The cast is notably international
Laurence Tribe observed on Twitter that the cast of Casablanca included only two actors born in the US, which I found interesting.
Ha. Off the top of my head…Claude Rains, Bergman obvs, Paul Henried, Sidney Greenstreet, Peter Lorre, the woman who starts singing the Marseillaise… https://t.co/cMEFbeFeed
— Ophelia Benson (@OpheliaBenson) April 22, 2018
I misspelled Henreid. At any rate, Tribe was making a point about immigrants, and a couple of people replied to pick nits and he deleted the tweet, but it was interesting and he was right. The foreign cast was notable at the time. Wikipedia:
The play’s cast consisted of 16 speaking parts and several extras; the film script enlarged it to 22 speaking parts and hundreds of extras.[13] The cast is notably international: only three of the credited actors were born in the United States (Bogart, Dooley Wilson, and Joy Page).
…
- Conrad Veidt as Major Heinrich Strasser. He was a refugee German actor who had appeared in The Cabinet of Dr. Caligari. He fled the Nazis, but was frequently cast as a Nazi in American films. A major star in German cinema before the Nazi era, he was the highest paid member of the cast despite his second billing.[20]
- Peter Lorre as Signor Ugarte. Born in Austria-Hungary, Lorre fled Nazi Germany in 1933 after starring in Fritz Lang‘s first sound movie, M (1931). Greenstreet and Lorre appeared in several films together over the next few years, although they did not share a scene in Casablanca.
- Curt Bois as the pickpocket. Bois was a German-Jewish actor and refugee. He had one of the longest careers in film, making his first appearance in 1907 and his last in 1987.
- Leonid Kinskey as Sascha, the Russian bartender infatuated with Yvonne. He was born into a Jewish family in Russia and had immigrated to the United States.
There are a bunch more in the bit parts.
Much of the emotional impact of the film has been attributed to the large proportion of European exiles and refugees who were extras or played minor roles (in addition to leading actors Paul Henreid, Conrad Veidt and Peter Lorre): such as Louis V. Arco, Trude Berliner, Ilka Grünig, Lotte Palfi, Richard Ryen, Ludwig Stössel, Hans Twardowski, and Wolfgang Zilzer. A witness to the filming of the “duel of the anthems” sequence said he saw many of the actors crying and “realized that they were all real refugees”.[25] Harmetz argues that they “brought to a dozen small roles in Casablanca an understanding and a desperation that could never have come from Central Casting.”
So this isn’t right:
But this was shot during the war, and entirely on Warner Studio lots. You aren't suggesting that they "screened" actors to weed out the native-born Americans because of the film's setting? Hollywood (especially at that time) never hesitated to put white Americans into ANY role!
— Steve Sawyer #GloryToUkraine (@SawyerSteve) April 22, 2018
It’s not that simple. Much of Hollywood was always conservative and conventional, sure, but much of it was not. There were plenty of lefties there in the 30s, who were either turned or driven out in the late 40s and 50s, but the purge hadn’t started when Casablanca was made. It was a Popular Front-ish, defeat the Nazis, welcome refugees sort of movie. Tribe’s point was well taken.
The “Casablanca” production team was also international behind the camera. Michael Curtiz, the director of this and dozens of other films in Europe and the US from the silent era into the 1950s, was born in Hungary.
Another noteworthy member of team was one of its writers, Howard Koch; he was born Jewish in New York City and eventually blacklisted during the McCarthy anti-Communist witch hunt days.
I think several people who were involved with Casablanca were either blacklisted or threatened with it – that’s what I meant about Hollywood lefties being “either turned or driven out in the late 40s and 50s.” It’s quite a fascinating movie in that way. It’s interesting that at the time it was just another run of the mill Warner Brothers flick – nobody was thinking “Best Picture.”
We just watched Casablanca again last night. There were several times, certainly during the singing of La Marseillaise and during the ending, that I was tearing up and smiling at the same time.
It’s IMPOSSIBLE not to tear up during the singing of the Marseillaise. (This does not exclude laughing at oneself for tearing up.)
The Marseillaise is perhaps the greatest revolutionary song of all time. It is also a nationalist song, written when France was being invaded by Austria and Prussia, and before the global pox of French imperialism got underway.
It would arouse the fervour of patriotism even in the breast of an anarchist.
It also has the virtue of being ad asskicking song whereas the Star Spangled Banner is just a song about Americans getting their asses kicked…
I love that movie.
I am intensely grateful that it was never re-made or colourized.
chigau, I agree. And those who colorize old movies fail to appreciate the movie for the movie.
I remember seeing a colorized version of “It’s a Wonderful Life”. Mr. Potter looked like Santa Claus. Is it any wonder film noir was mostly made in that black and white period, and in colorized times, we mostly just get blood and gore?
The Popular Front balloon had popped the day the Hitler/Stalin pact was signed. The ‘premature anti fascists’ all lockstepped into anti-Roosevelt ‘pacifists’ until Barbarossa. Fortunately for us, the film was made after that…
I had to look it up. *blush*
https://www.youtube.com/watch?v=KTsg9i6lvqU
And of all the videos on all the channels this one confirmed your hypothesis, schweethart.