Critical insight film casablanca

CRITICAL INSIGHTS Plath Since 2000, Plath has worked as a film critic for such respected but now-defunct sites as Reel.com, DVD Town, HollywoodinHighDef.com, and Movie Metropolis His previous book publications include Conversations with John Updike (UP of Mississippi, 1994), Remembering Ernest Hemingway (Ketch & Yawl Press, 1999), Historic Photos of Ernest Hemingway (Turner Publishing, 2009), and Critical Insights: Raymond Carver (Salem Press, 2013) Casablanca James Plath is R Forrest Colwell Chair and professor of English at Illinois Wesleyan University, where over the past twenty-eight years he has taught film studies, journalism, American literature, and creative writing In 2004, he received his university’s highest teacher-scholar-service award F IL M Casablanca directed by Michael Curtiz Edited by James Plath Among the essays in this volume: “Ilsa’s Sacrifice: Gender, History, and Casablanca’s Conversion Narrative” by Linda Mokdad “Defining Classical Hollywood Narration in Casablanca” by Eric S Faden “Rick’s Café International: Casablanca as a Film of the World” by Björn Nordfjörd “The Undercut Auteur: Michael Curtiz and Casablanca’s Iconic Imagery, Motifs, and Symbols” by Michael O’Conner Two University Plaza, Suite 310 Hackensack NJ 07601 Phone: 201-968-0500 Fax: 201-968-0511 Critical I n si g ht s Salem Press CRITICAL INSIGHTS Casablanca CRITICAL INSIGHTS Casablanca Editor James Plath Illinois Wesleyan University, Bloomington SALEM PRESS A Division of EBSCO Information Services, Inc Ipswich, Massachusetts GREY HOUSE PUBLISHING Cover illustration by Nick Comparone Reprinted with the permission of Nick Comparone Design Copyright © 2016 by Grey House Publishing, Inc All rights reserved No part of this work may be used or reproduced in any manner whatsoever or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without written permission from the copyright owner For information, contact Grey House Publishing/Salem Press, 4919 Route 22, PO Box 56, Amenia, NY 12501 ∞ The paper used in these volumes conforms to the American National Standard for Permanence of Paper for Printed Library Materials, Z39.48-1992 (R1997) Publisher’s Cataloging-In-Publication Data (Prepared by The Donohue Group, Inc.) Names: Plath, James, editor Title: Casablanca / editor, James Plath, Illinois Wesleyan University, Bloomington Other Titles: Critical insights Description: [First edition] | Ipswich, Massachusetts : Salem Press, a division of EBSCO Information Services, Inc ; Amenia, NY : Grey House Publishing, [2016] | Series: Critical insights | Includes bibliographical references and index Identifiers: ISBN 978-1-61925-876-1 (hardcover) Subjects: LCSH: Casablanca (Motion picture) | Romance films United States History and criticism | Film criticism Classification: LCC PN1997.C352 C37 2016 | DDC 791.43/72 dc23 First Printing PRINTED IN THE UNITED STATES OF AMERICA Contents About This Volume, James Plath vii The Movie & the Director On Casablanca, James Plath Michael Curtiz: One of Hollywood’s Most Versatile Directors, James Plath 16 Critical Contexts Tips of the Hat: The Critical Response to Casablanca, Brennan M Thomas 27 We’ll Always Have Casablanca: Popular Culture’s Embrace, Kathy Merlock Jackson 41 Bogie Noir: Casablanca and The Maltese Falcon, Li Zeng 60 Critical Readings I Stick My Neck Out for Nobody: Rick Blaine’s Antiheroism, Erik Esckilsen 77 Ilsa’s Sacrifice: Gender, History, and Casablanca’s Conversion Narrative, Linda Mokdad 88 Classical Hollywood, Race, and Casablanca, Delia Malia Konzett 97 Defining Classical Hollywood Narration in Casablanca, Eric S Faden 114 Adlibbing Greatness: Casablanca’s Screenplay, Kirk Honeycutt 130 Here’s Looking at You … and You: The Actors’ Contributions, Christopher S Long 147 This Crazy World: Cinematic Space and the Casualties of Casablanca, Larrie Dudenhoeffer 160 Rick’s Café International: Casablanca as a Film of the World, Björn Nordfjörd 174 The Undercut Auteur: Michael Curtiz and Casablanca’s Iconic Imagery, Motifs, and