Julius J. Epstein (1909–2000)
Author of Casablanca [1942 film]
About the Author
Works by Julius J. Epstein
Chicken Every Sunday [playbill] — Playwright — 2 copies
Film Analysis Casablanca 1 copy
Associated Works
Tagged
Common Knowledge
- Canonical name
- Epstein, Julius J.
- Birthdate
- 1909-08-22
- Date of death
- 2000-12-30
- Gender
- male
- Nationality
- USA
- Birthplace
- New York, New York, USA
- Place of death
- Los Angeles, California, USA
- Places of residence
- Hollywood, California, USA
- Education
- Pennsylvania State University
- Occupations
- screenwriter
playwright - Relationships
- Epstein, Leslie (nephew)
Epstein, Philip G. (brother) - Organizations
- Warner Bros.
- Awards and honors
- Academy Award for Best Screenplay (1944)
- Short biography
- Julius J. Epstein and his twin brother Philip were born to a Jewish family on the Lower East Side of New York City. Their parents Sarah and Henry Epstein owned a livery stable at a time when horses were still widely-used in the city. He and Philip both graduated in 1931 from Pennsylvania State University, where they were boxing champions. Julius earned a BA in Arts and Letters. After college, the Epsteins went to Hollywood, hoping to find work in the movie business. They became successful screenwriters at Warner Brothers. The Epsteins are best known today for their Academy Award-winning screenplay for the classic Casablanca (1942), written with Howard Koch and Casey Robinson (uncredited). The Epstein brothers also collaborated on The Man Who Came to Dinner (1942), Arsenic and Old Lace (1944), among others. The Epsteins also wrote plays, reaching Broadway twice with "And Stars Remain" in 1936 and "Chicken Every Sunday" in 1944. Philip died in 1952, a loss that Julius felt deeply for the rest of his life. He continued writing, receiving two more Oscar nominations during his long career. He was married to Frances Sage, with whom he had two children, and Ann Margot Laszlo, with whom he had a son.
Members
Reviews
“And what in heaven's name brought you to Casablanca?” — Renault
“My health. I came to Casablanca for the waters.” — Rick
“The waters? What waters? We’re in the desert!” — Renault
“I was misinformed.” — Rick
Any film buff watching this screen classic today will certainly get a sense of having seen this formula over and over. Howard Hawks remade it in a fashion — and actually improved upon it in some ways by putting his distinct spin on it — in To Have and Have Not. While it often gets overpraised because it is a beloved favorite of critics, it also doesn’t receive the credit due it. The four strongest performances here, namely Bogart, Rains, Lorre, and Joy Page, who rarely even gets a mention, didn't get the Academy Award. It can be argued that any solid studio director from this period could have made a great film out of the terrific screenplay from Howard Koch and Julius and Philip Epstein, and the fine cast assembled. But it is a film which is more than the sum of its parts, and the reason why it has been copied so often over the years.
Bogart is Rick Blaine, doing okay running Rick’s Cafe Americain in Casablanca, in French Morocco. Everyone must go through Casablanca to get to Lisbon, and freedom from the turmoil brought about by the War’s ever expanding boundaries. Rick runs his cafe and gambling house unencumbered by politics, looking out only for himself and a few close and loyal employees like Sam (Dooley Wilson) and Carl (S.Z. Sakall). Peter Lorre is marvelous as the criminal who worships Rick, and seeks his approval. It is really what happens to Ugarte (Lorre) which turns Rick in favor of the French Resistance; though it won't become evident until the film is nearly over. It is perhaps, the most interesting relationship in the film, made more so due to Lorre’s small amount of screen time.
Ugarte leaves Rick a letter of transit which can't even be questioned, when in pops Rick’s reason for hiding out in Casablanca — Ilsa Lund (Ingrid Bergman). Rick's bitter disillusionment with love all goes back to what happened in Paris, where Ilsa left him holding his heart in his hands. The flashback montages were in part directed by Don Siegel, who would direct Mitchum and Greer in The Big Steal, and later become well known for Dirty Harry with Clint Eastwood. Ilsa isn't alone, however, bringing along her husband, Victor Laszlo (Paul Henreid). He is the lead figure behind the movement to rid the French of the Germans, who would prefer he never make it to Lisbon.
Caught in between is the pragmatic Captain Renault — Claude Rains in a splendid turn, full of larceny and humor. It is never clear exactly which side he is on. Ilsa wants her husband Victor to escape with his life but Rick isn't so ready to hand over those transit papers; not without some graveling and an explanation for the way he was burned by her.
