White Christmas (1954)

3/5

White Christmas is a whimsical musical from the 50's set after World War II and starring Bing Crosby. That's about all you need to know to get a sense of what it's like. There is nothing inspired or creative about this film. It feels like it was churned out of the Hollywood studio machine--and almost certainly was. The plot follows two soldiers (Crosby, Kaye) who take up a performing career after the war. They meet two singing sisters (Ellen, Clooney) and unexpectedly find themselves performing together at an empty hotel run by their old commanding officer (Jagger). Wanting to do something special for him, they decide to film a live TV special there without letting him know.

The movie is decidedly middle of the road. The acting is flat--somehow deadpan with a smirk, like they know they're being filmed--and the cinematography is bland. The story is straightforward but tepid, although it has a fair number of tear-jerking scenes and laugh-out-loud moments. Unfortunately, I don't think I'll ever find myself truly attached to war movies because I never had to go through anything resembling war. I just don't have a connection to the subject matter and cannot appreciate it as much as someone who does.

I'm not quite sure why it's a Christmas classic, because there are far better movies that fit the bill. I guess this one has singing in it, so I suppose it's got that going for it. The songs are kind of catchy at first, but in retrospect quickly become forgettable and meaningless. (I would argue the same is true about Singin' in the Rain, which I love.) At the end of the day, I'd rather watch Holiday Affair than White Christmas during the next winter season, although neither of them really wowed me. White Christmas gets a solid meh from me.

IMDb link: http://www.imdb.com/title/tt0047673/

Casablanca (1942)

5/5

Michael Curtiz's Casablanca is without a doubt the greatest romance to ever grace the silver screen. The story follows Rick Blaine (Bogart) in Casablanca during World War II. While the rest of France is German-occupied, Casablanca represents a bastion of hope for those trying to flee to America. After two letters of transit find their way into Rick's gin joint, so do married freedom fighters Victor Laszlo (Henreid) and Ilsa Lund (Bergman). We soon find out that Rick and Ilsa shared a past together once, in Paris.

The plot exhibits the same sentimental heartbreak as in every love story, with both parties guilty of misunderstandings and mistakes. But the plot itself is not what makes this movie great. It is the way the story unfolds, the way we are introduced to the characters, the way they appear to evolve and develop before our very eyes. And yet the people we see at the end of the movie are the same as those at the beginning; it is merely the lens through which we see them that changes. As we discover more about each character's intentions and motivations, we go from despising them and the hurt they caused each other to adoring them and their tremendous love for each other. Our hearts are manipulated so forcefully and so easily, it is almost inhumane.

The emotional roller-coaster ride we go through would have been effective if all it had was a script as phenomenal as this one, but the acting is what makes it real--and what makes it hurt. Bergman and Bogart are at their best, able to evoke pity, horror, hatred, and sympathy at the drop of a hat. And after all they put us through, we are grateful to have met them. For everyone who has seen this movie, Bogie will always be Rick and Ingrid will always be Ilsa.

As for the rest of the cast, they are spectacular all around. From the minor performers to the major supporting roles, the film is chock-full of memorable characters. They infuse the piece with witty banter and humorous irony. We are intrigued by the cordial competition with black marketeer Ferrari (Greenstreet) and the affectionate back-and-forth with Captain Renault (Rains) as their beautiful friendship begins. And we cherish their presence.

Technically, the film is rather unremarkable. The editing manages an economy of scenes, albeit with a few extraneous ones. The lighting and cinematography get the job done, with some well-lit shots and well-composed long takes. Unlike Citizen Kane, the filmmaking is not what makes this movie great. It is the flawless love story between Rick and Ilsa that tugs at our heartstrings and attracts us to this movie. And it will always be Rick and Ilsa that brings us back to it, over and over again, as time goes by.

IMDb link: http://www.imdb.com/title/tt0034583/