Symbols, Michael O’Conner 189 v The Music of Casablanca, James Plath 207 Casablanca: The Individual and the Collective, Paul Morrison 220 Resources Cast Awards & Honors Chronology of Director’s Life Director’s Filmography Bibliography About the Editor Contributors Index 237 241 243 247 257 267 269 273 vi Critical Insights About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop culture scholars and film critics, along with introductory essays on the film, its director, and a resource section containing a general bibliography, director’s chronology/filmography, cast list, awards and honors, and the volume’s contributors … to whom I am grateful Casablanca has received both popular and critical acclaim over the years, and in that spirit Critical Insights: Casablanca is intended as both a companion for serious film fans and a resource for students and scholars No single volume on any movie can be complete, because the best films—the classic films—always yield up things to say, year after year Not surprisingly, much has been written already about Casablanca, as the bibliography attests The essays contained in this volume add to the critical “conversation” in, I hope, provocative ways Some overlapping is unavoidable, but individually these essays approach the film from different angles; collectively they help to explain why Casablanca is so highly regarded—still, or despite its flaws—and why it will likely remain so Certain themes begin to resonate among the essays, as contributors consider whether Casablanca was, in fact, the “happiest of happy accidents” that critic Andrew Sarris posited and try to identify the reasons for its success The issue of auteurism comes up a number of times, with varying opinions over the amount of credit due director Michael Curtiz—though none of the contributors disputes the film’s—or Curtiz’s—greatness In her essay on “Tips of the Hat: The Critical Response to Casablanca,” Brennan M Thomas notes that Casablanca performed well at the box office partly because of fortuitous timing Early reviewers remarked that Warner Bros was either lucky or prescient, given that the film’s premiere came less than three weeks after Casablanca, Morocco, was captured by Allied forces and the vii film’s subsequent worldwide release coincided with the ChurchillRoosevelt meetings in Casablanca But timing wasn’t everything As Thomas details in her essay, a number of early critics also praised the film’s acting and direction, with columnist Bennett Cerf calling it one of the two “most exciting films now current in New York” and New York Times critic Bosley Crowther complimenting director Michael Curtiz and his cast and crew for “draping a tender love story within the folds of a tight topical theme.” Such positive reviews offset negative appraisals from the legendary Pauline Kael, who dismissed it as “schlocky romanticism,” and the London Times, which pronounced Bogart’s performance “flat” and forgettable But, Thomas points out, it’s clear “As Time Goes By” that Casablanca only gets better with age, as contemporary reviewers voiced when a restored version of the film was released in theaters in 2012 In “We’ll Always Have Casablanca: Popular Culture’s Embrace,” Kathy Merlock Jackson considers the far-reaching effects of a film that director Billy Wilder called “wonderful claptrap.” As Jackson notes, though it was the right movie at the right time, the film transcends its age because “no other film has captured the American psyche as eloquently as Casablanca”; because of “the Cult of Bogart,” the iconic figure that “stands at the crux of the film’s popularity”; and because it features one of the big screen’s most romantic scenes and a host of characters that have also become “embedded in the popular culture.” From memorabilia to fashion and even Disney rides, Casablanca has had a remarkable influence on pop culture, as Jackson illustrates in an engaging roundup of “pop” suspects On the surface, Li Zeng writes in “Bogie Noir: Casablanca and The Maltese Falcon,” Casablanca seems the opposite