In this lesson we are going to examine what many considered to be the one of the best screenplays ever written: Casablanca. This lesson will be followed by a short quiz to test your knowledge of the film and its production. If you have not seen the film we instruct you to view it before proceeding to the lesson. If you have already seen the film, this may be a good time to revisit it.
Purchase the Casablanca: The Warner Bros. Screenplay for Kindle. This is the version used for the shoot and contains the original formatting. Versions found online are mostly created after the movie was made by fans who were creating a script based on what they saw in the finished film.
Directed by: Michael Curtiz
Written by: Julius J. Epstein, Philip G. Epstein, and Howard Koch
Produced by: Jack L. Warner, Hal B. Wallis
Cinematography by: Arthur Edeson
Film Editing by: Owen Marks
Original Music: Max Steiner
Casablanca is a 1942 American romantic drama film directed by Michael Curtiz and based on the unpublished stage play Everybody Comes to Rick’s by Murray Burnett and Joan Alison. The film stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid; and features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson. Set during World War II, it focuses on a man torn between, in the words of one character, “love and virtue”. He must choose between his love for a woman and helping her Czech Resistance leader husband escape the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis.
Story editor Irene Diamond convinced producer Hal Wallis to purchase the film rights of the play in January 1942. Brothers Julius J. and Philip G. Epstein were initially assigned to write the script. However, despite studio resistance, they left after the attack on Pearl Harbor to work on Frank Capra’s Why We Fight series. Howard Koch was assigned to the screenplay until the Epsteins returned. Casey Robinson assisted with three weeks of rewrites, but his work would later go uncredited. Wallis chose Curtiz to direct the film after his first choice, William Wyler, became unavailable. Filming began on May 25, 1942, and ended on August 3, and was shot entirely at Warner Bros. Studios in Burbank, and at Van Nuys Airport in Van Nuys.
Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to be anything out of the ordinary. It was just one of hundreds of pictures produced by Hollywood every year. Casablanca had its world premiere on November 26, 1942 in New York City, and was released on January 23, 1943, in the United States. The film was a solid if unspectacular success in its initial run, rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier. Despite a changing assortment of screenwriters adapting an unstaged play, barely keeping ahead of production, and Bogart attempting his first romantic leading role, Casablanca won three Academy Awards, including Best Picture. Its lead character, memorable lines, and pervasive theme song have all become iconic. The film has consistently ranked near the top of lists of the greatest films of all time.
It is early December 1941. American expatriate Rick Blaine (Humphrey Bogart) is the proprietor of an upscale nightclub and gambling den in Casablanca. “Rick’s Café Américain” attracts a varied clientele: Vichy French, Italian, and German officials; refugees desperate to reach the still neutral United States; and those who prey on them. Although Rick professes to be neutral in all matters, it is later revealed he ran guns to Ethiopia and fought on the Loyalist side in the Spanish Civil War.
Petty crook Ugarte (Peter Lorre) shows up and boasts to Rick of “letters of transit” obtained by murdering two German couriers. The papers allow the bearer to travel freely around German-controlled Europe and to neutral Portugal, and are thus almost priceless to the refugees stranded in Casablanca. Ugarte plans to sell them at the club later that night. Before he can, however, he is arrested by the local police under the command of Vichy Captain Louis Renault (Claude Rains), an unabashedly corrupt official. Ugarte dies in custody without revealing that he had entrusted the letters to Rick.
At this point, the reason for Rick’s bitterness—his former lover, Norwegian Ilsa Lund (Ingrid Bergman)— walks into his establishment. Upon spotting Rick’s friend and house pianist, Sam (Dooley Wilson), Ilsa asks him to play “As Time Goes By”. Rick storms over, furious that Sam has disobeyed his order never to perform that song, and is stunned to see Ilsa. She is accompanied by her husband, Victor Laszlo (Paul Henreid), a renowned fugitive Czech Resistance leader. They need the letters to escape to America, where he can continue his work. German Major Strasser (Conrad Veidt) has come to Casablanca to see that Laszlo does not succeed.
