Koko Lists

Casablanca

4000 Warner Blvd, Burbank, CA

Last updated

Casablanca, released in 1942 during World War II, was filmed almost entirely on the Warner Bros. studio lot, with production ending just as the actual Allied invasion of North Africa, on which the film's setting was loosely based, was making international headlines — a coincidence of timing that boosted the film's contemporary relevance and box-office success. The film's screenplay went through extensive last-minute rewrites during production, and the film's famously ambiguous, bittersweet ending — in which Humphrey Bogart's character sends Ingrid Bergman's character away with another man for the greater wartime cause — was reportedly still being finalized even as filming was underway. Casablanca's dialogue produced some of the most quoted lines in film history, including "Here's looking at you, kid" and "We'll always have Paris," phrases that have become permanently embedded in American popular culture well beyond audiences who've actually seen the film itself. The film won the Academy Award for Best Picture, and its combination of wartime romance, political intrigue, and a genuinely bittersweet rather than conventionally happy ending has made it one of the most enduringly beloved and frequently revisited films of Hollywood's studio era.

Own this business? Log in to claim this listing.

Appears on

Reviews

Log in to leave a review.

    Barks

    Log in to bark.

      Similar places

      • The Godfather

        The Godfather, released in 1972, was adapted from Mario Puzo's novel and became both a massive box-office success and a critical landmark, winning the Academy Award for Best Picture and establishing Francis Ford Coppola as one of the era's most significant American directors virtually overnight. Marlon Brando's performance as aging mob patriarch Vito Corleone, delivered with cotton stuffed in his cheeks to create the character's distinctive jowled appearance, won him the Academy Award for Best Actor, though he famously declined the award in protest of Hollywood's treatment of Native Americans. The film's 1974 sequel, The Godfather Part II, is one of the only sequels in film history considered by many critics to surpass the original, and the two films together are frequently cited as the high-water mark of what a multi-film crime saga can achieve both commercially and artistically. The Godfather's influence on the crime genre — its operatic pacing, its sympathetic treatment of characters engaged in genuinely violent criminal enterprise, and its meditation on family loyalty and the corruption of the American immigrant dream — has made it one of the most frequently referenced and imitated films in the subsequent five decades of American cinema.

      • Citizen Kane

        Citizen Kane, released in 1941 and co-written, directed by, and starring a 25-year-old Orson Welles, is widely regarded by film historians as one of the most technically innovative films ever made, pioneering deep-focus cinematography and unconventional narrative structure techniques that were unusual for mainstream studio filmmaking at the time. The film's thinly veiled portrait of media magnate William Randolph Hearst, whose life closely paralleled that of the fictional Charles Foster Kane, prompted Hearst to launch an aggressive campaign to suppress the film's release, pressuring theater chains and threatening to withhold coverage in his own newspapers. Welles's use of a nonlinear structure, told through multiple conflicting flashbacks from different characters attempting to understand the meaning of Kane's dying word "Rosebud," was considered a radical narrative departure from the more straightforward storytelling conventions of Hollywood films at the time. Despite Hearst's suppression campaign limiting its initial commercial success, Citizen Kane's critical reputation grew substantially over subsequent decades, and it topped the British Film Institute's influential Sight & Sound critics' poll of the greatest films ever made for 50 consecutive years, from 1962 until finally being displaced in 2012.

      • Pulp Fiction

        Pulp Fiction, released in 1994, revived Quentin Tarantino's career-defining nonlinear storytelling approach, weaving together multiple interconnected crime stories out of chronological order in a way that became one of the most widely imitated structural techniques in independent filmmaking throughout the following decade. The film's dialogue-heavy, pop-culture-referencing screenplay, blending extended casual conversation with sudden bursts of graphic violence, established a distinctive tonal template that came to be closely associated with Tarantino's broader directorial style across his subsequent films. John Travolta's performance as hitman Vincent Vega is widely credited with reviving his career after a fallow period in the late 1980s and early '90s, and the film's ensemble cast, including Samuel L. Jackson and Uma Thurman, became closely associated with some of their most iconic career roles. Pulp Fiction won the Palme d'Or at the 1994 Cannes Film Festival and the Academy Award for Best Original Screenplay, and its massive commercial success on a relatively modest budget helped cement the broader 1990s independent film movement as a genuine commercial force within the mainstream film industry.

      • The Shawshank Redemption

        The Shawshank Redemption, released in 1994 and adapted from a Stephen King novella, was a modest box-office performer on its initial theatrical release but became one of the most beloved films in American cinema through home video and television rebroadcasts in the years that followed. The film has topped IMDb's user-voted list of the greatest films of all time for years running, a distinction reflecting genuine, sustained audience affection built almost entirely through repeated cable television airings rather than the kind of major awards-season box-office push that typically drives a film's cultural staying power. Its story of wrongfully imprisoned banker Andy Dufresne's decades-long friendship with fellow inmate Red, played by Tim Robbins and Morgan Freeman respectively, is built around themes of hope and perseverance under grinding institutional oppression that have resonated with audiences across a remarkably broad range of demographics and viewing contexts. The film's production at the historic Ohio State Reformatory, since converted into a museum partly because of the film's ongoing popularity, has made the filming location itself a genuine tourist attraction, reflecting the unusual, slow-building cultural staying power the film has achieved in the decades since its underwhelming initial theatrical run.

      • 2001: A Space Odyssey

        2001: A Space Odyssey, directed by Stanley Kubrick and released in 1968, used groundbreaking practical special effects — built years before digital filmmaking existed — to depict space travel with a level of scientific plausibility that influenced how NASA and the broader aerospace industry visually communicated space exploration to the public for decades afterward. The film's deliberately minimal dialogue and its extended, almost wordless sequences depicting space travel and human evolution broke sharply from conventional narrative filmmaking, and its ambiguous, abstract final sequence has generated decades of ongoing critical interpretation and debate that's never fully resolved into consensus. HAL 9000, the film's calmly menacing artificial intelligence antagonist, became one of the most influential depictions of AI in popular culture, and HAL's soft-spoken, unsettling turn against the human astronauts it was built to serve has directly shaped decades of subsequent science fiction depictions of artificial intelligence. The film's visual effects team won the Academy Award for Best Visual Effects, Kubrick's only competitive Oscar despite the film's now-legendary critical standing, and 2001's technical and philosophical ambition has made it one of the most frequently cited influences among subsequent generations of science fiction filmmakers.