The Warner Brothers are telling a rich, suave, exciting and moving tale, set alongside the absorbing circumstantial of a sleek café in a North African anchorage, beside a sundry crowd of schemers , lawbreakers and absconding European refugees in their film Casablanca. The movie falls under the genre of a hardboiled romantic adventure style. To make it very alluring, it embraces a blue-chip thriller cast of Humphrey Bogart, Iris Bergman, Sydney Greenstreet, Peter Loire, Conrad Veldt and Claude Rains. Yet again in Bogart pictures, it has swathed a gentle love story within the crinkles of a close-fitting contemporary theme. Warner’s in this film stimulates the audience heart to take a bound. They have presented Bogart as a renowned figure united with mawkishness, absurdity and bleakness with rigid melodrama and seethed intrigue when compared to his former film –Treasure of Sierra Madre where he led a gallant role.
The story is about a tough fellow called Rick (Richard Bogart), who owns the Casablanca Café which is like an haven inside a desert isolated from the predicaments of the world. Rick 's political passion is revealed through the French and
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The urban detailing along with the crackling dialogues by the script writers Julius J. Epstein, Philip G. Epstein and Howard Koch is highly commendable. Michael Curtiz has carefully taken care to make the film rise above the conventional breed of war years, where integrity rectitude is still thriving. The movie entangles around the themes like loss, honour, altruism and refurbishment. It also replicates the dark and distrustful WWII aura. Even though the movie ends in an unhappy note in spite of all the hopes, it levitates the characters mortality. This solitary feature is the core of the movie and thereby puts Casablanca in a place among its