Bergman proved a good second choice for Ilsa. The viewer knows she’s messed Rick up, and wants it to be righted, while at the same time sensing those two don’t belong together. Her casting opposite Bogart makes the ending easier to take than had someone with more natural chemistry with Bogart been cast in the role. Don’t get me wrong, they are good together in a timeless classic, but that bit of ‘unbelievability’ in their pairing works in the film’s favor at the legendary ending to this film. Howard Hawks had Bogart and Bacall, for example, go off together at the end of To Have and Have Not, which was his own take on Casablanca.
Before we get to the famous ending of Casablanca, however, there are some terrific moments from Joy Page as a young wife fleeing Bulgaria, desperate to get she and her husband out of Casablanca. What Rick does to help her out, and get around her making a mistake with Renault, highlights the effect Ugarte’s killing had on Rick, who at heart is a romantic. Once he knows the reason behind what happened in Paris, he'll come to the same decision the viewer has about where Isla belongs.
Casablanca won the Academy Award for Best Picture, Screenplay, and Direction (Michael Curtiz). Bogart would have won for Best Actor, Rains for Supporting Actor, and Joy Page for Best Supporting Actress in a different time and place. While this isn’t quite the romantic noir masterpiece of Preminger’s Laura, it is one amazingly smooth blend of genres — including noir — which pleases every film buff, and makes it one of the great films of all time. Silent film fans might can even catch a glimpse of star Monte Blue as an uncredited American. Bogart and Bergman fans can enjoy watching this one over and over, as it is one of those films almost universally cherished by movie lovers.… (more)
“My health. I came to Casablanca for the waters.” — Rick
“The waters? What waters? We’re in the desert!” — Renault
“I was misinformed.” — Rick
Any film buff watching this screen classic today will certainly get a sense of having seen this formula over and over. Howard Hawks remade it in a fashion — and actually improved upon it in some ways by putting his distinct spin on it — in To Have and Have Not. While it often gets overpraised because it is a beloved favorite of critics, it also doesn’t receive the credit due it. The four strongest performances here, namely Bogart, Rains, Lorre, and Joy Page, who rarely even gets a mention, didn't get the Academy Award. It can be argued that any solid studio director from this period could have made a great film out of the terrific screenplay from Howard Koch and Julius and Philip Epstein, and the fine cast assembled. But it is a film which is more than the sum of its parts, and the reason why it has been copied so often over the years.
Bogart is Rick Blaine, doing okay running Rick’s Cafe Americain in Casablanca, in French Morocco. Everyone must go through Casablanca to get to Lisbon, and freedom from the turmoil brought about by the War’s ever expanding boundaries. Rick runs his cafe and gambling house unencumbered by politics, looking out only for himself and a few close and loyal employees like Sam (Dooley Wilson) and Carl (S.Z. Sakall). Peter Lorre is marvelous as the criminal who worships Rick, and seeks his approval. It is really what happens to Ugarte (Lorre) which turns Rick in favor of the French Resistance; though it won't become evident until the film is nearly over. It is perhaps, the most interesting relationship in the film, made more so due to Lorre’s small amount of screen time.
Ugarte leaves Rick a letter of transit which can't even be questioned, when in pops Rick’s reason for hiding out in Casablanca — Ilsa Lund (Ingrid Bergman). Rick's bitter disillusionment with love all goes back to what happened in Paris, where Ilsa left him holding his heart in his hands. The flashback montages were in part directed by Don Siegel, who would direct Mitchum and Greer in The Big Steal, and later become well known for Dirty Harry with Clint Eastwood. Ilsa isn't alone, however, bringing along her husband, Victor Laszlo (Paul Henreid). He is the lead figure behind the movement to rid the French of the Germans, who would prefer he never make it to Lisbon.
Caught in between is the pragmatic Captain Renault — Claude Rains in a splendid turn, full of larceny and humor. It is never clear exactly which side he is on. Ilsa wants her husband Victor to escape with his life but Rick isn't so ready to hand over those transit papers; not without some graveling and an explanation for the way he was burned by her.
Bergman proved a good second choice for Ilsa. The viewer knows she’s messed Rick up, and wants it to be righted, while at the same time sensing those two don’t belong together. Her casting opposite Bogart makes the ending easier to take than had someone with more natural chemistry with Bogart been cast in the role. Don’t get me wrong, they are good together in a timeless classic, but that bit of ‘unbelievability’ in their pairing works in the film’s favor at the legendary ending to this film. Howard Hawks had Bogart and Bacall, for example, go off together at the end of To Have and Have Not, which was his own take on Casablanca.
