the first time because it had been talked up so much. I think Notorious, The Thin Man, and Now Voyager have scripts that rival Casablanca.

 

[Pilgrim]

I don't know that I'd rate it #1. What I think the script has is an unusual number of great one-liners and memorable quotes, coupled with a cast that just happened to be a perfect fit for the movie. The film didn't get that much attention until the 60's and 70's, when it began its climb to legendary status.

Originally, Casablanca was regarded by the studio as one of their crank-em-out potboilers. They made 50 films with comparable resources in the same year, 1942. They didn't put any special resources into it, and the script was so unsettled that it was written as the movie was being shot. The story came from a one-set play, and the writers cribbed ideas from a number of films and genres. Further, many of the character types are taken from popular stereotypes of the time. The studio didn't have any special expectations for the movie, although they did pay for an A-level cast.

BUT - something special did happen! The writers got it right, and the cast just happened to be the perfect one to capture the spirit of the film.

And remember, this was back in the days of acting stables, so the studios locked up some very talented actors for a period of years. Actors weren't quite as mobile, nor did they command the large salaries, that famous faces do today. Bergman did the part for $25,000, which was half the cost of another actress the director wanted. A number of actors in the film were recent european refugees who ware happy to have the work.

<Renault:> "And what in heaven's name brought you to Casablanca?"
<Rick:> "My health. I came to Casablanca for the waters."
<Renault:> "Waters? What waters? We're in the desert."
<Rick:> "I was misinformed."

<Rick:> "How can you close me up? On what grounds?"
<Renault:> "I am shocked, shocked to find that gambling is going on in here!
<Croupier:> "Your winnings, sir."
<Renault:> "Oh. Thank you very much." (Turns to the crowd again) "Everybody out at once!"

<Rick:> "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 it, we'd lost it, until you came to Casablanca. We got it back last night."

...Play it, Sam. Play 'As Time Goes By'.
...Round up the usual suspects.

 

[herringbonekid]

Wait, is that funny?

if you think it's funny....yes.


<Renault:> "And what in heaven's name brought you to Casablanca?"
<Rick:> "My health. I came to Casablanca for the waters."
<Renault:> "Waters? What waters? We're in the desert."
<Rick:> "I was misinformed."


that's even funnier.

 

[Vladimir Berkov]

Part of the issue is just name recognition I bet. Casablanca and Citizen Kane have a lot going for them just because everybody knows about those films even if they know no other good films from the 40s. There are a lot of great overlooked films from that decade (better in many ways than Casablanca) that simply don't have the star power or name recognition that those two do.

 

[Hemingway Jones]

"Casablanca" is nothing short of brilliant. There are so many layers from a love story to an action story to a propaganda film and a very effective one at that!

The plot is intricate without being befuddled. This makes the narrative strong and driving. There is an inevitability to the plotting; characters are set in motion and reslove themselves intelligently and honestly to the basis of their personalities. Much of the drama is derived by the tension of these characters facing personal crisis: Rick's decision about Ilsa, Laszlo's decision about Ilsa, Caption Renault's choice as to what to do about Rick.

A clear, but interesting plot line is important and one of the finest features of this script. There are no MacGuffins. Contrast this with "Chinatown," another one of my favorite films, maybe my favorite right now. "Chinatown" gets befuddles at times, bogged down by the many turns. There's nothing wrong with that, it's just not as cleanly written as "Casablanca" and "Chinatown" was written during a period of complex films.

"Casablanca" has very memorable characters that are portrayed perfectly and quickly with a few words of choice expository dialogue. Is there anyone who feels they do not know Rick? Could you ever forget Captain Renault? How about Victor Laszlo? Could one man be so good, so selfsacrificing?

"Casablanca" also treats its minor characters with respect. Even Sam rises above the stereotypes of the day, though, just barely.

The dialogue is smart and quick with a cadence leading to the several building climaxes: Ugati getting shot, Isla showing up at Rick's, Strouser shutting down Rick's, Rick on the train station, Ilsa and Rick speaking at Rick's at night. The script is cleverly puncuated with these climaxes, all building up to the showdown at the airport.

This is an extremely clever script worthy of the number one spot. I can think of few other films with this same clarity, driving action, clever characters, intelligent (and quotable) dialogue, and tidiness; there is nary a loose thread in the brilliant tapestry of "Casablanca."

 

[Marc Chevalier]

So here's a question for ya. In your opinion, did Ilsa end up making the right choice? My uncle Joe says "yes". What do you say?

 

[Hemingway Jones]

So here's a question for ya. In your opinion, did Ilsa end up making the right choice? My uncle Joe says "yes". What do you say?

That's a great question! And a tough questions. The choice is between love and responsibility, her happiness against the fate of the free world. Laszlo would be crippled without her; how could she leave him?

Yes, she made the right choice. It was the right love at the wrong time.

 

[Marc Chevalier]

I think that Ilsa's (and Rick's!) decision was very in keeping with the ideals of the wartime Golden Era. (I say the "ideals", not necessarily the "reality". Even so, plenty of people in those dark days had to choose between staying with their family and serving their country ... and many took the latter route.)


.

 

[Jack Scorpion]

I'm of the opinion that Casablanca is not overrated at all. However, as a pure screenplay, I wouldn't place it first... still it'd be in the top ten.

Chinatown is number one all the way in my mind.

(I always looked at the end of Casablanca as not being a choice. To me, it always seemed it HAD to end that way. Shrug.)

 

[Kaleponi Craig]

I certainly think Casablanca is among the greatest screenplays ever, although to say one movie or another is the greatest is such a subjective thing. Personally, it is my all time favorite movie.

Looking over the entire list, I have to wonder where they are coming from. I mean, they put Groundhog Day at #27, two behind the Wizard of Oz, and about 20 ahead of The Treasure of the Sierra Madre. Who decides these things?...KC

P.S. Yes, Ilsa made the right decision, as Rick has to fight the good fight.