of film noir because of its patriotic and propagandistic messages and optimistic/ upbeat ending But Humphrey Bogart starred in The Maltese Falcon, which, released a year prior to Casablanca, is often considered the first example of American film noir As Zeng observes, “Casablanca can be seen to share some noir elements, including an existentialist hero in a trench coat, a dangerous and corrupt urban space, and the prominent use of low-key lighting.” Zeng doesn’t go so far as to viii Critical Insights call Casablanca a noir film, but she does, through a comparison of the two films, “illustrate the relationship of each film to noir and the significance of Casablanca in the canon of ‘Bogie Noir.’” Erik Esckilsen considers the deeply flawed nature of the cynical nightclub owner in his essay “I Stick My Neck Out for Nobody: Rick Blaine’s Antiheroism.” As Esckilsen writes, “To remember him as an exemplar of ‘clear-eyed heroism,’” as one critic described, “is to overlook certain questionable events from his past, his entire present-day conduct save for a flash of heroic action, and his ready future kinship with one of cinema’s great understated sleazeballs, Captain Louis Renault (played by Claude Rains).” After analyzing Blaine in his “film-historical context,” Esckilsen concludes that Rick “emerges as the arguable ur-antihero of American popular culture—that individual whose perspective on our flawed selves and our troubled world in a bygone era animates and reanimates a useful understanding of our flawed selves in today’s troubled world and the world we trouble.” In “Ilsa’s Sacrifice: Gender, History, and Casablanca’s Conversion Narrative,” Linda Mokdad acknowledges Rick’s importance but asks readers to consider how Ilsa Lund (Ingrid Bergman) is “also essential to understanding the film’s connections between gender, history, and wartime ideology.” There’s a rather large disparity, she argues “While Ilsa and the film’s mobilization of romance help explain how the film appeals to history, Rick is the person who gets to participate in its making—ultimately relegating and confining Ilsa to the past,” their Paris past Mokdad talks about the intent of the “conversion narrative” and how Casablanca is a prime example, “a story that celebrates personal sacrifice for the common good of the world.” Although Ilsa’s part seems diminished compared to the two men in this famous cinematic triangle, Mokdad reminds us that Ilsa “is necessary to inspire Rick to take a stand,” even as “the emotionalism she generates for him also threatens to overtake him.” Delia Malia Konzett considers Sam and issues of race in “Classical Hollywood, Race, and Casablanca,” while also looking critically at the trajectory of Curtiz’s career Her essay focuses About This Volume ix Willson, Robert F., Jr “Romantic Propaganda: A Note on Casablanca’s Prefigured Ending.” Film & History: An Interdisciplinary Journal of Film and Television Studies 19.4 (December 1989): 87–91 Project Muse Web 12 October 2015 Wollen, Peter “The Auteur Theory: Michael Curtiz and Casablanca.” Authorship and Film Ed David A Gerstner & Janet Staiger New York: Routledge, 2003 Woodhouse, Horace Martin The Essential “Casablanca.” Ithaca, NY: History Company, 2013 “You Must Remember This: A Tribute to Casablanca.” Dir Scott Benson Nar Lauren Bacall Turner Entertainment Co., 1998 Documentary Youngkin, Stephen D The Lost One: A Life of Peter Lorre Lexington, KY: UP of Kentucky, 2005 Zinman, David 50 Classic Motion Pictures: The Stuff That Dreams Are Made Of New York: Crown, 1970 266 Critical Insights About the Editor James Plath is R Forrest Colwell Chair and professor of English at Illinois Wesleyan University, where over the past twenty-eight years he has taught film studies, journalism, American literature, and creative writing In 2004, he received his university’s highest teacher-scholar-service award and, a decade earlier, was a teaching Fulbright scholar at the University of the West Indies in Barbados Since 2000, Plath has worked as a film critic for such