本文是一篇Movie Review代写范文，文章主要讨论了《卡萨布兰卡》这部电影是如何将浪漫和战争这两个看似对立的主题结合起来的。如果我们强烈认同某些电影中的人物，那么《卡萨布兰卡》是有史以来最受欢迎的电影之一就不足为奇了。
How does the film marry romance and war this two seemingly oppositional themes?
If we identify strongly with the characters in some movies, then it is no mystery that “Casablanca” is one of the most popular films ever made. It is about a man and a woman who are in love, and who sacrifice love for a higher purpose. This is immensely appealing; the viewer is not only able to imagine winning the love of Humphrey Bogart or Ingrid Bergman, but unselfishly renouncing it, as a contribution to the great cause of defeating the Nazis.
如果我们强烈认同某些电影中的人物，那么《卡萨布兰卡》是有史以来最受欢迎的电影之一就不足为奇了。它是关于一个男人和一个女人谁在爱，谁牺牲爱为更高的目的。这是非常吸引人的；观众不仅能够想象赢得汉弗莱·鲍嘉或英格丽·伯格曼的爱，而且无私地放弃它，作为对打败纳粹伟大事业的贡献。
No one making “Casablanca” thought they were making a great movie. It was simply another Warner Bros. It was an “A list” picture, to be sure (Bogart, Bergman and Paul Henreid were stars, and no better cast of supporting actors could have been assembled on the Warners lot than Peter Lorre, Sidney Greenstreet, Claude Rains and Dooley Wilson). But it was made on a tight budget and released with small expectations. Everyone involved in the film had been, and would be, in dozens of other films made under similar circumstances, and the greatness of “Casablanca” was largely the result of happy.
制作《卡萨布兰卡》的人都不认为自己在拍一部伟大的电影。这只是华纳兄弟公司的另一张照片，可以肯定的是，这是一张“A名单”的照片（博加特、伯格曼和保罗亨里德都是明星，华纳的配角阵容中再没有比彼得·洛尔、西德尼·格林斯特雷特、克劳德·雷恩斯和杜利·威尔逊更好的了）。但它是在预算紧张的情况下制作的，发行时的预期很小。参与这部电影的每一个人都曾经，也将是，在其他几十部类似情况下拍摄的电影中，而《卡萨布兰卡》的伟大很大程度上是快乐的结果。
Rick is a cynic who learns to become a true romantic, sacrificing his personal desires for a larger cause; Kane is a believer in a moral code who comes to discover he can only rely on himself (and his new bride) because the community he seeks to defend is morally corrupt. Ilsa Lund’s role is basically a lover and helpmate to the great man. The movie’s question is which man should she sleep with.
Judging what kind of a movie is, it doesn't look at the background of its story. The background of that era spy movie in history just happened in that area, it is not the core theme. Let me give you one of the simplest judgements. Friends, do you see which movie is a poster (or super classic poster) that is not a romance movie? Of course, it may have a lot of love movie posters is not male and female hold together, this is very common, but male and female hold together as the theme of the movie posters in order to make crossing the masses eat melon to know at a glance what is this movie poster designers will often use pose and actress hug (Ray, 2000).
It shows the Casablanca present situation of a troubled early in the movie. After the lens was cut to Casablanca, the other side was completely presented. In this bar: China Jiuhong lamp shine Barrowman pleasure black musicians in the bar had different mentality. Actor's role in shaping the unruly Rick is how to treat the show personality through the most simple way, so that the role of stand. Rick tore up the man's name card no matter who you are, in my playing is meaningless. Rick is very tolerant of someone or a friend or someone he feels very familiar with. For those who do not like, they never hide anything. A clear and clear message is conveyed through a simple two - person look, indicating the relationship between the two people.
The shaping of the female supporting role and the relationship between the two people. If a movie is going to play a strong role in its identity, it will not show its face directly, but it will be either back or part. Then it will make you see the true face of Mount Lu through the lens movement and handover, which is the mystery of the role. The normal female character, no matter how beautiful she is, has a full (and positive) appearance of her appearance through a direct lens (Ray, 2000). This gives the audience a feeling that she is not so important. This is the first time the girl has appeared. There is no identity background. This is also the fact that the audience is not aware of the relationship between the two men just after the appearance of the hero. You know, this is the first time the girl has appeared. There is no identity background. This is also the fact that the audience is not aware of the relationship between the two men just after the appearance of the hero (Ray, 2000). The film is full of love and political conflict, Casablanca is Paris after the fall of France is still a piece of "freedom", people come here to seek the opportunity of residing in the United States, many people stay in casablanca. The war makes people displaced, and love is small and insignificant in the shadow of this cruel world.
