{"id":45994,"date":"2015-04-01T06:01:19","date_gmt":"2015-04-01T10:01:19","guid":{"rendered":"http:\/\/www.moviefanfare.com\/?p=45994"},"modified":"2015-04-01T00:00:21","modified_gmt":"2015-04-01T04:00:21","slug":"heres-looking-at-the-casablanca-sequel-brazzaville-1944","status":"publish","type":"post","link":"http:\/\/www.moviefanfare.com\/?p=45994","title":{"rendered":"Here’s Looking at the Casablanca Sequel, Brazzaville (1944)"},"content":{"rendered":"

\"Brazzaville-Lobby3\"<\/a>Everyone knows that movie sequels are a tricky business, and that for every Godfather, Part II or Aliens there’s a Sting II, Grease 2, Staying Alive, Son of the Mask, or even a Godfather, Part III. It’s also a given that the more iconic and beloved a film is, the bigger the chances for\u00a0backlash against a follow-up, which is in part\u00a0why Gone with the Wind,\u00a0Citizen Kane, Singin’ in the Rain and The Sound of Music, to name a few, are still and (one hopes) always will be stand-alone big-screen entities. What, then, are we\u00a0to make of Warner Bros.’ 1944 Casablanca<\/a> sequel, Brazzaville?<\/p>\n

What’s that, you say? You didn’t know there was<\/em> a sequel to Casablanca? Given its stormy production history, poor reception at the ticket window, and decades of abuse by cineastes worshipping at the altar of the original, that’s hardly surprising.\u00a0In the wake of Cacablanca’s somewhat surprising box office success, however, Warners executives were by the spring of\u00a01943\u00a0eager to continue\u00a0anti-hero Rick Blaine’s (Humphrey Bogart<\/a>) wartime exploits. What started out as a fairly straightforward project grew into a mess that would take twice as long as its predecessor to bring to life and was, in the words of one studio wag, “harder to coordinate and launch than the actual Allied landings in North Africa.” Perhaps the time has come, though, to make an unbiased\u00a0appraisal of the WWII thriller\u00a0that even its stars never mentioned and will never be discussed in any retrospectives of their careers.<\/p>\n

\"CASABLANCA<\/a>Brazzaville opens right where\u00a0Casablanca left off…on the airport tarmac, where American ex-pat\u00a0“saloon keeper”\u00a0Blaine (Bogart)\u00a0and his new best friend, local police prefect Louis Renault (Claude Rains<\/a>), are discussing joining the forces at a Free French\u00a0garrison at Brazzaville, in what was then called French Equatorial Africa. With Nazi and Vichy French officials certain to\u00a0be interested in\u00a0“chatting” with them about the murder of German officer\u00a0Strasser (Conrad Veidt<\/a>) and the escape of Resistance leader Victor Lazlo (Paul Henreid<\/a>) and wife Ilsa Lund (Ingrid Bergman<\/a>), a timely exit from the city is, in Renault’s words, “just what the doctor ordered.” Thus the pair find themselves stationed in central Africa, under the command of an antagonistic\u00a0Col. LeTour (Henry Daniell) for about a year, until they’re abruptly detained\u00a0and brought back to Casablanca.<\/p>\n

\"RAINS,<\/a>Expecting a less than warm reception upon returning to Morocco, Blaine and Renault are pleasantly surprised to discover that Allied forces\u00a0landed and took over the\u00a0coastal part of the country the week before\u00a0(even with radio, news apparently didn’t travel too quickly in the Congo) as part of the campaign to drive the German army out of northern Africa…and Rick learns that his\u00a0“corrupt” colleague Louis has been part of the French Underground, keeping a watchful eye on him and discerning where his true loyalties lie,\u00a0all along.<\/p>\n