respected but now-defunct sites as Reel.com (a subsidiary of Hollywood Video), DVD Town (the oldest dot-com devoted to movie news and reviews), HollywoodinHighDef.com (an industry trade site), and Movie Metropolis He now writes reviews for his blog, FamilyHomeTheater.com, and is a member of the Online Film Critics Society Before his second career as a film critic, he wrote book, art, and music reviews for newspapers and magazines His previous book publications include Conversations with John Updike (UP of Mississippi, 1994), Remembering Ernest Hemingway (Ketch & Yawl Press, 1999), Historic Photos of Ernest Hemingway (Turner Publishing, 2009), and Critical Insights: Raymond Carver (Salem Press, 2013) 267 Contributors Larrie Dudenhoeffer is an associate professor of English at Kennesaw State University He specializes in critical theory, film studies, and American studies The author of Embodiment and Horror Cinema (Palgrave Macmillain, 2014) and a contributor of several articles to journals and collections, he is currently working on a manuscript dealing with issues of subjective embodiment in the superhero film Erik Esckilsen is an associate professor of interdisciplinary studies at Champlain College in Burlington, Vermont He specializes in courses on rhetoric, digital storytelling, heroines and heroes in the West, and global studies topics at the intersection of politics and film His articles and essays have appeared in such publications as Inside Higher Education, the Boston Globe, and Entertainment Weekly Eric S Faden is Associate Professor of film/media studies at Bucknell University in Lewisburg, Pennsylvania His research focuses on pre- and early cinema as well as digital imaging technologies He also produces web- and video-based multimedia scholarship Kirk Honeycutt is an adjunct film professor who teaches criticism, script analysis, and film history at Chapman University’s Dodge College of Film and Media Arts in Orange, California, and the owner/writer of the Honeycutt’s Hollywood film reviews website (http://honeycuttshollywood com) A longstanding member of the prestigious Los Angeles Film Critics Association, he was chief film critic for the Hollywood Reporter for many years and covered such major international film festivals as Sundance, Cannes, Berlin, Busan, and Toronto Prior to that, he reviewed films for the Daily News of Los Angeles He is the author of John Hughes: A Life in Film (Race Point Publishing, 2015) Kathy Merlock Jackson is a professor of communication at Virginia Wesleyan College, where she teaches courses in media studies She earned her PhD in American culture from Bowling Green State University, focusing on radio/television/film and popular culture A specialist in 269 children’s culture and animation, she has written or edited eight books, four of them on Walt Disney topics A former president of the American Culture Association, she edits The Journal of American Culture Delia Malia Konzett is Associate Professor of English and cinema studies at the University of New Hampshire She is the author of Ethnic Modernisms (Palgrave, 2002) and Hollywood’s Hawaii: Race, Nation and War, 1898 to Present (in progress) Konzett has published in numerous film and literary journals on questions of race and representation, with a particular focus on modernism and the political culture surrounding war Christopher S Long, an independent scholar and a member of the Online Film Critics Society, has previously written for Cineaste and the now-defunct DVDTown.com A graduate of the film studies program at Chapman University, he now writes for dvdblureview.blogspot.com Linda Mokdad is an assistant professor of film studies and English at St Olaf College She is coeditor of The International Film Musical (with Corey K Creekmur, Edinburgh UP, 2013) and much of her research focuses on Hollywood and contemporary world cinema She is currently working on a book about post-9/11 Hollywood cinema Paul Morrison is a professor of English at Brandeis University and a member of the steering committee