Casablanca Close-Up (“Enemy Arriving” Sequence)

Overview

The “Enemy Arriving” sequence serves to introduce the audience to the main antagonistic force of Casablanca – the Nazis. The sequence also further establishes the shady occurrences within Casablanca, as well as the refugees’ desire to leave Casablanca to depart for America.

Cinematography

The aspect ratio of the film is 4:3, which was the standard practice at the time and was referred to as the ‘academy ratio’. Through the deliberate blocking of the waiter, who perfectly positions himself between the couple, this allows the three of them to be viewed in a single shot within the square frame. They are in prime position for the conversation to take place most effectively.

The wide shot of the couple sitting outside in the cafe is shot in deep focus. Through this, the viewer is able to view the French sigil in the background of the shot, which allows for efficient storytelling.

A wide shot displays the plane landing in the airport, after which we cut to a slightly closer shot with an identical composition, this being an example of subtle continuity editing. As the Nazis walk out from the plane, the camera pulls back to naturally transform the three-shot into a five-shot.

Sound

The diegetic sounds of the plane rise in the mix during the shots that display it landing, but lower when we cut to the citizens of Casablanca gazing at the plane. This allows for the audience to hear their dialogue, providing a more immersive experience.

Mise-en-scène

A model aeroplane is used to create the illusion of a real plane flying in the air. The plane also flies by Rick’s cafe, prominently displaying the sign to the viewer. This suggests it will be an important location. All of the actors are blocked in a way that frames the shot in order to divert the viewer’s attention towards the plane. The shape of the archway in the airport is also noticeably stylistic, reinforcing the exoticism of Casablanca.

Editing

The considerate use of blocking meant that the frequency of cuts was able to be reduced, thus making the editing seem invisible

The shot of the plane in the air cross-fades into a matte painting of the airport, providing a seamless transition.

Performance

The actors playing foreign refugees all perform in a stereotypical manner that immediately gives the viewer an idea as to where they are from.

Renault presents himself in an affable and happy-go-lucky manner, characterising himself as the sleazy police chief.

Context and Representation

Warner Bros. constructed an expensive set of Casablanca purely for the film, which is populated by a multiplicity of extras. This constructed reality serves to provide the highest sense of immersion for the viewer.

The sequence involving the pickpocket is representative of the shady atmosphere present throughout Casablanca.

The residents of Casablanca are wistfully transfixed onto the plane, informing the viewer that they are seeking an escape. A short dialogue exchange also confirms this.

The Nazis behave in a very formal and mechanical manner that is representative of how Jack L. Warner perceived them to be.

Auteur

A typical Michael Curtiz technique involved pulling out the camera from a two-shot in order to reveal a third person in the frame. This technique can be seen in this sequence, when the camera pulls out to reveal a third man talking to the couple who are sitting down. This is an example of efficient camerawork, in which the editing is able to naturally blend into the background.