Clearly, creating an Old Fashioned that looks like a Martini has its challenges
I was trying yet another spin-off of the Old Fashioned, this time using the lovely and potent Luxardo Maraschino liqueur and Angostura orange bitters to complement the rye. Not bad, as these riffs go, with some nice lathework by the maraschino and bitters smoothing the rye’s rough edges.
Sipping, I was moved to contemplation.
Say, [I mused], hadn’t I bought a bottle of unaged rye not long ago? And wouldn’t it be odd and [maybe] wonderful to use that clear liquor with the translucent Luxardo and the colorless orange bitters to make … a perfectly transparent Old Fashioned?
I had turned yet another suspect idea into a fool’s errand.
In which I try to create an “Italian Manhattan” but wind up blindly reinventing…one of my favorite classics
I’d say I “invented” this one, but I’m fast learning that claims of beverage authorship rank among amateur drinksters’ most dangerous lies, along with “I’ve only had two” and “I picked up the check last time.”
More about this below.
But here’s the story: I began playing around with an “Italian Manhattan” over a year ago, when I discovered the lovely Italian apertif Cocchi Americano, collected a few Italian amari, and fell into mixocological rumination.
The right amaro, I reasoned, could plausibly stand in for red vermouth, the Cocchi for white, yielding a kind of Manhattan Perfetto. [A “Perfect Manhattan” is a version of the classic whose vermouth dose is equally split between dry and sweet. A more complex version, an acquired taste.]
This turned out to be harder than I hoped — even to my palate, weakened by years of actually drinking my failed experiments instead of dumping them in a shoe like a proper gentleman.
The Cocchi comes across like a herbal, slightly citrus-y vermouth with a surprising bitter finish that to me “dries” it out.
This led me to seek balance with what turned out to be either too much amaro, the wrong amaro, or both. I tried Averna, Cynar, Ramazzotti, and the unpalatable [I don’t care what “they” say] Fernet-Branca. The vermouth stand-ins swamped, overwhelmed, or disrespected the rye, all without bringing much sweetness to the effort. The whole thing was just a lot of bickering in a glass.
So I got out of the Italian Manhattan business entirely for about six months. [Into the creative vacuum rushed among other things the Hillbilly Martini, which I’m not sure was a productive diversion.]
Why would a rum drink be called the Casablanca? It doesn’t matter. Just make it
This version of a drink called the Casablanca is an outlier: No competing exotic backstories, disputed claims of authorship, layers of footnotes, etc. Nobody appears to take credit for this drink.
They should. It’s really good.
I thumbed across it in the encyclopedic but completely undistinguished The Ultimate Bar Book by Mittie Hellmich, which provides no detail about provenance. Neither does any online or print reference I could find.
One would assume this drink is somehow linked to the classic 1942 movie of the same name. This appears unlikely.
In the film, Humphrey Bogart’s Rick Blaine drinks Scotch.
He refers to his Moroccan watering hole as a “gin joint.” [Says Rick famously to Ilsa: “Of all the gin joints, in all the towns, in all the world, she walks into mine.”]
I haven’t seen the movie enough to say for certain that no rum is served at Rick’s American Cafe, but the carfare between North Africa and the Caribbean alone, you’d think, would be a limiting factor.
A Measured Spirit Surmise™: In Spanish, “casa blanca” means “white house.” Spanish is spoken throughout the Caribbean, cradle of rum. Rum was originally made on sugar plantations, where presumably The Big House was white.