When Laszlo makes inquiries, Ferrari (Sydney Greenstreet), a major underworld figure and Rick’s friendly business rival, divulges his suspicion that Rick has the letters. In private, Rick refuses to sell at any price, telling Laszlo to ask his wife the reason. They are interrupted when Strasser leads a group of officers in singing “Die Wacht am Rhein”. Laszlo orders the house band to play “La Marseillaise”. When the band looks to Rick, he nods his head. Laszlo starts singing, alone at first, then patriotic fervor grips the crowd and everyone joins in, drowning out the Germans. In retaliation, Strasser has Renault close the club.
That night, Ilsa confronts Rick in the deserted café. When he refuses to give her the letters, she threatens him with a gun, but then confesses that she still loves him. She explains that when they first met and fell in love in Paris, she believed that her husband had been killed attempting to escape from a concentration camp. Later, while preparing to flee with Rick from the imminent fall of the city to the German army, she learned that Laszlo was alive and in hiding. She left Rick without explanation to tend her ill husband.
The lovers are reconciled. Rick agrees to help, leading her to believe that she will stay with him when Laszlo leaves. When Laszlo unexpectedly shows up, having narrowly escaped a police raid on a Resistance meeting, Rick has waiter Carl (S. K. Sakall) spirit Ilsa away.
Laszlo, aware of Rick’s love for Ilsa, tries to persuade him to use the letters to take her to safety. When the police arrest Laszlo on a minor, trumped-up charge, Rick convinces Renault to release him by promising to set him up for a much more serious crime: possession of the letters of transit. To allay Renault’s suspicions, Rick explains he and Ilsa will be leaving for America.
When Renault tries to arrest Laszlo as arranged, Rick forces him at gunpoint to assist in their escape. At the last moment, Rick makes Ilsa board the plane to Lisbon with her husband, telling her she would regret it if she stayed, “Maybe not today, maybe not tomorrow, but soon and for the rest of your life.”
Strasser, tipped off by Renault, drives up alone. Rick shoots him when he tries to intervene. When the police arrive, Renault pauses, then tells them to “round up the usual suspects.” Renault suggests to Rick that they join the Free French at Brazzaville as they walk away into the fog.
The film was based on Murray Burnett and Joan Alison’s then-unproduced play Everybody Comes to Rick’s. The Warner Bros. story analyst who read the play, Stephen Karnot, called it (approvingly) “sophisticated hokum”, and story editor Irene Diamond convinced producer Hal Wallis to buy the rights in January 1942 for $20,000, the most anyone in Hollywood had ever paid for an unproduced play. The project was renamed Casablanca, apparently in imitation of the 1938 hit Algiers. Although an initial filming date was selected for April 10, 1942, delays led to a start of production on May 25. Filming was completed on August 3, and the production cost $1,039,000 ($75,000 over budget), above average for the time. The film was shot in sequence, mainly because only the first half of the script was ready when filming began
The entire picture was shot in the studio, except for the sequence showing Major Strasser’s arrival, which was filmed at Van Nuys Airport, and a few short clips of stock footage views of Paris. The street used for the exterior shots had recently been built for another film, The Desert Song, and redressed for the Paris flashbacks. It remained on the Warners backlot until the 1960s. The set for Rick’s was built in three unconnected parts, so the internal layout of the building is indeterminate. In a number of scenes, the camera looks through a wall from the cafe area into Rick’s office. The background of the final scene, which shows a Lockheed Model 12 Electra Junior airplane with personnel walking around it, was staged using midget extras and a proportionate cardboard plane. Fog was used to mask the model’s unconvincing appearance. Nevertheless, the Disney’s Hollywood Studios theme park in Orlando, Florida purchased a Lockheed 12A for its Great Movie Ride attraction, and initially claimed that it was the actual plane used in the film. Film critic Roger Ebert called Hal Wallis the “key creative force” for his attention to the details of production (down to insisting on a real parrot in the Blue Parrot bar).
The difference between Bergman’s and Bogart’s height caused some problems. She was some two inches (5 cm) taller than Bogart, and claimed Curtiz had Bogart stand on blocks or sit on cushions in their scenes together.
Later, there were plans for a further scene, showing Rick, Renault and a detachment of Free French soldiers on a ship, to incorporate the Allies’ 1942 invasion of North Africa. It proved too difficult to get Claude Rains for the shoot, and the scene was finally abandoned after David O. Selznick judged “it would be a terrible mistake to change the ending.”