of the university’s program on film, television, and interactive media He is the author of The Poetics of Fascism: Ezra Pound, T S Eliot, Paul de Man (Oxford UP, 1996); The Explanation for Everything: Essays on Sexual Subjectivity (NYU Press, 2002); and a forthcoming study of the close-up in classic Hollywood cinema Björn Nordfjörd is a visiting associate professor at St Olaf College, Minnesota He has edited a volume on world cinema in Icelandic and is the author of a monograph of Nói the Albino in English His Icelandic translation of Rudolf Arnheim’s Film as Art was published in 2013 Michael O’Conner is Associate Professor of English at Millikin University in Decatur, Illinois, where he teaches American literature, film 270 Critical Insights studies, and science fiction courses The editor of the open-source online Digital American Literature Anthology (http://digitalamlit.com), he earned his PhD at the University of Missouri, Columbia, in American literature, focusing on the life and works of Mark Twain He continues to be thankful for the undergraduate film course back in the 1970s that originally sparked his passion for and curiosity about great cinema classics like Casablanca Brennan M Thomas is an associate professor of English at Saint Francis University in Loretto, Pennsylvania, where she directs the university’s writing center and teaches courses in research writing, writing pedagogy, and a first-year seminar on “Disney Memes and Themes.” She has presented conference papers on the fairy-tale motifs of Snow White and the Seven Dwarfs, Sleeping Beauty, and The Little Mermaid and has published articles on the social, political, and consumerist themes of the films A Christmas Story, Bambi, Star Trek II, and the television series South Park Li Zeng is an associate professor of cinema studies in the School of Theatre and Dance at Illinois State University She gained her doctoral degree in radio/television/film at Northwestern University in 2008 Zeng has published book chapters, film reviews, and articles on contemporary Asian cinema in peer-reviewed journals including Jump Cut, Visual Anthropology, Critical Arts, and the Journal of American-East Asian Relations Her research interests include film history, film genre studies, East Asian cinema, feminist theory, cultural memory, and gender studies Contributors 271 Index Academy Awards 10, 12, 14, 23, 27, 42, 50, 77, 207, 241, 261, 262 additive space 160, 161, 162, 166, 167, 169, 171, 172 Agee, James 28 Alison, Joan 5, 28, 47, 116, 132 allegory 84 Allen, Woody 37, 48, 51 American Film Institute (AFI) 5, 13, 14, 27, 38, 42, 47, 49, 57, 77, 87, 158, 185, 186, 207, 241, 257 Amy, George 223 Anderson, Pamela 51 Andor, Lotte (Palfi) 239 Andrew, Dudley 176 Andrews, Dana 79 antihero ix, x, 65, 68, 72, 78, 79, 80, 84, 85, 86, 131 Apocalypse Now 79, 87 Archer, Miles 62, 66 Arendt, Hannah 228, 234 Armer, Alan 118 Armstrong, Curtis 52 Astaire, Fred 109 As Time Goes By viii, 5, 9, 12, 39, 48, 49, 56, 95, 102, 103, 105, 123, 132, 135, 148, 165, 181, 197, 198, 210, 211, 212, 213, 217, 218, 219, 228, 233, 259, 262, 263 Astor, Mary 61, 71, 73, 151, 250 Augé, Marc 162 Austen, Jane 221 auteur/auteur theory xi, xii, 110, 171, 189, 190, 191, 192, 193, 200, 204, 221, 223, 224, 226, 227, 231, 232 Bacall, Lauren 50, 87, 254, 266 Baline, Yitzik 56 Barnes, Tom 14, 41, 42, 44, 45, 46, 47, 50, 51, 56, 57, 257, 258 Barrymore, John 160 Barrymore, Lionel 160 Barthes, Roland 110, 113, 231 Basinger, Jeanine 101 Baxter, John 41 Bazin, André 36, 131, 190 Beasley, Allyce 52 Beery, Wallace 160 Behmer, Rudy 145 Belushi, John 51 Benjamin, Walter 220 Bergen, Candice 51, 57, 58 Bergman, Ingmar 227 Bergman, Ingrid ix, 4, 14, 15, 28, 29, 39, 42, 45, 46, 49, 55, 57, 65, 79, 88, 114, 117, 121, 133, 145, 147, 152, 153, 158, 159, 161, 179, 180, 197, 207, 218, 223, 237, 253, 257, 258, 259, 265 Berkeley, Busby 208 Berliner, Trude 237 Berlin, Irving 109 Birdwell, Michael E 13, 14, 257 Bishop, Arabella 100 Bizet, Georges 99 Black, Gregory D 112, 113, 186, 188, 261 Blackstone, Lillian 