Because it's 'Casablanca'; that's reason enough to see it on big screen at The Kentucky

Akron Beacon JournalFebruary 13, 2014 


"Here's looking at you, kid": Rick (Humphrey Bogart) bids farewell to Ilsa (Ingrid Bergman) in an iconic airport scene.




    PG for mild violence. Warner Bros. 1:42.

    When: 1:40, 4:45, 7:20 and 9:30 p.m. Feb. 14 and 15; 1:15 and 3:20 p.m.Feb. 16

    Where: Kentucky Theatre, 214 E. Main St.

    Tickets: $5.50-$7.50. Tickets for some show times available in advance at

    Learn more: (859) 231-7924

There are movies meant to be seen on a big screen. Casablanca is one of them. In the past, now and as long as theaters show movies.

The 1942 movie will be screened several times at The Kentucky Theatre this weekend as the downtown movie palace prepares to close its main auditorium for renovations beginning Monday.

You should see the film in a theater even though it has been shown repeatedly on TV and has been available for decades on just about every home-video format, including the now-abandoned HD DVD and Laserdisc. For its 70th birthday in 2012, the movie was released on Blu-ray.

And why should you go? Because it's Casablanca.

Yes, to some it is merely a piece of ancient movie history. The story takes place before America entered World War II. And it premiered — first in New York City in late 1942 — as war raged.

The movie endures. The American Film Institute's periodic lists of great films have placed Casablanca in the top five for all movies, movie heroes (Rick Blaine, played by Humphrey Bogart), songs (As Time Goes By) and movie quotes: "Here's looking at you, kid." Its romantic plot put it in first place on AFI's list of great love stories.

Lines from it have inspired the titles of two other movies: Play It Again, Sam (words not actually said in Casablanca) and Bryan Singer's The Usual Suspects. It was also the basis for a Bugs Bunny cartoon and two TV series: one in the '50s starred Charles McGraw; a second, in 1983, put David Soul in Bogart's shoes.

And all this came from a movie that could have been a shambles. It was based on what a critic called "one of the world's worst plays." The co-author of said play told writer Doug McClelland that she did not like either of the leads; instead of Bogart and Ingrid Bergman, she wanted Clark Gable and Carole Lombard. The screenplay was only half done when production began. The racism of its time is discomfiting, with the middle-age black man Dooley Wilson called "the boy" by Bergman. (Wilson was even more poorly served by a film critic of the time, James Agee in The Nation, whose naming of cast members in his 1943 write-up ended with "a colored pianist whose name I forget.")

But it's Casablanca.

Audiences in the 21st century also have to contend with the staginess of some of the sets, the old standard-frame picture instead of the now- common widescreen format, and, for some, the black-and-white image.

Nostalgia for young people is something applied to entertainment from a decade ago, not a movie that would have been fresh for their grandparents.

But it's Casablanca.

Consider the richness and complexity of the story — which many of you know, and I'll try not to spoil for the rest. There is a saga of war, and how people must stand up in troubled times — with Rick the one most obviously put on the spot. Laid over that is a romantic triangle involving Rick, freedom fighter Victor Lazlo (Paul Henreid) and Ilsa Lund (Bergman), who is Lazlo's companion and Rick's former lover.

Love and politics are entwined. Idealism and cynicism are tested. The cast has great character actors like Claude Rains, Peter Lorre and Sydney Greenstreet. The music includes not only Max Steiner's score, and Wilson singing As Time Goes By, but a scene with the French national anthem that should still make audiences cheer.

So, if you have not seen it, do so. If you have, see it again. And not just on a DVD or Blu-ray — or on your tablet or, heaven forbid, your phone.

This is a movie made before anyone had to imagine that the pictures would get small. When it was understood that you would be sitting in the dark, the quiet broken only by the occasional chomp on popcorn — or the crowd collectively responding to the screen's events.

I have seen Casablanca many times, but it's that first time on a big screen that stays in my memory — Bogart, and Bergman, and the movie itself, larger than life.

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