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As every cinephile knows, we go to the movies for all kinds of reasons, but escapism is probably the most common. We gather in darkened rooms to see an enhanced version of life where the people onscreen are better-looking, wittier, braver, more dynamic, and generally livelier than we are in real life. Movies give us a sense of what our lives might be like if only we were different people. Love stories epitomize this idealization as no other genre does because while some people might fantasize about being a soldier, a detective, or an uncatchable criminal mastermind, I think the Blues Brothers had it right: at one time or another, everybody needs somebody to love.

This is where the typical love story tropes tend to build up our expectations only to end up letting us down. No matter how much we might wish otherwise, let’s be real — not everybody finds somebody in the end. Maybe this is why stories about love lost are a lot more relatable than those about love found. However many times you’ve seen Casablanca, you still hope against hope that this time Rick won’t let Ilsa get on that plane and fly off into the rain with her husband, Nazi resistance be damned. It might not have worked out for those two in the end, but at least they were together for a little while and besides, they’ll always have Paris. More… “A Brief Escape”

Matt Hanson lives in Boston and writes for The Arts Fuse,  Boston’s online independent arts and culture magazine.  His work has also appeared in The Baffler, The Millions, and 3 Quarks Daily, and other places.  He can usually be found in the nearest available used bookstore.

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Arguably America’s favorite film, as measured by various polls over the years, Casablanca turned 75 in November. Special screenings have been held across the country. Encomiums have appeared in periodicals. But perhaps it’s time to take stock of this fan favorite.

Its appeal is well earned. The plot is full of surprising twists and tense moments. The story is uplifting: a cynical, bitter American expatriate running a nightclub (called “Rick’s Café Americain”) in Vichy-controlled Casablanca is inspired by the reignited love of a woman to take incredibly brave steps, including renunciation of future bliss with his lover, to help a great resistance leader escape his Nazi pursuers. Its leads, Humphrey Bogart and Ingrid Bergman, have two of the most cinematic faces in the history of the medium. Claude Rains, perhaps a more skillful actor than both of them, has a strong secondary role. The cast includes the great character actors Sydney Greenstreet and Peter Lorre, and lesser-known but excellent ones such as John Qualen and S.Z Sakall. The director, Michael Curtiz, knew how to use the camera to underscore emotions. There are some great laughs. The film’s setting is exotic, reeking with promise of intrigue and adventure. In essence, it is a film about moral redemption, regained love, courage, and personal sacrifice for the greater good. What’s not to like?
More… “Taking a Hard Look at You, Kid”

D.B. Jones is a retired Drexel professor of film and the author of three books on Canadian documentary film.

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