31 273 Blades, John 28, 29, 38, 257 Blaine, Richard 7, 135 Blue Parrot 55, 77, 140, 199, 224, 237 Bogart, Humphrey viii, 4, 8, 9, 14, 15, 24, 29, 39, 42, 44, 46, 47, 50, 55, 57, 60, 61, 63, 72, 73, 78, 85, 87, 88, 101, 114, 117, 121, 138, 147, 159, 161, 174, 207, 218, 237, 241, 244, 251, 252, 253, 254, 258, 259, 261, 262, 263, 264, 265 Bogle, Donald 98, 107 Bois, Curt 117, 237 Bond, James 51 Boorstin, Daniel 43 Borde, Raymond 61 Boskin, Joseph 111 Bourdieu, Pierre 226 Bourne, Mark 14, 218 Boyer, Charles 11, 137 Brandel, Annina 237 Brandel, Jan 195, 197, 238 Brattle Theatre 11, 45 Bresson, Robert 221 bromance 6, Bronson, Charles 51 Brown, David W 31, 32 Browne, Nick 95, 96 Burgess, Alan 14, 145, 257 Burnett, Murray 4, 28, 47, 116, 132, 145, 194 Cagney, James 22, 150, 187, 251, 252, 253 Cairo, Joel 62, 63, 66 Cameron, Kate 30 Campbell, Joseph 82 274 Capra, Frank 21, 28, 223 Carl the Waiter 107, 143, 155, 179 Carpenter, Elliot 212 Carton, Sydney 37 Case, Tiffany 51 Cerf, Bennett viii, 30 Chandler, Charlotte 10 Chaplin, Charlie 54, 192 Chaumeton, Etienne 61, 72 Churchill, Winston 4, 41 Citizen Kane 11, 28, 42, 77, 174, 185 Civil War 64, 165, 174 classic Hollywood cinema 129, 228, 270 Clooney, Rosemary 109, 245, 254 Cocteau, Jacques 221 Cocteau, Jean 221 Cohan, George M 208 colonization 183 Confessions of a Nazi Spy 177 Conley, Tom 172, 178, 257 conversion narrative ix, 88 Cook, David A 145 Cooper, Gary 181, 254 Coppola, Francis Ford 79, 87 Corliss, Richard 56 Corrigan, Timothy 111, 113, 189, 191 Costello, Dolores 18, 192, 249 Crawford, Joan 22, 160, 253 Cripps, Thomas 101 Crosby, Bing 109, 213, 245, 254 Crowther, Bosley viii, 22, 30, 207 cult movie 45, 161, 162 cult of Bogart/Bogart cult 45 Curtiz, Michael vii, viii, xi, 8, 11, 14, 15, 16, 17, 19, 21, 22, 23, 24, 28, 29, 35, 38, 39, Critical Insights 40, 42, 46, 47, 57, 72, 77, 87, 97, 114, 116, 138, 139, 147, 160, 171, 173, 174, 187, 189, 191, 192, 193, 204, 205, 206, 208, 209, 218, 219, 222, 241, 243, 244, 247, 249, 251, 253, 255, 257, 258, 259, 261, 262, 263, 264, 266 Dabney, Ford 105 Dalio, Marcel 117, 127, 143, 154, 157, 179, 238 Dantine, Helmut 127, 154, 157, 238 Davis, Bette 12, 19, 137, 150, 151, 157, 244, 250, 251, 252 Day, Doris 20, 22, 23, 192, 245, 253, 254 Dean, James 110 de Gaulle, Charles 4, 33, 41 de Havilland, Olivia 21, 22, 100, 153, 251, 252 Deming, Barbara 132 Denby, David 33 Dennison, Stephanie 186 depth of field 61, 70, 72 Deutelbaum, Marshall 120 Dietrich, Marlene 104 director’s cut 225, 226 Dixon, Dominique 55 Doane, Mary Ann 91 Donaldson, William 46 Dudley, Andrew 186, 188 Ďurovičová, Nataša 186, 188 Dyer, Richard 104 Eagan, Daniel 42, 44 Eagan, Philip 48 Index Earle, Roy 151 Ebert, Roger 13, 27 Eco, Umberto 45, 161, 231 Edeson, Arthur 11, 71, 128, 241 Edwards, Brian T 184 El Minzah Hotel 8, 55 Emil 127, 128, 179, 238 Epstein, Julius J 77, 241 Epstein, Philip G 77, 241 Ethiopia 70, 82, 165, 181 Europe, James 103 fascism 34, 37, 82, 83, 85, 88, 89, 91 feminism 92, 271 Ferrari 77, 102, 107, 121, 140, 154, 179, 199, 215, 216, 237, 239 Feuillere, Edwige 152 Fields, Maxie 110 Field, Syd 118 film noir viii, 22, 60, 61, 65, 66, 67, 68, 69, 71, 72, 93, 120, 230, 253 Finn, Huck 107 Fisher, Danny 110 flashback x, xi, 53, 65, 67, 90, 91, 92, 95, 101, 105, 120, 138, 140, 149, 166, 167, 171, 181, 197, 198, 203, 212 Fleming, Victor 152, 174 Flynn, Errol 17, 21, 22, 44, 100, 150, 187, 244, 251, 252, 253 Fonda, Henry 181 Ford, Henry 115, 222 Ford, John 21, 192, 221, 223 For Whom the Bell Tolls 10, 11, 49, 152, 153, 210 275 Foucault, Michel 221, 226, 227, 232, 234 Francisco, Charles 3, 6, 9, 10, 14, 20, 45, 57, 61, 207, 212, 260 Free, Donald 203 Freud, Sigmund 92 Frost, Randy O 53 Gable, Clark 181 Gale, Stephen 61 Garbo, Greta 160 Garfield, John 22, 252, 254 Garland, Judy 49 Gaye, Gregory 179, 238 Gelmis, Joseph 35 Giannetti, Louis 192 Gibbs, Marla 52 Giraud, Henri 4, 41 Gleason, Ralph 44 Godard, Jean-Luc 187, 190 Godfather, The 11, 28, 42, 77, 185, 186 Goldman, Steve 37 Gomery, Dougles 186, 188 Gone with the Wind 147, 174, 185, 233 