I Saw "Casablanca" on the Big Screen...

...and it was amazing! Turner Classic Movies has re-released the film in theaters for one day only (today) in honor of its 70th anniversary. Not only is the restoration gorgeous, but the screening also features a brief documentary on the film, as well as an introduction by none other than Robert Osborne. I'm lucky I even got to see it, because I actually forgot all about it until I just happened to check the theater's showtimes. Anyway, the film is universally hailed as one of Hollywood's best offerings and should be seen in theaters if possible. Check it out if you can. You won't be disappointed. More details here.

Update: TCM is presenting the film again on April 26th at 7 p.m.

Casablanca

Casablanca, 1942
Directed by Michael Curtiz
Nominated for 8 Oscars, Won 3

Synopsis: Rick Blaine is an exiled American, living in Casablanca, Monaco, during World War II. He is running a hot nightclub in the city, which attracts all sorts of different people. It attracts Europeans who are trying to flee their homeland, to Lisbon so they may get to America. It attracts those selling Exit Visas for the desperate. It attracts Nazi's, who are seeking a man named Victor Laszlo, a Czech Underground leader who has escaped from a Concentration Camp. And it attracts Victor Laszlo himself, and his pretty lady friend, Isla. Rick is shocked to see Isla, a one-time lover, when he (and she) lived in Paris. He's very bitter towards her, for she left him, but there are many secrets between them, and those around them. Rick has been handed some important Travel Letters many people are desperate to have, and could be helpful in aiding Victor in his escape from the Nazi's. But Isla just may have more shocking secrets than Ricks...

Merry Christmas everyone! Happy Boxing Day! Happy Holidays, etc, etc. This is my first, of what will be many reviews, over the next few weeks as I'm off for the holidays! I settled down this Boxing Day Evening after a day of Christmas with family.

Opening up on this film I had absolutely no idea what this film was about. I didn't know Casablanca was a place, or that it was set in WWII, or anything. All I knew was that Humphrey Bogart was in it, it looked romantic, and is said to be a classic. Other than that I went into this film with very little expectation.

Like many films, this was in black and white (I didn't know this either, before starting it). It opened up, showing the nightclub, introducing the circumstances and political climate of the time, and why so many people flocked to Casablanca (it was easy to get to Lisbon, and Lisbon was constantly shipping people to 'The New World'- or America). We see those desperate Europeans, and we see the arrival of the Nazi's. And we are quickly introduced to our main characters, Rick Blaine, Isla, Victor Laszlo, and the Nazi's.

This story was told with suspense. We slowly learn bits and pieces about each character, and nothing is revealed quite off the bat. My mother and I were constantly trying to guess at what was going on, and what these characters were about. They were all portrayed with much mystery, which can be quite crucial. Nothing was obviously told to us, and it was very well written.

Of the nominations that year, this film racked up noms for Best Cinematography (Black and White), Original Score, Editing, Picture, Director, Actor, Supporting Actor, and Best Writing. All of which were very much deserved. Humphrey Bogart was great, and did a truly wonderful job as the mysterious, irresistible man, all while pulling off the heartbroken man, that is still in love with Isla. The Original Score was really great, and I really noticed it. It played up every moment really well. Swooning music for the love scenes, suspenseful music for the heightened scenes, and so on. The cinematography was also quite good; the film overall looked really nice, and well filmed.

In the end, I enjoyed the film, though it wasn't my favourite. It was well-told, and had enough romance, but didn't over do it. I liked it, it was a classic, though I don't find the need to watch it again. But that's just me.

7/10

Setting Sail

For a while now I've wanted to start a film blog. For an even longer while, I made excuses as to why I wasn't starting one: not enough time, too many blogs, "no one is going to read it," and now a momentary pause as I figure out just what to write for my first post on Sam Watches Movies.

And so here is the introduction! Again, if you missed the banner beneath the blog title, my name is Sam. I'm what is widely considered a film buff, I watch movies as much as possible with a focus on trying to see new movies. New to me, that is, not necessarily the newest movies of the year. Because to me, a classic movie isn't a classic if you haven't seen it before.

My taste in film is part populist (The Dark Knight, Love Story, Pirates of the Caribbean, Ghost, Back to the Future, Anchorman, Toy Story 3) and part respected drama or comedy (Casablanca, The Silence of the Lambs, Michael Clayton, Up in the Air, American Beauty). Separating the two entities is impossible. To me, your favorite movies are the best movies; the movies you love are the ones you'll remember forever, not just because they're well-written, well-acted, or considered important but because you connect to them.

Also, I'll be writing in-depth Awards Season coverage when the time comes and retrospective commentary of Oscars past, in addition to film reviews (new and old), and general articles focusing on performances, directors, actors, and craftsmen.

Buckle your seatbelts, this is gonna be a bumpy ride.

Top 100 Favorite Movies, Part IV

Part four of my favorite 100 films, otherwise known as lots of Warner Bros. titles. The list is in chronological order, and this one is all 1940s. The next group of films will finally reach 1950.

