Most critics warmly endorse Casablanca, with praise clustering around its combination of romance, wartime suspense and sharp dialogue. Bogart and Bergman draw much of the attention, while Claude Rains and the supporting cast receive substantial credit. The reviews also praise Michael Curtiz’s direction for keeping the crowded drama moving, alongside the cinematography and music. Several accounts see its lasting appeal in how successfully these elements work together, rather than in the love story alone.
The differences concern emphasis as much as quality. Little White Lies foregrounds the refugees and anti-fascist politics, treating resistance to tyranny as central to the film’s appeal. Reservations elsewhere concern plot plausibility and the degree of enthusiasm it deserves: The Guardian admires the performances and momentum but questions the plotting. The New Yorker is the notably cooler voice, finding it tolerable rather than exceptional, while still crediting the screenplay and the use of ‘As Time Goes By’.