If you’ve never heard of Michael Curtiz’s 1942 classic Casablanca, it might be worthwhile to research Golden Age Hollywood a bit. Chances are, though, this is not the first time you’ve heard mention of Casablanca. In fact, given this blog’s demographic, I’d wager many of you have already seen it, and most of the rest of you probably have this on a list of movies to watch “some day.”

However, I do find it somewhat impressive that, as I discovered while talking to those who attended my organization’s on-campus screening of Casablanca, that this movie often seems to be on that aforementioned list. That is, many people, at least around my age, seem to have “always wanted to see it,” but never have. For those of you reading this who are in that boat, I strongly urge you to remedy the situation as soon as possible.

Simply put, Casablanca is a landmark film that just about everyone needs to see. I say that not because of a personal love of the film (I do love it, but there are many others I would list before it on a compilation of my favourite films of all time) but rather because it is a cultural experience one would be remiss not to be a part of. To say that Casablanca is culturally significant is an understatement. When I was asked by a foreigner what movies are the most “American,” I instantly responded, “Citizen Kane and Casablanca.” It'’s impossible to avoid at least being aware of these films and taking part in American culture.

However, cultural relevancy aside, I have to say that Casablanca is a classic for a reason. In particular, it recalls a beautiful time in the history of Hollywood. Here we see, as Jay Sherman in The Critic puts it, “stories about people, not a hundred million dollars of stunts and explosives.” It’s a reminder that good cinema was once greatly appreciated, films driven by meaningful plots with personally relatable, human characters.

And speaking of The Critic, I think it’s important to note that Casablanca was parodied in one episode as having an ending that was too “depressing” in a scene where the finale is changed so that everything works out perfectly. It comically ends with Rick and Ilsa together, while Sam plays another song on the piano. This may seem slightly funny to those who have seen the movie, as the ending is far from a downer. Still, it suggests a time in filmmaking where a somewhat ambiguous ending was allowed. Things could end well if the character improved as a person, even if it meant he didn't get the girl.

Unfortunately, Casablanca was not the beginning of a beautiful friendship between Hollywood and good storytelling. So if, like me, you’re sick of this new trend in films, now’s the time to finally watch this classic. Furthermore, I also urge you to continue reading Cinema is Cinema for suggestions on more classics in the world of cinema.