{"id":3948,"date":"2005-11-26T11:18:08","date_gmt":"2005-11-26T16:18:08","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=3948"},"modified":"2022-10-09T20:59:47","modified_gmt":"2022-10-10T00:59:47","slug":"casablanca-appreciation-day-3","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=3948","title":{"rendered":"Casablanca Appreciation Day"},"content":{"rendered":"

From The Making of Casablanca: Bogart, Bergman, and World War II<\/a>\"\"<\/i>:<\/p>\n

However, there was no mistaking the fact that Casablanca<\/i>, with its snappy dialogue, eccentric characters, witty cynicism, wary anti-hero and liberal political message was definitely a Warner movie. Casablanca<\/i> is a less raw and angry melodrama than the studio might have made a few years earlier, but it has the same distrust of authority and suspicion of human nature. America’s entry into the war was already softening movies by requiring them to throb with patriotism, but the milieu of Casablanca<\/i> is still corrupt, and the little people still don’t get a fair shake.<\/p><\/blockquote>\n

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