Casablanca (Michael Curtiz, 1942) is a prime exemplar of the Warner Brothers ‘house style’ that the studio was famously regarded for. Involving the executives of the studio collaborating on each film together, this practice became known as a ‘studio auteur’ style of filmmaking, in which the creative output was a communal effort from the studio, rather than a single creative mind taking the reigns.
Although the director of Casablanca, Michael Curtiz cannot be considered as the sole creative mind behind the making of the film, his trailblazing directorial techniques must be made note of. Boasting a vast filmography of over 100 films, Curtiz honed his skills as a director particularly concerning the implementation of lighting to create a particular aesthetic. Curtiz expertly utilised main, back, and fill lighting to illuminate Ingrid Bergman in a highly flattering and glamorous manner. Ilsa dons a white costume, representative of her purity, and her eyes appear to glisten which serves to accentuate her beauty. Ingrid Bergman even requested to only be filmed from same angle, as she believed it showcased her best features. Conversely, Humphrey Bogart is predominantly shot in dimmer lighting which is emblematic of Rick’s ambiguous intentions. Lighting is used to draw attention to Bogart’s rugged and weathered face, starkly juxtaposing Ilsa’s radiant appearance and portraying him as the noble American protagonist.
A technique frequently employed by Curtiz throughout Casablanca involves pulling out the camera from a two-shot in order to reveal a third person in the frame. This is an example of efficient camerawork, in which the editing is able to naturally blend into the background, and the requirement for any potentially jarring cuts is alleviated. This aligns with the studio’s primary aim of foregrounding the narrative first and foremost. The camera movements throughout the film are also highly sophisticated and seamless. Within Rick’s café, the camera often appears to smoothly glide around the set in a manner reminiscent of a Steadicam, which wasn’t invented until 1974.
The dialogue throughout the film is fast paced, merely serving as exposition to drive the narrative forward. A clear example of this can be seen during the Paris flashback sequence, in which Rick and Ilsa’s dialogue succinctly and efficiently explains why the Nazis are invading France. The couple’s dialogue can also be considered highly melodramatic, which reflects the conventions of the romance genre that the film conforms to. The fast paced nature of the dialogue is perhaps best exemplified in the closing sequence of the film, in which a multiplicity of iconic lines, such as “we’ll always have Paris” are swiftly exchanged between Rick and Ilsa. During this, the couple are framed in a tight two-shot with a shallow depth of field, focusing the viewer’s attention exclusively towards the dialogue.
Max Steiner, the film’s composer, also played a vital role within the ‘studio auteur’, serving to bolster the emotional weight of the narrative through the apt use of both diegetic and non-diegetic score. During the opening sequence, Steiner’s highly triumphant non-diegetic score 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. The film’s iconic theme – As Time Goes By – was also selected by Steiner to be played by Sam in Rick’s café, acting as a diegetic score. The particular 1931 jazz piece provides an appropriately sentimental and romantic evocation.
Executive producer Jack L. Warner’s name is the first to be credited in Casablanca, being indicative of his influence upon the production. Warner was an interventionist, and vehemently believed that America should join the war efforts in Europe. He is responsible for the war undertones that permeate throughout the entire film. Warner even rushed onstage at the 1943 Academy Awards to collect Casablanca Best Picture Oscar, to the dismay of producer Hal B. Wallis. This demonstrates the contention concerning the film’s true ownership, which was ambiguous due to the ‘studio auteur’ environment that the film was conceived under.
Otis Morley’s A-Level Film Studies Blog 