REVEALED: Humphrey Bogart’s Disdain for Ingrid Bergman on the Set of Casablanca

In an intriguing revelation, it has been unveiled that Hollywood legend Humphrey Bogart harbored a strong dislike towards his co-star, Ingrid Bergman, during the filming of the iconic movie Casablanca.

A new book has shed light on the behind-the-scenes animosity between the two actors.

According to the book titled We'll Always Have Casablanca, written by film historian Noah Isenberg to commemorate the 75th anniversary of the film's debut in 1942, Bogart's aversion towards Bergman was palpable.

The narrative delves into Bogart's evident contempt for Bergman, as he reportedly shunned her company and chose solitary activities over socializing with her.

Despite their on-screen chemistry that captivated audiences worldwide, off-camera interactions between Bogart and Bergman were far from amicable.

Bogart's refusal to engage with Bergman off-set, coupled with his preference for seclusion in his trailer, painted a stark contrast to the romantic facade depicted on screen.

During the production of Casablanca, where Bogart was accustomed to portraying tough characters, Bergman's emergence as a rising star posed a challenge to his established persona.

The book details instances where Bogart cold-shouldered Bergman, often disregarding her presence until filming commenced, creating a strained atmosphere on set.

The film's script, revered for its enduring quotes such as “Here's looking at you, kid,” and “We'll always have Paris,” catapulted both actors to international stardom.

However, the book exposes the tumultuous backdrop against which these cinematic milestones were achieved, revealing Bogart's personal struggles and turbulent relationship with his then-wife, Mayo Methot.

Isenberg paints a vivid picture of Bogart's inner turmoil, exacerbated by his tumultuous marriage and personal demons.

The narrative unfolds with glimpses of gin-fueled outbursts and emotional turbulence, shedding light on the complex dynamics that overshadowed the film's production.

Bergman's attempts to bridge the divide through dinner invitations were met with indifference or outright rejection from Bogart, who sought solace in solitary pursuits like chess and alcohol.

The book underscores the dichotomy between the characters portrayed on screen and the actors' off-screen personas, highlighting the challenges faced by Bogart in reconciling his personal life with his on-screen image.

As the story unravels, it becomes apparent that the romantic allure of Casablanca was marred by underlying tensions and interpersonal conflicts, adding layers of complexity to the legendary film's legacy.

Bogart's transformation from a brooding anti-hero to a romantic lead is juxtaposed with his turbulent off-screen behavior, offering a nuanced perspective on the enigmatic actor's persona.

In a poignant reflection on the film's enduring impact, Isenberg emphasizes the transformative effect that Casablanca had on both Bogart and Bergman's careers.

Despite the discord that pervaded their off-screen interactions, the movie's timeless appeal and cultural significance remain undiminished, immortalizing the tumultuous relationship between its iconic leads.

The book also unveils the intriguing backstory behind the inclusion of the song “As Time Goes By” in the film's soundtrack, highlighting the creative conflicts and serendipitous decisions that shaped the movie's musical landscape.

The revelation that the song almost didn't make the final cut serves as a testament to the unpredictable nature of artistic collaborations and the enduring legacy of cinematic masterpieces like Casablanca.