No one making “Casablanca” thought they were making a great movie. It was simply another Warner Bros. It was an “A list” picture, to be sure (Bogart, Bergman and Paul Henreid were stars, and no better cast of supporting actors could have been assembled on the Warners lot than Peter Lorre, Sidney Greenstreet, Claude Rains and Dooley Wilson). But it was made on a tight budget and released with small expectations. Everyone involved in the film had been, and would be, in dozens of other films made under similar circumstances, and the greatness of “Casablanca” was largely the result of happy chance.
The screenplay was adapted from a play of no great consequence; memoirs tell of scraps of dialogue jotted down and rushed over to the set. What must have helped is that the characters were firmly established in the minds of the writers, and they were characters so close to the screen personas of the actors that it was hard to write dialogue in the wrong tone(Jack, 1943).
Humphrey Bogart played strong heroic leads in his career, but he was usually better as the disappointed, wounded, resentful hero. Remember him in “The Treasure of the Sierra Madre,” convinced the others were plotting to steal his gold(Jack, 1943). In “Casablanca,” he plays Rick Blaine, the hard-drinking American running a nightclub in Casablanca when Morocco was a crossroads for spies, traitors, Nazis and the French Resistance. The opening scenes dance with comedy; the dialogue combines the cynical with the weary; wisecracks with epigrams. We see that Rick moves easily in a corrupt world. “What is your nationality?” the German Strasser asks him, and he replies, “I'm a drunkard.” His personal code: “I stick my neck out for nobody.”
Then “of all the gin joints in all the towns in all the world, she walks into mine.” It is Ilsa Lund (Bergman), the woman Rick loved years earlier in Paris. Under the shadow of the German occupation, he arranged their escape, and believes she abandoned him--left him waiting in the rain at a train station with their tickets to freedom. Now she is with Victor Laszlo (Henreid), a legendary hero of the French Resistance (Jack, 1943).
All this is handled with great economy in a handful of shots that still, after many viewings, have the power to move me emotionally as few scenes ever have. The bar's piano player, Sam (Wilson), a friend of theirs in Paris, is startled to see her. She asks him to play the song that she and Rick made their own, “As Time Goes By.” He is reluctant, but he does, and Rick comes striding angrily out of the back room (“I thought I told you never to play that song!”). Then he sees Ilsa, a dramatic musical chord marks their closeups, and the scene plays out in resentment, regret and the memory of a love that was real. This scene is not as strong on a first viewing as on subsequent viewings, because the first time you see the movie you don't yet know the story of Rick and Ilsa in Paris; indeed, the more you see it the more the whole film gains resonance (Glenn, 2017). The sudden reappearance of Ilsa reopens all of his old wounds, and breaks his carefully cultivated veneer of neutrality and indifference. When he hears her story, he realizes she has always loved him. But now she is with Laszlo. Rick wants to use the letters to escape with Ilsa, but then, in a sustained sequence that combines suspense, romance and comedy as they have rarely been brought together on the screen, he contrives a situation in which Ilsa and Laszlo escape together, while he and his friend the police chief get away with murder (Glenn, 2017).
What is intriguing is that none of the major characters is bad. Some are cynical, some lie, some kill, but all are redeemed. If you think it was easy for Rick to renounce his love for Ilsa--to place a higher value on Laszlo's fight against Nazism--remember Forster's famous comment, “If I were forced to choose between my country and my friend, I hope I would be brave enough to choose my friend.”In her closeups during this scene, Bergman's face reflects confusing emotions. And well she might have been confused, since neither she nor anyone else on the film knew for sure until the final day who would get on the plane (Rogger, 1996). Bergman played the whole movie without knowing how it would end, and this had the subtle effect of making all of her scenes more emotionally convincing; she could not tilt in the direction she knew the wind was blowing (Glenn, 2017).
Stylistically, the film is not so much brilliant as absolutely sound, rock-solid in its use of Hollywood studio craftsmanship. The director, Michael Curtiz, and the writers (Julius J. Epstein, Philip G. Epstein and Howard Koch) all won Oscars. One of their key contributions was to show us that Rick, Ilsa and the others lived in a complex time and place (Rogger, 1996). The richness of the supporting characters (Greenstreet as the corrupt club owner, Lorre as the sniveling cheat, Rains as the subtly homosexual police chief and minor characters like the young girl who will do anything to help her husband) set the moral stage for the decisions of the major characters. When this plot was remade in 1990 as “Havana,” Hollywood practices required all the big scenes to feature the big stars (Robert Redford and Lena Olin) and the film suffered as a result; out of context, they were more lovers than heroes.
Seeing the film over and over again, year after year, I find it never grows over-familiar. It plays like a favorite musical album; the more I know it, the more I like it. The black-and-white cinematography has not aged as color would. The dialogue is so spare and cynical it has not grown old-fashioned. Much of the emotional effect of “Casablanca” is achieved by indirection; as we leave the theater, we are absolutely convinced that the only thing keeping the world from going crazy is that the problems of three little people do after all amount to more than a hill of beans (Rogger, 1996).
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