Goulding, Edmund 160 Grant, Cary 181, 253 Greenstreet, Sydney 12, 46, 62, 77, 87, 117, 121, 140, 154, 179, 237, 253 Griffith, D W 192 Gunning, Tom 97 Gutman, Kasper 66 Hall, Mordaunt 19 Hammett, Dashiell 6, 12 Harmetz, Aljean 17, 46, 116, 137 Hawks, Howard 50, 87, 221, 223 276 Hemingway, Ernest 10, 267 Henreid, Paul 6, 8, 9, 20, 34, 46, 82, 87, 90, 117, 121, 138, 157, 161, 179, 180, 207, 237, 253, 263 Hepburn, Audrey 50 Hitchcock, Alfred 192, 221, 223 Hitler, Adolf 103, 131, 143, 163, 186, 264 Holden, William 50, 254 Holland, Samuel A 79, 87, 265 Hope, Bob 213 Howell, Peter 39, 260 Hupfeld, Herman 5, 49, 132, 210 Huston, John 73, 93, 151 Isenberg, Michael T 95 Italie, Hillel 28 Jacobs, Lewis 145 Jerome, Moe 207 Jim Crow segregation 104 Jim, Nigger 107 Jolson, Al 21, 99, 208, 244, 249, 251 Joseph, Francis 264 Kael, Pauline viii, 6, 32, 41, 149 Kanfer, Stefan 84 Karnot, Stephen 137 Katz, Lee 17, 209 Kaye, Danny 109, 245, 254 Keaton, Buster 32 Keaton, Diane 51 Kelly, Orry 55 Kertész, Mihály 18, 187, 243 King, Loretta 30 Kinn, Gail 14, 23, 261 Kinskey, Leonid 155, 179, 237 Critical Insights Kipen, David 223 Kline, Wally 137 Koch, Harold 56 Koch, Howard 9, 11, 13, 28, 47, 58, 77, 116, 117, 138, 202, 205, 223, 241 Koppes, Clayton R 113, 186, 188, 261 Kralik, Alfred 160 Kriger, Kathy 55 Kuntz, Jonathan 204 Kunze, Pete 68 Lacan, Jacques 92 Ladd, Alan 50, 255 Lamarr, Hedy 11, 28, 50, 137 Lamour, Dorothy 213 Lane, June 109 Lang, Fritz 192 Laqt’a, Abd al-Qader 184 Laszlo, Victor 4, 6, 29, 35, 41, 64, 82, 90, 95, 108, 132, 134, 135, 148, 149, 156, 161, 163, 165, 168, 179, 237 LeBeau, Madeleine 81, 90, 117, 179, 237 Lee, Peggy 109, 254 Leigh, Vivien 152 Lewis, David Levering 103 Library of Congress 77, 87, 132, 241 Lim, Song Hwee 186 Lincoln, Abraham 109 Lindström, Petter 152 Lord, Robert 16, 20 Lorre, Peter 5, 46, 73, 90, 121, 140, 154, 164, 179, 237, 266 Louis, Joe 106 Lubitsch, Ernst 160, 168 Index Lucas, John Meredyth 16 Lukas, Paul 12 Lumenick, Lou 33 Lund, Ilsa ix, 4, 41, 51, 65, 79, 88, 108, 121, 152, 153, 179, 237 Mack, Cecil 105 Mackenzie, Aeneas 137 Maltby, Richard 168 Maltese Falcon, The viii, 6, 9, 12, 44, 60, 61, 63, 64, 67, 68, 69, 71, 72, 73, 93, 151, 154, 180 Maltin, Leonard 207 Mantee, Duke 150 March, Frederic 79 Marks, Owen 11, 223, 241 Marlowe, Philip 60, 78 Marseillaise, La/the 34, 64, 91, 102, 132, 154, 182, 198, 208, 211, 212, 213 Marx Brothers 50 Maxfield, James F 63 May, Lary 95, 96, 261 McKinnon, Kate 52 Meredith, Lois 10, 133, 135, 152 Merlock, Ray 40, 262 Methot, Mayo Meyer, William 204 MGM 60, 115, 117, 152 Millner, Cork 15, 24, 264 minstrelsy 97, 98, 99, 105, 106, 109, 214 MoMA 22 monomyth 82 Morgan, Michele 28, 152 Morrow, Lance 31 Mulligan, Lou 27, 33, 40, 262 multiculturalism 46 277 Mulvey, Laura 92 Muni, Paul 151, 251 Mura, Corinna xii, 213, 239 Nachbar, Jack 84, 165 Naficy, Hamid 187 narrativity ix, x, 18, 28, 32, 44, 50, 60, 64, 65, 66, 67, 80, 82, 95, 97, 101, 108, 115, 118, 119, 120, 122, 123, 124, 161, 162, 163, 164, 165, 167, 168, 169, 170, 171, 182, 183, 185, 188, 190, 196, 229, 232 Nath, Rajeev 51 National Film Registry 42, 57, 77, 87, 241, 259 National Hungarian Theater 18, 243 Negro, Rick A 133 Nehme, Farran Smith 156, 159, 262 Newhart, Bob 130, 146 Newman, Kathleen 186, 188 Niven, David 22 Nollen, Scott 23, 263 Office of War Information (OWI) x, 3, 88, 101, 131 Olympics 16 Omasta, Michael 261 Ophuls, Max 221 O’Shaughnessy, Brigid 61, 66, 71 Otero-Pailos, Jorge 37 Page, Joy 20, 126, 154, 237 Palfi, Lotte 239 Panzer, Paul 239 278 Paramount 10, 112, 115, 117, 225, 254, 255 Pearl Harbor 3, 4, 44, 66, 84, 131, 139, 161 Perry, George 11, 15, 35, 264 Pétain, Marshal 158, 195 Peterson, Paul 17, 24 Piazza, Jim 14, 23, 261 Picup, David 56 Place, Janey 66 Polan, Dana 108, 112, 195 Porter, Cole 217 Porter, Darwin 24, 263 Powell, William 203, 245, 250, 251, 253 Presley, Elvis 22, 98, 110, 246, 255 Price, Vincent 17 Raft, George 63, 150, 151 Rains, Claude ix, xi, 5, 6, 11, 65, 78, 87, 90, 117, 121, 155, 159, 179, 180, 237, 241, 252, 253, 262 Raney, Arthur A 85, 87 