{"id":3956,"date":"2005-11-26T12:28:26","date_gmt":"2005-11-26T17:28:26","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=3956"},"modified":"2022-10-09T21:03:49","modified_gmt":"2022-10-10T01:03:49","slug":"casablanca-appreciation-day-11","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=3956","title":{"rendered":"Casablanca Appreciation Day"},"content":{"rendered":"

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

Bogart and Rains admired each other, and that admiration comes through their scenes together. What seems to be a genuine friendship between Rick and Renault takes the sting out of the ending of Casablanca<\/i>. “My father loved Humphrey Bogart,” says Jessica Rains. “He told me so.” The cockney who turned himself into a gentleman was unexpectedly compatible with the gentle-born son of a doctor and a famous illustrator who turned himself into a rowdy. “Professional” is the word the people they worked with pin, like a badge, to both men. “Bogart never missed a cue,” says script supervisor Meta Carpenter. “He was completely professional.” Rains, says assistant director Lee Katz, “was very professional altogether.” To the Warner hairdressers, said Jean Burt, Bogart and Bette Davis were “the real pros. They were on time; they knew their lines; they knew their craft.”<\/p><\/blockquote>\n

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