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Literary Criticism and Theories



                  Notes          Victor Laszlo is always in Rick's shadow, he stands for the values of the father and the prevailing
                                 American belief in 1942 that freedom is worth fighting and dying for. By censoring the theme of
                                 American reluctance to give up its autonomy, the film spares the audience the agony of siding
                                 against the values of the father, condensing the Oedipal resolution to another shared experience
                                 between Rick and the viewer.
                                 What Makes a Cult Film? Once a cult is established, it can often sustain itself by means of its own
                                 inertia. After becoming a camp item in the 1960s, Casablanca attained the status of a classic by an
                                 alternative system of canon- building. Usually, a work of art finds its validation in the academy.
                                 Even though popular film is currently an accepted subject of university study, films like Casablanca
                                 need not establish their importance by impressing faculty committees as masterpieces. Although
                                 it existed briefly as a television series during the 1955-56 season, Casablanca did not become a
                                 fetish object until the Rick/ Bogie poster became popular and Woody Allen subsequently wrote
                                 the play (and movie) Play It Again, Sam. During the weeks in which this paper was written,
                                 allusions to the film have twice appeared in popular TV shows: a full-dress, five-minute parody of
                                 Casablanca was the dream of Bert Viola (Curtis Armstrong) in an episode of Moonlighting; and on
                                 Miami Vice, a lovable crook attempted to corrupt Detective Sonny Crockett (Don Johnson) by
                                 telling him that a suitcase full of contraband was their "letters of transit," but Crockett replied,
                                 "this is not the beginning of a beautiful friendship." Now that it has been canonized, Casablanca
                                 is sure to continue as a universal signifier of romantic love, doing the right thing, and painful
                                 sacrifice. As for the qualities that made Casablanca a cult film and have made its appeal "never out
                                 of date," we can point to all the psychologically resonant aspects of the film discussed in this
                                 paper. Probably the most crucial ingredients in the film's success are (1) the star presence of Bogie
                                 and Bergman; (2) the subliminal but nostalgically potent music, both diegetic and extradiegetic;
                                 (3) the satisfyingly resolved Oedipal material; and (4) the reassuring message that the American
                                 outlaw hero (and by extension, all Americans) can be true to his instincts even in a world war.
                                 This last message may seem specific to the 1943 audience, but movies have been quite successful
                                 in keeping old myths alive, and when reconfigured for the Era of Reagan and Bush, these myths
                                 can be more vital than ever. Star Wars was the first in a cycle of "disguised Westerns" that has
                                 achieved extraordinary popularity by reviving the outlaw hero/official hero plot. Since then, Beverly
                                 Hills Cop I and II, Top Gun, Rambo III, and Lethal Weapon I and II have recycled the same basic
                                 myth with enormous success. As for the audience today, Casablanca has an extra level of appeal,
                                 offering a sense of control to repeat viewers. Just as "As Time Goes By" eased the 1943 viewer into
                                 a nostalgic imaginary, the film itself now grants the viewer benign regression to a lost moment when
                                 right and wrong were clear cut and going off to war could be a deeply romantic gesture.
                                 Self-Assessment
                                 1. Choose the correct option:
                                     (i) Ingard Bergman is the ............... .
                                        (a) kind woman                      (b) wise woman
                                        (c) enignatic woman                 (d) None of these
                                     (ii) Casablance was made is ............... .
                                        (a) 1942                            (b) 1940
                                        (c) 1943                            (d) 1941
                                 32.7 Summary

                                 •    If any Hollywood movie exemplifies the 'genius of the system,' it is surely Casablanca - a
                                      film whose success was founded on almost as many types of skill as varieties of luck. (It's
                                      also ironic that aspiring screenwriters take Casablanca's script as a text; rewritten many
                                      times, the film was virtually made up as its makers went along.) Mixing genres with wild
                                      abandon, Casablanca has become a cult film precisely because, as Umberto Eco suggests, 'it
                                      is not one movie. It is movies.'" More than this, Casablanca is the bedrock of western


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