The original play was inspired by a trip to Europe made by Murray Burnett and his wife in 1938, during which they smuggled money out of Vienna for Jewish relatives. They were affected by the anti-Semitism they saw. In the south of France, they went to a nightclub that had a multinational clientele, among them many exiles and refugees, and the prototype of Sam.
The first writers assigned to the script were twins Julius and Philip Epstein, who, against the wishes of Warner Brothers, left after the attack on Pearl Harbor at Frank Capra’s request to work on the Why We Fight series in Washington, D.C. While they were gone, the other credited writer, Howard Koch, was assigned; he produced some thirty to forty pages. When the Epstein brothers returned after a month, they were reassigned to Casablanca and—contrary to what Koch claimed in two published books—his work was not used. In the final Warner Bros. budget for the film, the Epsteins were paid $30,416, while Koch earned $4,200.
In the play, the Ilsa character was an American named Lois Meredith; she did not meet Laszlo until after her relationship with Rick in Paris had ended. Rick was a lawyer. To make Rick’s motivation more believable, Wallis, Curtiz, and the screenwriters decided to set the film before the Pearl Harbor attack.
The uncredited Casey Robinson assisted with three weeks of rewrites, including contributing the series of meetings between Rick and Ilsa in the cafe. Koch highlighted the political and melodramatic elements, while Curtiz seems to have favored the romantic parts, insisting on retaining the Paris flashbacks. Wallis wrote the final line, “Louie, I think this is the beginning of a beautiful friendship,” after shooting had been completed. Bogart had to be called in a month after the end of filming to dub it.
Despite the many writers, the film has what Ebert describes as a “wonderfully unified and consistent” script. Koch later claimed it was the tension between his own approach and Curtiz’s which accounted for this: “Surprisingly, these disparate approaches somehow meshed, and perhaps it was partly this tug of war between Curtiz and me that gave the film a certain balance.” Julius Epstein would later note the screenplay contained “more corn than in the states of Kansas and Iowa combined. But when corn works, there’s nothing better.”
The film ran into some trouble with Joseph Breen of the Production Code Administration (the Hollywood self-censorship body), who opposed the suggestions that Captain Renault extorted sexual favors from his supplicants, and that Rick and Ilsa had slept together in Paris. Extensive changes were made, with several lines of dialogue removed or altered. All direct references to sex were deleted; Renault’s selling of visas for sex, and Rick and Ilsa’s previous sexual relationship were implied elliptically rather than referenced explicitly. Also, in the original script, when Sam plays “As Time Goes By”, Rick remarks, “What the —— are you playing?” This line implying a curse word was removed at the behest of the Hays Office.
Wallis’ first choice for director was William Wyler, but he was unavailable, so Wallis turned to his close friend Michael Curtiz. Curtiz was a Hungarian Jewish émigré; he had come to the U.S. in the 1920s, but some of his family were refugees from Nazi Europe.
Roger Ebert has commented that in Casablanca “very few shots… are memorable as shots,” as Curtiz wanted images to express the story rather than to stand alone. He contributed relatively little to development of the plot. Casey Robinson said Curtiz “knew nothing whatever about story … he saw it in pictures, and you supplied the stories.”
Critic Andrew Sarris called the film “the most decisive exception to the auteur theory” of which Sarris was the most prominent proponent in the United States. Aljean Harmetz has responded, “nearly every Warner Bros. picture was an exception to the auteur theory”. Other critics give more credit to Curtiz. Sidney Rosenzweig, in his study of the director’s work, sees the film as a typical example of Curtiz’s highlighting of moral dilemmas.
The second unit montages, such as the opening sequence of the refugee trail and the invasion of France, were directed by Don Siegel.
The cinematographer was Arthur Edeson, a veteran who had previously shot The Maltese Falcon and Frankenstein. Particular attention was paid to photographing Bergman. She was shot mainly from her preferred left side, often with a softening gauze filter and with catch lights to make her eyes sparkle; the whole effect was designed to make her face seem “ineffably sad and tender and nostalgic”. Bars of shadow across the characters and in the background variously imply imprisonment, the crucifix, the symbol of the Free French Forces and emotional turmoil. Dark film noir and expressionist lighting is used in several scenes, particularly towards the end of the picture. Rosenzweig argues these shadow and lighting effects are classic elements of the Curtiz style, along with the fluid camera work and the use of the environment as a framing device.
