A Night in Casablanca 1946

In the aftermath of World War II, the city of Casablanca becomes the backdrop for a daring and often comedic adventure centered around Heinrich Stubel, a notorious Nazi war criminal who has been on the run. Posing as Count Pfefferman, Stubel’s primary objective is to recover valuable stolen art treasures that he has clandestinely stored within the walls of the Hotel Casablanca. To successfully retrieve these treasures without attracting attention, Stubel resorted to a ruthless strategy—eliminating the hotel’s managers one by one, ensuring he could take control and operate the hotel undetected.

The story takes a humorous turn with the arrival of Ronald Kornblow, played by Chico Marx, a former motel owner who is appointed as the new manager of the hotel—a position he accepts out of sheer desperation since no one else is willing to take it. Kornblow, characterized by his cluelessness and naivety, quickly demonstrates his ineptitude as he begins his tenure. His lack of experience makes him easy prey for shady characters and schemes within the hotel, setting the stage for a series of comic misadventures.

Adding to the chaos is Corbaccio, who owns the Yellow Camel company, and he appoints himself as Kornblow’s bodyguard. Corbaccio’s self-assigned role is complicated by Rusty, Stubel’s unscrupulous valet and accomplice, who supports Stubel’s plans while pretending to help Kornblow. Stubel, meanwhile, tries to eliminate Kornblow by orchestrating murder plots, often sending a beautiful woman, Beatrice Reiner (played by Lisette Verea), to seduce and distract the unwitting manager, all in an effort to facilitate his escape with the stolen art.

The plot thickens when Kornblow’s naivety inadvertently leads to a lucky bet. He permits Rusty to place a roulette wager—hoping for three 5s in a row—which Rusty wins, resulting in a near-bankruptcy for the hotel. Stubel then leverages this victory to manipulate the Governor and police, who are convinced of a conspiracy, thereby arresting Kornblow, Corbaccio, and Rusty. Stubel then seizes the opportunity to seize control of the hotel himself, declaring himself the new manager.

However, the captured trio, along with Annette, the hotel secretary played by Lois Collier, manage to orchestrate a daring escape from prison after Rusty reveals that he has already located the hidden treasure. Their goal is to stop Stubel from escaping with the stolen art and to prevent him from leaving the country. The climax intensifies when they storm Stubel’s hotel room, employing a comical and chaotic method of unpacking his luggage—sneaking from suitcases to closets—which drives Stubel to complete madness.

In a classic turn of events, Stubel flees the hotel, but not before a climactic chase ensues. Kornblow, Corbaccio, Rusty, and Beatrice pursue Stubel’s plane, which the villains attempt to escape on with the treasures. Their efforts culminate in a humorous yet dramatic crash into a police station, where Stubel’s true identity as an escaped Nazi is ultimately revealed, exposing his crimes to the authorities.

Throughout the film, the story balances comedy, intrigue, and suspense, weaving in witty exchanges and slapstick moments. The film’s lighthearted tone and over-the-top antics serve as a satirical take on post-war intrigue and the absurdity of criminal schemes. Characters like Sig Ruman as Count Pfefferman, and the Marx Brothers’ classic comic timing, add a layer of humor and charm to this lively narrative, making it an entertaining tale of deception, misadventure, and justice.

“He’s a criminal hiding in plain sight, but we’re going to catch him—one way or another!”