\"FITZGERALD,<\/a>The Allied command, it seems, has a deal to offer Rick:\u00a0find out who’s behind a sabotage ring preying on U.S. lend-lease ships in the Mediterranean and end its operation, and he will finally\u00a0be allowed to return to America. With help from his old “ally,” black marketeer Ferrari (Sydney Greenstreet <\/a>in a one-scene cameo at the\u00a0Caf\u00e9 Americain), Rick is put on the trail of the saboteurs and travels to their base in Tangiers.\u00a0Once there, the undercover Rick works his way into the heart of the coastal city’s underworld as a seller of faked U.S. passports and “letters of transit” (supplied by Allied forces who happily intercept the buyers). It’s also here\u00a0that he meets nightclub chanteuse Simone (Geraldine Fitzgerald<\/a>),\u00a0mistress to the espionage outfit’s ringleader, Count von Doren\u00a0(George Coulouris<\/a>), an Austrian-born official\u00a0and Nazi collaborator who enjoys diplomatic immunity. She also happens to be Col. LeTour’s estranged sister. In spite of themselves, Rick and Simone are drawn to one another, but can he\u00a0free her from the mysterious hold that von Doren has on her and, with her help, put the kibosh on von Doren’s cabal before his true mission is revealed?<\/p>\n

As you can see from my brief synopsis, the key\u00a0elements that made Casablanca such a favorite with moviegoers–the anti-heroic lead, the memorable supporting players, and particularly the love triangle–were plainly lacking in Brazzaville, the last one due in no small part to the filmmakers’ hesitancy to count out a certain lead’s return (more about this in a minute). With Renault basically being left behind once Rick leaves for Tangiers and not being seen again until the final scenes, the interaction between Rains and Bogart was keenly missed. And what can one say about “More Than a Kiss,” the tin-eared attempt to follow up “As Time Goes By” that Fitzgerald sings (with her voice allegedly dubbed over by a teenage Andy Williams) as part of her nightclub act?<\/p>\n

A good deal of\u00a0the film’s problems can be traced to the script travails. Twin brother screenwriters Julius and Philip Epstein, who crafted Casablanca out of an unproduced Broadway play called Everybody Comes to Rick’s,\u00a0were offered first crack at drafting the follow-up story treatment. After the chaotic environment that\u00a0accompanied the first\u00a0film, though, the siblings decided that one trip to\u00a0Morocco was sufficient, thank you\u00a0very much. For some reason Warners\u00a0bypassed writer Howard Koch, who worked on the\u00a0Casablanca screenplay, and any other number of\u00a0in-house scribes in favor of a\u00a0filmmaker best known as director and co-writer of the 1936 Flash Gordon serial, Frederick Stephani. His treatment–which, interestingly, did not feature\u00a0so much as a single scene set in Brazzaville–started out promisingly but soon\u00a0jumped the rails when it revealed that, not only was Renault an undercover Allied operative the\u00a0whole time, but so was “completely neutral” Rick himself. In the words of a studio reader, “the moment Rick becomes…an agent of the secret police, the interest in his position and character largely evaporates.”<\/p>\n

Using Stephani’s story as a jumping-off point, the project was handed off to a number of writers before it eventually came around to Casey Robinson, who worked\u00a0sans credit\u00a0on Casablanca, and author Jack Moffitt. The pair toiled for two months before handing in their updated treatment and first-draft script, with later contributions by an uncredited William Faulkner. The search for a director\u00a0was similarly bogged down once Casablanca helmer Michael Curtiz<\/a>\u00a0turned it down. Fresh off playing Rommel in Billy Wilder’s\u00a0Five Graves to Cairo, Erich von Stroheim offered his services to Warners as director\/co-star and was eager to play\u00a0Count von Doren. The studio, however, had set its\u00a0sights on Raoul Walsh, who had assisted Lloyd Bacon on Bogart’s most recent effort, Action in the North Atlantic. Ultimately, the unenvied task of shooting the film\u00a0fell to Howard Hawks<\/a>, who Warner Bros. signed in July of 1943.<\/p>\n

