Overview
The opening sequence of Casablanca (Michael Curtiz, 1942) serves to aptly introduce the viewer to the film, establishing the setting, tone, and general premise. The sequence is highly expositional, utilising narration to explain the current war situation, as well as why refugees are fleeing to Casablanca. We also learn of the two German couriers suspected of possessing the important documents, and witness a murder occur in broad daylight. This all serves to present the Nazis as the domineering antagonistic force of the film.
Cinematography
The opening narration is accompanied by the animation of a dramatic spinning globe, after which the camera pushes into a visual representation of the journey.
The idyllic nature of the city begins to fade as the camera tilts down into the crowded streets. This reveals an expansive set populated by a mass of extras.
The man speaking into the telephone is centrally framed in full focus as he speaks into the telephone, fully diverting the viewer’s attention towards him and the expositional dialogue he recites. He proceeds to explain the case of the German couriers suspected of being in Casablanca possessing important documents.
Sound
The first notable aspect of Casablanca’s opening sequence is Max Steiner’s highly triumphant score that enters the mix in a grandiose manner as the credits roll, which naturally segues into the French national anthem. This provides a twofold sense of international exoticism alongside patriotism. After the opening credits sequence concludes, the score lowers in the mix and the non-diegetic narration rises in the mix.
The diegetic narration establishes the exposition for the film, explaining the path the refugees take in order to reach Casablanca.
Steiner’s non-diegetic score now lowers in the mix, foregrounding the diegetic busy ambience of the streets.
The French national anthem is played in a minor key after the murder, emphasising the political unrest that lies at the heart of Casablanca.
Mise-en-scène
Casablanca is portrayed as an idyllic destination through the use of narration, which is merely accentuated by a hand drawn matte painting of the city. This illustrates a vivid world of vitality, yet the clouds are dark – suggesting that a force of evil resides within the city.
As we cut back to the streets of the city, an erratic atmosphere is created. Each extra is blocked in a way that creates a sense of business, as the police car enters the scene.
Editing
We cross-fade between each country, after which the camera pulls out to display the scale. The map is superimposed onto live-action footage, providing a dual sense of enticing scale alongside realism. This ultimately provides a sense of heightened immersion for the viewer.
We then cross-fade into the office of a man receiving a telegram.
The pace of the editing begins to quicken, demonstrating the urgency of the situation. This sequence merely serves to assist the narrative, providing a sense of urgency that contextualises the persecution of the refugees in the city.
Performance
A sense of escalation is created through the narration as the man utters the line “wait… and wait”, suggesting that hopelessness is exuded throughout Casablanca.
Although most of these scenarios occur silently, we are presented one where the dialogue is able to be heard. This efficient method of storytelling is highly typical of the Classical Hollywood style prominent during the Golden Age of Hollywood.
The German soldiers speak in highly exaggerated accents, informing the audience that they are not filming locally in Morocco and instead employ American actors to put on an accent.
Context and Representation
The film opens with a large Warner Bros. logo, with Jack L. Warner’s name proudly displayed at the forefront, immediately informing the viewing that it is ‘his’ film. Despite his lack of personal involvement, Warner pioneered the film’s production and oversaw prolific elements of the pre-production stage. The stars, such as Humphrey Bogart and Paul Henreid are listed before the title of the film itself, demonstrating that the stars outweighed the film in terms of influence. It is also interesting to make note of the fact that Michael Curtiz’ name is the same size as the rest of the producers, suggesting a level of equal collaboration between them – reinforcing the idea of the studio auteur.
The film is shot in black and white, which was highly characteristic of Warner Bros. at the time. By 1942, colour had been implemented into a small number films for around a decade, such as The Wizard of Oz (Victor Fleming, 1939), but the technology was considered by many to be a ‘gimmick’. During the time of Casablanca’s release, black and white was arguably at its peak. Choosing to continue a film in black and white despite the invention of colour demonstrated artistic nuance, as the iconic ‘noir aesthetic’ had now been refined for over 50 years. Colour was not as ‘sterile’ as black and white was during this time, only being able to display highly saturated colours.
When the man possessing the out-of-date documents is shot by the Nazis, no blood is displayed at all – he merely falls over and the viewer must assume he is dead. This is indicative of the Hays code: the content regulations that each of the Hollywood studios had to conform to. The effects of violence were not allowed to be shown on screen, and even firing a gun at someone was pushing the limits of the regulations.
The leaflet embossed with the ‘Free France’ propaganda message is centrally framed, being symbolically ironic due to the man being shot under the French message that is promoting freedom. This demonstrates Jack L. Warner’s influence upon the film – he firmly believed that war should feature prominently throughout the film, and it is suspected that the film was his way of signalling America to join the war.
Otis Morley’s A-Level Film Studies Blog 