“King’s Row: (1941). This is like “Peyton Place” only set at the beginning of the 20th century. On the surface, the title town is an idyllic hamlet in New England, but underneath lays an underbelly of prejudice, murder, insanity, sadism, torrid love affairs, etc. The underappreciated Ann Sheridan is excellent here as a girl from the “other side of the tracks” who shows more common sense and decency than anyone in the “respectable part of town.” Ronald Reagan is quite good too, in what he always thought was his best performance. Another splendid Korngold score. Many people feel the main title here sounds a lot like “Star Wars.” I don’t hear the similarities, though they’re both brassy.

“The Maltese Falcon” (1941). Another perfectly cast movie, and the movie that made Bogart a star. Sidney Greenstreet makes his film debut here and what a happy day that was. Was there ever a more faithful book-to-film adaptation than this? Director and writer John Huston translates pages and pages of the book right to the screen. I understand Erich Von Stroheim literally filmed every page of the Frank Norris novel “McTeague” for his movie “Greed” (1924), but since so much of that footage is lost, I think “Maltese Falcon” wins.

“The Strawberry Blonde” (1941). Jack Warner told director Raoul Walsh he couldn’t direct a love story, as Walsh’s idea of romance was burning down a whorehouse. Not true, as anyone who has seen this film can attest. A wonderful piece of boisterous Gay 90s Americana (no, not that kind), courtesy of Walsh and a stellar cast including James Cagney, Olivia DeHavilland, Rita Hayworth, Jack Carson, Alan Hale and a pre-Superman George Reeves. The film ends inviting the audience to a sing-a-long of the title song. I wonder why more movies haven’t done this, guaranteed to leave the audience with a smile on their faces. Watch Cagney in this and then something like “White Heat” (1949) and marvel at his range.

“The Wolf Man” (1941). The last of the great Universal horror flicks and one of the greatest movie monsters ever. I also love movies set on the English moors and this is one of the best. Lon Chaney Jr. earned screen immortality as the tortured Larry Talbot, visiting his father in England and cursed by a werewolf’s bite. What a cast: Evelyn Ankers, Claude Rains, Bela Lugosi, Ralph Bellamy, Patric Knowles, Maria Ouspenskaya and Warren William. Being a Warren William fan, I wish there was more of him in it, but that’s a small complaint. And no, I don't care that there's no way Claude Rains could sire Lon Chaney, Jr. Don't care at all.

“Casablanca” (1942). There’s nothing I can add that hasn’t already been said.

“Holiday Inn” (1942). Yes, this is the film that introduced the song “White Christmas.” Bing Crosby opens an inn that is only open on holidays, giving him the rest of the year “to kick around in.” Fred Astaire is ex-partner who wants Bing’s new girl Marjorie Reynolds to be his new partner. The film offers one wonderful Irving Berlin song and musical number after another. Astaire’s dance with firecrackers on the Fourth of July is one of the greatest musical numbers ever. The Paramount art department does it again with the wonderful set decoration of that inn. I would spend every holiday there.

“To Be or Not to Be” (1942). More Lubitsch and a daring comedy for its time, one that dared to poke fun at the Nazis while World War II was raging. Sadly, Carole Lombard’s last film. Many comic highlights including a Hitler impersonator answering a chorus of “Heil Hitlers” with “Heil Myself.”

“Yankee Doodle Dandy” (1942). Songwriter and performer George M. Cohan gets the biographical treatment here, with James Cagney winning an Oscar for his portrayal. It’s one of the great performances of all time. Michael Curtiz again directs, as potent a piece of patriotism the movies have ever given us. The musical numbers are great, as is Cagney’s dancing. Special mention should go to Musical Director Ray Heindorf for his work. This is an annual favorite every Fourth of July, but it’s worth watching any day of the year.

“The Gang’s All Here” (1943). I don’t do drugs but if I did I would probably put this on while ingesting. Busby Berkeley is at his most crazed, with a human kaleidoscope at the end (you have to see it, it’s pretty amazing) followed by a swarm of floating heads of the lead actors singing “A Journey to a Star.” Before that we get Carmen Miranda in her giant fruit hats singing “The Lady in the Tutti Frutti Hat” a number loaded with jaw-dropping sexual symbolism. I guess the Hays Office was asleep for this one. A prime example of why Technicolor was invented.

“Thank Your Lucky Stars” (1943). I love all-star wartime musicals. Most of the major studios produced one, but this is my favorite. Warner Bros. is my favorite studio and pretty much everyone on the lot participates. There’s good comedy from Eddie Cantor, very likeable lead performances courtesy Dennis Morgan and Joan Leslie, stars like Errol Flynn and Bette Davis sing and dance, and there’s two of the most underrated film songs from the era, both nicely sung by Dinah Shore: “The Dreamer” and “How Sweet You Are.” But mainly it’s just the air of good cheer the movie exudes.

Great Film Roles Refused

These famous roles were all refused by the directors first choice, making someone else famous or more so as a result.

The Maltese Falcon – George Raft was well-known for turning down roles that made Bogart’s career: High Sierra (41), Maltest Falcon (42), Casablanca (42). He refused Falcon because he didn’t want to work with first-time director John Huston! As for High Sierra, Paul Muni also