\"CASABLANCA\"<\/a>As far as the casting, both Bogart and Rains were game for a second go-round on the studio’s\u00a0North Africa sets, but\u00a0it was pretty much a given–despite the early Stephani story\u00a0that killed off Victor Lazlo en route to America and returned Isla Lund to\u00a0Rick’s\u00a0world–that\u00a0Ingrid Bergman\u00a0wasn’t going to reprise her role as the saloon keeper’s great love. Robinson toyed with the idea of keeping Ilsa in the script\u00a0and letting the studio recast her, but found it hard for himself to imagine anyone but Bergman in the part and knew moviegoers would feel the same way. Enter new love interest Geraldine Fitzgerald, whose character\u00a0started out as a pro-Franco Spaniard named Maria\u00a0before changing nationalities.\u00a0No matter her homeland, Maria\/Simone was an ill-defined follower in Ilsa’s footsteps (and at one point was set to take a bullet meant for Rick in order to free him up to reunite with Ilsa). Similarly, Coulouris’ Austrian nobleman seems more the shady businessman (like Citizen Kane’s Mr. Thatcher, perhaps?) than the sinister villain of Veidt\u00a0in the first film. And while it was nice to see Sydney Greenstreet (and Leonid Kinskey’s Sacha the bartender, who greets the returning Rick\u00a0with a Russian kiss on both cheeks) in the caf\u00e9 sequence, it would have been nice to see Carl (S.Z. Sakall), Abdul (Dan Seytmour), and especially Sam the piano player (Dooley Wilson) once again, too.<\/p>\n

In the wake of its Oscar-winning parent picture, Brazzaville certainly does not measure up. On its own merits, though, it\u00a0stands as an average Bogart WWII programmer, along the lines of Action in the North Atlantic and Sahara.\u00a0Why it has yet to come out on home video (it was never even released on VHS back in the days)\u00a0is a question that may never be answered.\u00a0At least one good thing did come out of Brazzaville, however. Director Hawks used a model his wife had seen on a Harper’s Bazaar cover as an extra in the above-mentioned nightclub scene. He–and Bogie–were so impressed by her presence that she was given the female lead in their next project together, Warners’ 1944 adaptation of Ernest Hemingway’s To Have and Have Not. And that was how Humphrey Bogart met future wife Lauren Bacall<\/a>.<\/p>\n

Author’s Note: If you made it this far down in my review, thank you. If you made it this far down and are still wondering why you never heard of Brazzaville, please take another look at this article’s publication date.\u00a0<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Film fans have asked for years when Brazzaville, the 1944 follow-up to Casablanca starring Humphrey Bogart, Claude Rains and Geraldine Fitzgerald, will be out on DVD. MovieFanFare takes a special April 1st look at the film and the odds of its release. <\/p>\n","protected":false},"author":24,"featured_media":46005,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[34],"tags":[1364],"coauthors":[1720],"class_list":["post-45994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-staff-notes","tag-humphrey-bogart"],"yoast_head":"\nHere's Looking at the Casablanca Sequel, Brazzaville<\/title>\n<meta name=\"description\" content=\"When will the 1944 Casablanca sequel Brazzaville come out on DVD? 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A lifelong fan of Alfred Hitchcock, the Marx Brothers and Three Stooges, Universal and Hammer horror films, and all things dinosaur- and superhero-related, his 2001 bantering with Regis Philbin pops up now and again on GSN. Gary's not ashamed to admit he cried at the end of Titanic, after realizing he had just wasted three hours of his life.\",\"sameAs\":[\"http:\\\/\\\/www.moviefanfare.com\"],\"url\":\"http:\\\/\\\/www.moviefanfare.com?author_name\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Here's Looking at the Casablanca Sequel, Brazzaville","description":"When will the 1944 Casablanca sequel Brazzaville come out on DVD? 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