The music was written by Max Steiner, who was best known for the score for Gone with the Wind. The song “As Time Goes By” by Herman Hupfeld had been part of the story from the original play; Steiner wanted to write his own composition to replace it, but Bergman had already cut her hair short for her next role (María in For Whom the Bell Tolls) and could not re-shoot the scenes which incorporated the song, so Steiner based the entire score on it and “La Marseillaise”, the French national anthem, transforming them to reflect changing moods.
Particularly notable is the “duel of the songs” between Strasser and Laszlo at Rick’s cafe. In the soundtrack, “La Marseillaise” is played by a full orchestra. Originally, the opposing piece for this iconic sequence was to be the “Horst Wessel Lied”, a Nazi anthem, but this was still under international copyright in non-Allied countries. Instead “Die Wacht am Rhein” was used. The opening bars of the “Deutschlandlied”, the national anthem of Germany, is featured throughout the score as a motif to represent the Germans, much as “La Marseillaise” is used to represent the Allies.
Other songs include:
“It Had to Be You”, music by Isham Jones, lyrics by Gus Kahn
“Shine”, music by Ford Dabney, lyrics by Cecil Mack and Lew Brown
“Avalon”, music and lyrics by Al Jolson, Buddy DeSylva and Vincent Rose
“Perfidia”, by Alberto Dominguez
“The Very Thought of You”, by Ray Noble, and
“Knock on Wood”, music by M. K. Jerome, lyrics by Jack Scholl, the only original song.
The piano featured in the Paris flashback sequences was sold in New York City on December 14, 2012 at Sotheby’s for more than $600,000 to an anonymous bidder.
Timing of release
Although an initial release date was anticipated for spring 1943, the film premiered at the Hollywood Theater in New York City on November 26, 1942, to coincide with the Allied invasion of North Africa and the capture of Casablanca. In the 1,500-seat theater, the film grossed $255,000 over ten weeks. It went into general release on January 23, 1943, to take advantage of the Casablanca Conference, a high-level meeting in the city between Prime Minister Winston Churchill and President Franklin D. Roosevelt. It was a substantial but not spectacular box-office success, taking $3.7 million on its initial U.S. release, making it the seventh best-selling film of 1943. The Office of War Information prevented screening of the film to troops in North Africa, believing it would cause resentment among Vichy supporters in the region.
Casablanca received “consistently good reviews”. Bosley Crowther of The New York Times wrote, “The Warners… have a picture which makes the spine tingle and the heart take a leap.” The newspaper applauded the combination of “sentiment, humor and pathos with taut melodrama and bristling intrigue”. While he noted its “devious convolutions of the plot”, he praised the screenplay quality as “of the best” and the cast’s performances as “all of the first order”.
The trade paper Variety commended the film’s “combination of fine performances, engrossing story and neat direction” and the “variety of moods, action, suspense, comedy and drama that makes Casablanca an A-1 entry at the b.o.”, “Film is splendid anti-Axis propaganda, particularly inasmuch as the propaganda is strictly a by-product of the principal action and contributes to it instead of getting in the way.” The review also applauded the performances of Bergman and Henreid and note that “Bogart, as might be expected, is more at ease as the bitter and cynical operator of a joint than as a lover, but handles both assignments with superb finesse.”
Some other reviews were less enthusiastic. The New Yorker rated it only “pretty tolerable”.
The film has grown in popularity. Murray Burnett called it “true yesterday, true today, true tomorrow”. By 1955, the film had brought in $6.8 million, making it the third most successful of Warners’ wartime movies (behind Shine On, Harvest Moon and This is the Army). On April 21, 1957, the Brattle Theater of Cambridge, Massachusetts, showed the film as part of a season of old movies. It was so popular that it began a tradition of screening Casablanca during the week of final exams at Harvard University, which continues to the present day. Other colleges have adopted the tradition. Todd Gitlin, a professor of sociology who had attended one of these screenings, has said that the experience was, “the acting out of my own personal rite of passage”. The tradition helped the movie remain popular while other famous films of the 1940s have faded away. By 1977, Casablanca was the most frequently broadcast film on American television.