Ray, Robert B 35, 95, 161, 175 Reagan, Ronald 150, 252, 253 Reasoner, Harry 49, 233 Reiner, Rob 51 Renault, Louis ix, 5, 6, 29, 46, 78, 101, 121, 137, 179, 201, 202, 237 Renoir, Jean 143 Resnais, Alain 50 Riefenstahl, Leni 163 Rinaldo, Luis 134 RKO 117, 174, 225 Robards, Jason 51 Critical Insights Robertson, James C 16, 22, 171, 187 Robinson, Casey 9, 29, 33, 47, 137, 223 Robinson, Edward G 150, 252 Rogin, Michael 97 Roosevelt, Franklin D 4, 245 Rosenzweig, Sidney 193, 198 Rossellini, Roberto 153 Ross, Herbert 51 Russell, Harold 79 Sabatini, Rafael 21 Sakall, S Z 117, 143, 155, 157, 179, 237 Sandrich, Mark 109 Sarris, Andrew vii, xi, 8, 22, 41, 166, 189, 226 Schatz, Thomas 88, 115, 131 Scheid, Francis 223 Schickel, Richard 11 Scholl, Jack 207 Schrader, Paul 65 Scorsese, Martin 13 Selznick, David O 10, 152, 174 Sennett, Ted 69, 208 Seymour, Dan 239 Shafer, Daniel M 85 Shakespeare, William 130, 207 Sheen, Martin 79, 87 Sheridan, Ann 152, 251 Siegel, Jeff 174 Silke, James R 16, 20, 24, 264 Silver, Charles 22 Simmons, J K 52 Siskel, Gene 31 Slocum, J David 95, 96, 261 Smith, Murray 80 Soul, David 56 Index Spade, Sam 60, 61, 62, 63, 64, 66, 71, 93, 151, 199 Sperling, Cass Warner 15, 24, 264 Sperling, Milton 20 Spicer, Andrew 65 Spoto, Donald 15, 98, 107, 111, 113, 203, 258, 265 Steiner, Max xii, 9, 11, 12, 49, 209, 219, 241, 245, 259, 265 Steketee, Gail 53, 57 Stephani, Frederick 56 Stevens, George 184 Stewart, James 160 Stewart, Jimmy 181 Stössel, Ludwig 240 Stowe, Harriett Beecher 98 Strasser, Heinrich 5, 161, 178, 237 Swanson, Ana 43 Takaki, Ronald 112 Tati, Jacques 221 Taylor, Frederick Winslow 115 Telotte, J P 169 Thomas, Danny 109, 254 Thomson, David 153 three-act structure 118, 120, 142, 143 Thursby, Floyd 66 Tracy, Spencer 19, 181, 244, 250 transnational 176, 187 Trice, Ashton D 79 Trowbridge, William 60 Truffaut, Franỗois 190, 221 Turner, Ted 50 Twain, Mark 107, 184, 271 Ugarte, Guillermo 134 Universal 115 279 Veidt, Conrad 5, 34, 46, 87, 90, 112, 117, 121, 156, 161, 178, 179, 237 Vera Zorina 10 Viereck, Annina 136 Vietnam War 79 Vitaphone 208 Vogler, Christopher 78 von Sternberg, Josef 104 Wallace, Hal 47 Waller, Fats 100 Wallis, Hal 9, 17, 30, 32, 36, 116, 131, 137, 150, 154, 159, 174, 192, 209, 224, 246, 265 Walsh, Michael 56 Walsh, Raoul 17, 151, 258 Warner Bros vii, xii, 3, 4, 5, 10, 11, 12, 13, 14, 15, 18, 19, 21, 22, 24, 27, 30, 32, 36, 44, 47, 50, 51, 63, 72, 73, 87, 115, 116, 117, 126, 131, 132, 133, 136, 137, 139, 145, 146, 150, 151, 153, 154, 174, 177, 192, 204, 207, 208, 209, 212, 219, 222, 223, 224, 225, 243, 249, 255, 257, 261, 264 Warner, Harry 18 Warner, Jack 8, 15, 16, 20, 24, 127, 224, 264 Warner, Michael 228 Washington, George 109, 185 Wayne, John 22, 23, 246, 255 Wegele, Peter 209 280 Welles, Orson 174, 192, 221 Weygand, Maxime 33 Whale, James 160 Wilder, Billy viii, 41, 50, 68 Williams, Hal 52 Williams, Paul 52 Willson, Robert 197 Wilmington, Michael 31 Wilson, Dooley xii, 12, 46, 49, 85, 97, 100, 101, 117, 140, 148, 164, 179, 208, 210, 212, 237 Wizard of Oz, The 36, 49, 147, 218 Wollen, Peter 204 world cinema xi, 175, 176, 184, 185, 187, 270 World War I 19, 95, 96, 103, 156, 244 World War II 8, 14, 23, 27, 37, 44, 54, 55, 56, 58, 60, 61, 65, 69, 72, 78, 79, 84, 88, 89, 95, 96, 101, 103, 112, 113, 117, 120, 145, 159, 160, 166, 171, 186, 188, 221, 224, 234, 257, 259, 260, 261 Wyler, William 28, 79 Yankee Doodle Dandy 12, 21, 22, 23, 208, 222, 245, 253 Yvonne 64, 81, 90, 91, 102, 140, 156, 179, 215, 216, 237, 239, 240 Žižek, Slavoj 168, 230 Critical Insights ... vi Critical Insights About This Volume James Plath Critical Insights: Casablanca contains fourteen essays from pop culture scholars and film critics, along with introductory essays on the film, ... to viii Critical Insights call Casablanca a noir film, but she does, through a comparison of the two films, “illustrate the relationship of each film to noir and the significance of Casablanca. . .CRITICAL INSIGHTS Casablanca CRITICAL INSIGHTS Casablanca Editor James Plath Illinois Wesleyan University, Bloomington