"There we were—demented children mincing about in clothes that no one ever wore, speaking as no man ever spoke, swearing love in wigs and rhymed couplets, killing each other with wooden swords, hollow protestations of faith hurled after empty promises of vengeance—and every gesture, every pose, vanishing into the thin unpopulated air. We ransomed our dignity to the clouds, and the uncomprehending birds listened. Don't you see?! We're actors—we're the opposite of people!"

"We're more of the love, blood and rhetoric school. Well, we can do you blood and love without the rhetoric, and we can do you blood and rhetoric without the love, and we can do you all three concurrent or consecutive. But we can't give you love and rhetoric without the blood. Blood is compulsory. They're all blood, you see."

"We do on stage things that are supposed to happen off. Which is a kind of integrity, if you look on every exit as being an entrance somewhere else."

"Whatever became of the moment when one first knew about death? There must have been one. A moment. In childhood. When it first occurred to you that you don't go on forever. Must have been shattering, stamped into one's memory. And yet, I can't remember it. It never occurred to me at all. We must be born with an intuition of mortality. Before we know the word for it. Before we know that there are words. Out we come, bloodied and squalling, with the knowledge that for all the points of the compass, there's only one direction, and time is its only measure."

"There must have been a time, in the beginning, when we could have said – no. But somehow we missed it."

"No, no, no... you've got it all wrong... you can't act death. The fact of it is nothing to do with seeing it happen — it's not gasps and blood and falling about — that isn't what makes it death. It's just a man failing to reappear, that's all — now you see him, now you don't, that's the only thing that's real: here one minute and gone the next and never coming back — an exit, unobtrusive and unannounced, a disappearance gathering weight as it goes on, until, finally, it is heavy with death."

"We cross our bridges when we come to them and burn them behind us, with nothing to show for our progress except a memory of the smell of smoke, and a presumption that once our eyes watered."

"To sum up: your father, whom you love, dies, you are his heir, you come back to find that hardly was the corpse cold before his young brother popped onto his throne and into his sheets, thereby offending both legal and natural practice. Now why exactly are you behaving in this extraordinary manner? (It is worth noting that the Danish monarchy only became hereditary in the 17th century. Before this time, the crown was elective so Hamlet may not have been the elected heir.)"

"In a concentration camp, one is apt to lose a little weight."

"Marcel Dalio - Emil the croupier (uncredited)"

"Leonid Kinskey - Sascha"

"Joy Page - Annina Brandel"

"Dooley Wilson - Sam"

"Madeleine Lebeau - Yvonne"

"S.Z. Sakall - Carl"

"Peter Lorre - Guillermo Ugarte"

"Sydney Greenstreet - Signor Ferrari"

"Conrad Veidt - Maj. Heinrich Strasser"

"Claude Rains - Capt. Louis Renault"

"Paul Henreid - Victor Laszlo"

"Ingrid Bergman - Ilsa Lund"

"Humphrey Bogart - Rick Blaine"

"As big and timely a picture as ever you've seen! You can tell by the cast it's important! Gripping! Big!"

"They had a date with fate in Casablanca!"

"Mysterious City of Sin and Intrigue!"

"Play it again, Sam."

"If I didn't give [the names of Underground leaders] in a concentration camp, where you had more persuasive methods at your disposal, I certainly won't give them to you now. And what if you track down these men and kill them? What if you murdered all of us? From every corner of Europe, hundreds, thousands would rise to take our places. Even Nazis can't kill that fast."

"You want to feel sorry for yourself, don't you? With so much at stake, all you can think of is your own feelings. One woman has hurt you, and you take your revenge on the rest of the world. You're a coward and a weakling."

"Last night, I saw what has happened to you. The Rick I knew in Paris I could tell him, he'd understand. But the one who looked at me with such hatred - I'll be leaving Casablanca soon and we'll never see each other again. We knew very little about each other when we were in love in Paris. If we leave it that way, maybe we'll remember those days and not Casablanca. Not last night."

"[to Rick, as the Germans are invading in Paris] I love you so much. And I hate this war so much. Oh, it's a crazy world. Anything can happen. If you shouldn't get away, I mean, if something should keep us apart, wherever they put you and wherever I'll be, I want you to know that...I Love you. Kiss me as if it were the last time."

"[to Ilsa] Well, Rick is the kind of man that...well, if I were a woman, and I were not around, I should be in love with Rick. But what a fool I am talking to a beautiful woman about another man."

"Oh, please, monsieur. It is a little game we play. They put it on the bill, I tear up the bill. It is very convenient."

"[about Ugarte] I'm making out the report now. We haven't quite decided whether he committed suicide or died trying to escape."

"[on Captain Renault] Oh, he's just like any other man, only more so."

"[to Ilsa] I heard a story once. As a matter of fact, I've heard a lot of stories in my time. They went along with the sound of a tinny piano, playing in the parlor downstairs. 'Mister, I met a man once when I was a kid,' they'd always begin. Well, I guess neither one of our stories is very funny. Tell me, who was it you left me for? Was it Laszlo or were there others in between? Or aren't you the kind that tells?"

"[after inspecting a dossier about himself] Are my eyes really brown?"

"[repeated line] I stick my neck out for nobody."

"Here's looking at you, kid."

"Of all the gin joints in all the towns in all the world, she walks into mine."

"Here, let me give you one of my cards. Now if you should want to call me, use this number. That — that's the old one. If you happen to lose the card, don't worry — I — have plenty more."

"What makes Harvey great is the fact that it's equally enjoyable as a piece of comedic fluff and as slyly intelligent social commentary."

"Though at times slow and obvious, the film allows humor to emerge ever so gently at the expense of its targets. Elwood may be a drunk (or not — does he ever actually take a drink?), and he may be delusional, but he is also happier, less neurotic, and more content than the so-called normal people who surround him and claim to be looking out for his best interests. By the film's end, Harvey and Elwood appear to be working their magic on everyone around them, as the world begins to share their delusion. It would not be stretching things to suggest that Harvey symbolizes spirituality, and some things, the film seems to say, just have to be taken on faith. Self-importance, snobbery, and the profession of psychiatry are among Harvey's targets, but this is no Swiftian satire. This film does not intend to cause harm or discomfort but to tease and needle its targets."

"John Nash: Have you met Harvey? [points to an empty seat Sol is about to sit in]"

"As Elwood P. Dowd, the rabbit fancier — Harvey's companion in killing time — Mr. Stewart is utterly beguiling and disarming of all annoyance. A faint touch of seeming imbecility, which is somewhat distasteful at the start, is quickly dispelled as Mr. Stewart makes Elwood a man to be admired."

"Of course, it depends a great deal upon what you have in mind in the way of entertainment by which you would be amused. But if you're for warm and gentle whimsey, for a charmingly fanciful farce and for a little touch of pathos anent the fateful evanescence of man's dreams, then the movie version of Harvey is definitely for you. As a matter of fact, we'll even wager that, if you're not in a mood for all of these, an hour and three-quarters with Harvey will do you a world of good."

"Grace Mills - Aunt Ethel"

"Wallace Ford - Taxi driver"

"William Lynn - Judge Gaffney"