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We'll Always Have Casablanca

The Life, Legend, and Afterlife of Hollywood's Most Beloved Movie

Audiobook
1 of 1 copy available
1 of 1 copy available
Casablanca was first released in 1942, just two weeks after the city of Casablanca itself surrendered to American troops led by General Patton. Featuring a pitch-perfect screenplay, a classic soundtrack, and unforgettable performances by Humphrey Bogart, Ingrid Bergman, and a deep supporting cast, Casablanca was hailed in the New York Times as "a picture that makes the spine tingle and the heart take a leap."
We'll Always Have Casablanca is celebrated film historian Noah Isenberg's rich account of this most beloved movie's origins. Through extensive research and interviews with filmmakers, film critics, family members of the cast and crew, and diehard fans, Isenberg reveals the myths and realities behind Casablanca's production, exploring the transformation of the unproduced stage play into the classic screenplay, the controversial casting decisions, the battles with Production Code censors, and the effect of the war's progress on the movie's reception.
Finally, Isenberg turns to Casablanca's long afterlife and the reasons it remains so revered. From the Marx Brothers' 1946 spoof hit, A Night in Casablanca, to loving parodies in New Yorker cartoons, Saturday Night Live skits, and Simpsons episodes, Isenberg delves into the ways the movie has lodged itself in the American psyche.
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    • Publisher's Weekly

      December 12, 2016
      Isenberg (Edgar G. Ulmer: A Filmmaker at the Margins) has created a thorough and impassioned account of the making of the 1942 Hollywood classic starring Humphrey Bogart and Ingrid Bergman. He begins with Casablanca’s modest origins in an unproduced three-act play and ends with its lasting cultural impact. Along the way, he makes a strong case for the film as an ideal example of studio collaboration. Isenberg emphasizes the contributions of nearly everyone at Warner Brothers, including producer Hal B. Wallis, director Michael Curtiz, screenwriters Julius and Philip Epstein and Howard Koch, and some of the studio’s best contract players (Sydney Greenstreet, Paul Henreid, Peter Lorre, and Claude Rains). Diligently researched and incorporating extensive interviews and documentation, the book is commendable for its attention to the most mundane details of filmmaking. Nevertheless, readers expecting a critical study might find the author’s exhaustive admiration for his subject a bit wearing. As Irish film critic Paul Whitington astutely observes in the book’s introduction, “Maybe there are better films than Casablanca, but there are probably none better loved.” Agent: Zoe Pagnamenta, Zoe Pagnamenta Agency.

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  • English

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