1942’s Casablanca has repeatedly been canonized as the best film Hollywood ever made. Its iconic dialogue produced a bevy of quotable lines that sealed seated their seemingly eternal place in movie culture, and it’s damn near impossible to refer to Humphrey Bogart’s iconic career without bringing to mind his worn mug reminiscing to Dooley Wilson’s iteration of “As Time Goes By” in his empty bar’s depths of night. Never has Bogie been so tragically Bogie, or, for that matter, Bergman so classically Bergman, Rains so nobly Rains, Lorre so campily Lorre, and the film’s team of studio scribes so harmoniously in tune towards a pitch-perfect example of Hollywood narrative convention. Given the vaunted reputation of Casablanca, it’s strange that the film’s director, Michael Curtiz, is so often obscured within observations of its notable ensemble, much less considered the film’s reigning auteur. Among all the beloved directors of Classical Hollywood – Howard Hawks, John Ford, Alfred Hitchcock – Curtiz is rarely included, often regarded on the relative margins as a talented director for hire, a perfect mirror to Casablanca itself: a stellar Hollywood product, but in a class altogether separate from, say, the previous year’s Citizen Kane. But Curtiz’s diverse career (for classical Hollywood) as it manifested over several decades, across horror films and gangster pics and musicals, bears evidence not only of a capable Hollywood director-for-hire, but a behind-the-lens personality whose revisited worldview throughout his career is inseparable from his individual works.