Michael Curtiz (1888-1962) was without doubt one of the most important directors in film history, yet he has never been granted his deserved recognition and no full-scale work on him has previously been published. The Casablanca Man surveys Curtiz' unequalled mastery over a variety of genres which included biography, comedy, horror, melodrama, musicals, swashbucklers and westerns, and looks at his relationship with the Hollywood studio moguls on the basis of unprecedented archive research at Warner Brothers. Concentrating on Curtiz' best-known films - Casablanca, Angels With Dirty Faces, Mildred Pearce and Captain Blood among them - Robertson explores Curtiz' practical creative struggles and his friendships and rivalries with other film celebrities including Errol Flynn, Bette Davis and James Cagney, and his discovery of future stars. Casablanca Man is the first comprehensive critical exploration of Curtiz' entire career and, linking his European work and his subsequent American work into a coherent whole, Robertson firmly re-establishes Curtiz' true standing in the history of cinema.

Interviews, behind-the-scenes details, photographs, correspondences, and notes provide an overview of the production of the motion picture "Casablanca." Includes cast list, credits, and reviews.

Michael Curtiz (1888-1962) was without doubt one of the most important directors in film history, yet he has never been granted his deserved recognition and no full-scale work on him has previously been published. The Casablanca Man surveys Curtiz' unequalled mastery over a variety of genres which included biography, comedy, horror, melodrama, musicals, swashbucklers and westerns, and looks at his relationship with the Hollywood studio moguls on the basis of unprecedented archive research at Warner Brothers. Concentrating on Curtiz' best-known films - Casablanca, Angels With Dirty Faces, Mildred Pearce and Captain Blood among them - Robertson explores Curtiz' practical creative struggles and his friendships and rivalries with other film celebrities including Errol Flynn, Bette Davis and James Cagney, and his discovery of future stars. Casablanca Man is the first comprehensive critical exploration of Curtiz' entire career and, linking his European work and his subsequent American work into a coherent whole, Robertson firmly re-establishes Curtiz' true standing in the history of cinema.

A Los Angeles Times bestseller A New York Times Book Review “Editor’s Choice” Selection “Even the die-hardest Casablanca fan will find in this delightful book new ways to love the movie they were certain they could never love more.” —Sam Wasson, best-selling author of Fifth Avenue, 5 A.M. Casablanca is “not one movie,” Umberto Eco once quipped; “it is ‘movies.’” Film historian Noah Isenberg’s We’ll Always Have Casablanca offers a rich account of the film’s origins, the myths and realities behind its production, and the reasons it remains so revered today, over seventy-five years after its premiere.

Edgar Brau, one of the most exciting South American writers to emerge in the past twenty years, debuts his first English-language collection with the publication of Casablanca and Other Stories. The fiction of Edgar Brau draws not only upon the rich literary heritage of his native Argentina but also upon the body of work that has now rightly been formed into a South American canon, embracing those such as Jorge Luis Borges, Gabriel García Marquez, and Isabelle Allende. He brings a unique perspective to his narratives—narratives forged in the political and social upheaval that has been modern South America. Employing a fantasy-like aspect that goes beyond magical realism, his work is reminiscent of Edgar Allan Poe in his use of atmosphere as an additional character. These short stories signal a new era, much as the publication of Jorge Luis Borges’ Labyrinths in 1962 heralded a coming-of-age for his generation. Translated by Donald A. Yates, Andrea Labinger, and Joanne M. Yates, this collection includes stories from two of Edgar Brau’s collections—El poema y otras historias and Tres cuentos—to bring to a fresh audience the very best new work of a major Argentinean author.

In an age of streaming video and booming DVD production, viewers have access to more old movies than ever before, but the number of choices can be staggering. "Beyond Casablanca" offers thoughtful reviews of 100 classic films worth watching, including silent and foreign pictures, musicals, dramas, comedies, Westerns, and even science fiction and horror. From cult classics to Oscar winners, readers will find movies for every taste and mood.

The story of the legendary producer, Neil Bogart, founder of Casablanca Records, who made superstars of the 1970’s that have stood the test of time: KISS, Donna Summer, the Village People, and Parliament-Funkadelic. Bogart is the upcoming subject of the Justin Timberlake film Spinning Gold.

Narcissistic men seem like the ultimate catch: self-confident, attractive, charming individuals who are often the life of the party. The narcissist always knows the place to be and who to be seen with. His attention is initially very flattering, but eventually his behavior is not: he becomes aloof and controlling and may cheat. He still seems somewhat interested, however, and often makes enough nice gestures to maintain a girl's interest, leaving all but him to wonder: what is going on? The country's leading expert on narcissism, Dr. W. Keith Campbell, explains how to identify a narcissist, what it means to love a man who loves himself and how to break the cycle of dating men with this personality disorder.

For more than 60 years, tourists visiting Casablanca tried to visit Rick’s Café Americain only to discover that Warner Brothers had built the entire set on a studio back lot. It was a Hollywood fantasy—until Kathy Kriger came along, that is, and decided after 9/11 to bring the imaginary gin joint to life. In RICK'S CAFE, she takes us through souk back alleys, the Marché Central's overflowing food stalls, and the shadowy Moroccan business world, all while producing, directing, casting, and playing lead actress in her own story. Instead of letters of transit, she begged for letters of credit; the governor of Casablanca watched her back instead of Captain Renault; and at the piano, playing “As Time Goes By,” sits not Sam but Issam. She encountered paper pushers, absent architects, dedicated craftsmen, mad chefs, and surprising allies. It took over two years, but now, as Captain Renault says to Major Strasser, “Everybody comes to Rick’s.” Here is the remarkable story of a woman who turned Hollywood fantasy into Moroccan reality and made her dream come true.

Until attention shifted to the Middle East in the early 1970s, Americans turned most often toward the Maghreb—Morocco, Algeria, Tunisia, and the Sahara—for their understanding of “the Arab.” In Morocco Bound, Brian T. Edwards examines American representations of the Maghreb during three pivotal decades—from 1942, when the United States entered the North African campaign of World War II, through 1973. He reveals how American film and literary, historical, journalistic, and anthropological accounts of the region imagined the role of the United States in a world it seemed to dominate at the same time that they displaced domestic social concerns—particularly about race relations—onto an “exotic” North Africa. Edwards reads a broad range of texts to recuperate the disorienting possibilities for rethinking American empire. Examining work by William Burroughs, Jane Bowles, Ernie Pyle, A. J. Liebling, Jane Kramer, Alfred Hitchcock, Clifford Geertz, James Michener, Ornette Coleman, General George S. Patton, and others, he puts American texts in conversation with an archive of Maghrebi responses. Whether considering Warner Brothers’ marketing of the movie Casablanca in 1942, journalistic representations of Tangier as a city of excess and queerness, Paul Bowles’s collaboration with the Moroccan artist Mohammed Mrabet, the hippie communities in and around Marrakech in the 1960s and early 1970s, or the writings of young American anthropologists working nearby at the same time, Edwards illuminates the circulation of American texts, their relationship to Maghrebi history, and the ways they might be read so as to reimagine the role of American culture in the world.