Before we get to the famous ending of Casablanca, however, there are some terrific moments from Joy Page as a young wife fleeing Bulgaria, desperate to get she and her husband out of Casablanca. What Rick does to help her out, and get around her making a mistake with Renault, highlights the effect Ugarte’s killing had on Rick, who at heart is a romantic. Once he knows the reason behind what happened in Paris, he'll come to the same decision the viewer has about where Isla belongs.
Casablanca won the Academy Award for Best Picture, Screenplay, and Direction (Michael Curtiz). Bogart would have won for Best Actor, Rains for Supporting Actor, and Joy Page for Best Supporting Actress in a different time and place. While this isn’t quite the romantic noir masterpiece of Preminger’s Laura, it is one amazingly smooth blend of genres — including noir — which pleases every film buff, and makes it one of the great films of all time. Silent film fans might can even catch a glimpse of star Monte Blue as an uncredited American. Bogart and Bergman fans can enjoy watching this one over and over, as it is one of those films almost universally cherished by movie lovers.… (more)
1 
Matt_Ransom | 22 other reviews | Nov 22, 2023 |
Matt_Ransom | 22 other reviews | Nov 22, 2023 | 
A film starring Bette Davis, Ann Sheridan and Monty Woolley (Warner Bros., 1942)
An injured pompous celebrity takes over a family's house.
C (Indifferent).
It might have been okay, despite being a mediocre play that tries desperately to be zany, if Monty Woolley were an actor. He just yells for two hours.
(Apr. 2023)
An injured pompous celebrity takes over a family's house.
C (Indifferent).
It might have been okay, despite being a mediocre play that tries desperately to be zany, if Monty Woolley were an actor. He just yells for two hours.
(Apr. 2023)
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“No, no, I don’t think so. But it’s only a matter of time.” — Cary Grant
Grab a big cauldron, stir in two sweet little old ladies with the unusual hobby of murdering lonely old men and burying them in the cellar, mix in a nephew who’s a sadistic killer, sprinkle in another nephew who thinks he’s Teddy Roosevelt, then add to the pot yet one more nephew who’s normal, and heading to Niagra Falls for a honeymoon with his very pretty bride, and what you have is one of the funniest screwball comedies ever made!
Frank Capra of all people, famous for his blend of comedy and social commentary, was dying to do this picture after seeing the stage play by Joseph Kesselring. Julias J. and Philip G. Epstein wrote the very dark yet very funny screenplay. Once Cary Grant and pretty Priscilla Lane signed on, a screen classic was born. Grant’s takes and double-takes in this film are hilarious, and part of the reason everyone loves Cary Grant. Since everyone knows the premise of this film favorite, I won’t be spoiling anything by talking about it.
Mortimer Brewster (Grant) is the successful playwright of “The Bachelor’s Bible” so he is attempting is to marry his lovely sweetheart Elaine Harper (Priscilla Lane) in secret, before the press gets wind of it and have a field day. But when the couple stops by after the wedding on their way to Niagra Falls, he discovers something that turns his day upside down!
Grant’s reaction to discovering his Aunt Martha (Jean Adair) and Aunt Abby (Josephine Hull) are hiding a body in the window seat is a riot. His reactions are even more hilarious when they admit to having several bodies buried in the cellar! It seems his crazy brother who thinks he’s Teddy Roosevelt, thinks they’ve died of yellow fever, and has been giving them a proper burial in what he believes to be the Panama Canal.
Elaine has been next door at her father's house (James Gleason) and can’t understand why Mortimer is acting so strangely, and trying get rid of her. While Mortimer is trying to get Teddy institutionalized his long-lost and quite diabolical brother Jonathan (Raymond Massey) shows up with his crazy little plastic surgeon (Peter Lorre) in tow. They’ve got a stiff of their own on their hands.Just who the nervous little plastic surgeon has cut Jonathan to look like is another riot.
Friendly cop on the beat O'Hara (Jack Carson) stops by for more fun, and there is a wild ending that somehow manages to work everything out. Mortimer has told his young wife, after all: “Insanity runs in my family. It practically gallops!" Elaine may not believe him, but a trip to the cellar this Halloween night might change her mind!
Grant is terrific here and more than makes up for a couple of slow spots. Priscilla Lane has always been a favorite of mine, acquitting herself nicely, and quite attractively as always. If you want to see a darkly hilarious screwball comedy from a director who practically invented the genre, this is your film right here. One of Grant’s finest and most frantic performances.… (more)