On the film’s 50th anniversary, the Los Angeles Times called Casablanca’s great strength “the purity of its Golden Age Hollywoodness [and] the enduring craftsmanship of its resonantly hokey dialogue”. Bob Strauss wrote in the newspaper that the film achieved a “near-perfect entertainment balance” of comedy, romance, and suspense.
According to Roger Ebert, Casablanca is “probably on more lists of the greatest films of all time than any other single title, including Citizen Kane” because of its wider appeal. Ebert opined that Citizen Kane is generally considered to be a “greater” film but Casablanca is more loved. Ebert said that he has never heard of a negative review of the film, even though individual elements can be criticized, citing unrealistic special effects and the stiff character/portrayal of Laszlo. Rudy Behlmer emphasized the variety in the picture: “it’s a blend of drama, melodrama, comedy [and] intrigue”.
Ebert said the film was popular because “the people in it are all so good” and that it was “a wonderful gem”. As the Resistance hero, Laszlo is ostensibly the most noble, although he is so stiff that he is hard to like. The other characters, in Behlmer’s words, are “not cut and dried” and come into their goodness in the course of the film. Renault begins the film as a collaborator with the Nazis, who extorts sexual favors from refugees and has Ugarte killed. Rick, according to Behlmer, is “not a hero … not a bad guy”: he does what is necessary to get along with the authorities and “sticks his neck out for nobody”. Even Ilsa, the least active of the main characters, is “caught in the emotional struggle” over which man she really loves. By the end of the film, however, “everybody is sacrificing.”
A few reviewers dissent. According to Pauline Kael, “It’s far from a great film, but it has a special appealingly schlocky romanticism…” Umberto Eco wrote that “by any strict critical standards… Casablanca is a very mediocre film.” He viewed the changes the characters undergo as inconsistent rather than complex: “It is a comic strip, a hotch-potch, low on psychological credibility, and with little continuity in its dramatic effects.”
Casablanca has been subjected to many different readings. Semioticians account for the film’s popularity by claiming that its inclusion of a whole series of stereotypes paradoxically strengthens the film. Umberto Eco explained:
Thus Casablanca is not just one film. It is many films, an anthology. [...] When all the archetypes burst in shamelessly, we reach Homeric depths. Two clichés make us laugh. A hundred clichés move us. For we sense dimly that the clichés are talking among themselves, and celebrating a reunion.
Eco also singled out sacrifice as one of the film’s key themes: “the myth of sacrifice runs through the whole film.”It was this theme which resonated with a wartime audience that was reassured by the idea that painful sacrifice and going off to war could be romantic gestures done for the greater good.
Koch also considered the film a political allegory. Rick is compared to President Franklin D. Roosevelt, who gambled “on the odds of going to war until circumstance and his own submerged nobility force him to close his casino (partisan politics) and commit himself—first by financing the Side of Right and then by fighting for it.” The connection is reinforced by the film’s title, which means “white house”.
Harvey Greenberg presents a Freudian reading in his The Movies on Your Mind, in which the transgressions which prevent Rick from returning to the United States constitute an Oedipus complex, which is resolved only when Rick begins to identify with the father figure of Laszlo and the cause which he represents. Sidney Rosenzweig argues that such readings are reductive, and that the most important aspect of the film is its ambiguity, above all in the central character of Rick; he cites the different names which each character gives Rick (Richard, Ricky, Mr. Rick, Herr Rick, boss, and so on) as evidence of the different meanings which he has for each person.
Several rumors and misconceptions have grown up around the film, one being that Ronald Reagan was originally chosen to play Rick. This originates in a press release issued by the studio early on in the film’s development, but by that time the studio already knew that he was due to go work for the army, and he was never seriously considered. George Raft claimed that he had turned down the lead role. Studio records make clear, however, that Wallis was committed to Bogart from the start.
Another well-known story is that the actors did not know until the last day of shooting how the film was to end. The original play (set entirely in the cafe) ended with Rick sending Ilsa and Victor to the airport. During script writing, the possibility was discussed of Laszlo being killed in Casablanca, allowing Rick and Ilsa to leave together, but as Casey Robinson wrote to Hal Wallis before filming began, the ending of the film “set up for a swell twist when Rick sends her away on the plane with Victor. For now, in doing so, he is not just solving a love triangle. He is forcing the girl to live up to the idealism of her nature, forcing her to carry on with the work that in these days is far more important than the love of two little people.” It was certainly impossible for Ilsa to leave Laszlo for Rick, as the production code forbade showing a woman leaving her husband for another man. The concern was not whether Ilsa would leave with Laszlo, but how this result could be engineered. The problem was solved when the Epstein brothers, Julius and Philip, were driving down Sunset Boulevard and stopped for the light at Beverly Glen. At that instant the identical twins turned to each other and simultaneously cried out, “Round up the usual suspects!” By the time they had driven past Fairfax and the Cahuenga Pass and through the Warner Brothers studio’s portals at Burbank, in the words of Julius Epstein, “the idea for the farewell scene between a tearful Bergman and a suddenly noble Bogart” had been formed and all the problems of the ending had been solved.
The confusion was probably caused by Bergman’s later statement that she did not know which man she was meant to be in love with. While rewrites did occur during the filming, Aljean Harmetz’s examination of the scripts has shown that many of the key scenes were shot after Bergman knew how the film would end: any confusion was, in Ebert’s words, “emotional”, not “factual”.
Errors and inaccuracies
The film has several logical flaws, the foremost being the two “letters of transit” which enable their bearers to leave Vichy French territory. According to the audio (help·info), Ugarte says the letters had been signed by (depending on the listener) either Free French General Charles de Gaulle or Vichy General Maxime Weygand. The English subtitles on the official DVD read de Gaulle, while the French subtitles specify Weygand. Weygand had been the Vichy Delegate-General for the North African colonies until a month before the film is set (and a year after it was written). De Gaulle was the head of the Free French government in exile. A Vichy court martial had convicted de Gaulle of treason in absentia and sentenced him to life imprisonment on August 2, 1940, so a letter signed by him would have been of no benefit. A classic MacGuffin, the letters were invented by Joan Allison for the original play and never questioned. Rick suggests to Renault that the letters would not have allowed Ilsa to escape, let alone Laszlo: “People have been held in Casablanca in spite of their legal rights.”
In the same vein, though Laszlo asserts that the Nazis cannot arrest him, saying “This is still unoccupied France; any violation of neutrality would reflect on Captain Renault,” Ebert points out, “It makes no sense that he could walk around freely. … He would be arrested on sight.” Harmetz, however, suggests that Strasser intentionally allows Laszlo to move about, hoping that he will tell them the names of Resistance leaders in occupied Europe in exchange for Ilsa being allowed to leave for Lisbon.
Other mistakes include the wrong version of the flag for French Morocco. No uniformed German troops were stationed in Casablanca during the Second World War.
According to Harmetz, few of the refugees portrayed would have gone to Casablanca at the time portrayed. The usual route out of Germany was via Vienna, Prague, Paris, and London. Others tried to go from Paris through the Pyrenees to Spain. The film’s technical advisor, Robert Aisner, traced the path to Morocco given in Casablanca’s opening scene.
One of the lines most closely associated with the film—”Play it again, Sam”—is a misquotation. When Ilsa first enters the Café Americain, she spots Sam and asks him to “Play it once, Sam, for old times’ sake.” After he feigns ignorance, she responds, “Play it, Sam. Play ‘As Time Goes By’.” Later that night, alone with Sam, Rick says, “You played it for her, you can play it for me,” and “If she can stand it, I can! Play it!”
Rick’s toast to Ilsa, “Here’s looking at you, kid”, used several times, is not in the draft screenplays, but has been attributed to something Bogart said to Bergman as he taught her poker between takes. It was voted the 5th most memorable line in cinema in AFI’s 100 Years…100 Movie Quotes by the American Film Institute.
Six lines from Casablanca appeared in the AFI list, the most of any film (Gone with the Wind and The Wizard of Oz tied for second with three apiece). The other five are:
“Louis, I think this is the beginning of a beautiful friendship.”—20th
“Play it, Sam. Play ‘As Time Goes By’.”—28th
“Round up the usual suspects.”—32nd
“We’ll always have Paris.”—43rd
“Of all the gin joints in all the towns in all the world, she walks into mine.”—67th