Bonnie & Clyde Close-Up (“Meeting Family” Sequence)

Overview

The “meeting family” sequence of Bonnie and Clyde (Arthur Penn, 1967) begins after Bonnie runs away from the gang into a field, after which Clyde desperately attempts to locate her as he repeatedly calls her name. After he finds Bonnie, she informs Clyde that she wishes to see her mother again. We then cut to a barren wheat field in which the members of the gang, now made up of: Bonnie, Clyde, Buck, Blanche, and C.W. convene with Bonnie’s family, in order to partake in a family gathering. This desolate location is highly symbolic, perhaps foreshadowing Bonnie and Clyde’s inevitable demise. To accentuate this, this sequence is filmed in a manner reminiscent of a dream sequence – providing the setting with an otherworldly quality. The sequence ends with Clyde’s boyish charm failing to convince Bonnie’s mother that everything is okay, as she tells him that “you best keep running, Clyde Barrow”.

Key Elements, Context, and Representation

The opening scene in which the gang attempt to locate Bonnie is a prime exemplar of the how the film takes dual influence from the familiar Classical Hollywood style alongside newer, more experimental influences such as the French New Wave. As for the Classical Hollywood style, the camera is placed on a rig to seamlessly track the car’s movements as the camera moves backwards. The use of a rig creates a highly controlled environment, typical of films such as Casablanca (Michael Curtiz, 1942). The use of a crane shot is also employed to display Clyde chasing Bonnie through the field, a technique also frequently implemented throughout the films of the Golden Age. Techniques that are inspired by the French New Wave includes the use of long lenses to film. This, alongside improvised handheld camera movements and blocking when Clyde chases Bonnie through the wheat field, creates a naturalistic atmosphere. The scene is also shot on location, meaning that the visuals are not particularly clear. However, this only serves to add an extra layer of realism to the scene.

The weather also appears to break continuity during certain shots – the wheat field appears to be in shadow until it cuts to a closer angle, displaying a much sunnier scene. A piece of wheat also flaps in front of the camera, demonstrating the uncontrollable nature of filming on location. The fact that the couple lie in a dead wheat field is perhaps an example of metaphorical foreshadowing – Bonnie and Clyde’s demise is inevitable.

After Clyde agrees to the family gathering, we then cross-dissolve to a new location, the abandoned industrial wasteland. The sequence opens on a wide shot of this wasteland, displaying the moribund state it exists after the Great Depression. During the scenes that take place in this setting, a grainy filter is applied to the camera that was achieved by filming through a car windscreen. This creates a distant, otherworldly atmosphere to the scene, implying that these brief moments of happiness only prolong the couple’s inexorable downfall. The colouring also appears to be extremely washed out, further emphasising the barren atmosphere that the family are forced to seclude themselves within.

The abandoned, moribund wasteland

The closeup of Bonnie’s mother is also shot on a long lens, creating an entirely shallow depth of field behind her. This serves to separate her face from the background, drawing the viewer’s attention towards her withered appearance. Each character is also dressed in solemn, formal clothing – reminiscent of funeral attire, contributing the overall ‘death metaphor’ present throughout the sequence. The sound throughout the sequence also appears to be much more distant than normal, merely consisting of muffled diegetic ambience and dialogue. The use of frame rate drops are also employed, jarring the viewer and creating a disjointed atmosphere.

As Bonnie and Clyde innocently play with Bonnie’s nephew in the pit, Buck and Blanche awkwardly stand to the side in a subdued manner. From this, the viewer is able to surmise that Buck and Blanche have realised the inevitably of Bonnie and Clyde’s demise and are empathising with the couple’s blissful naïveté. Clyde’s charismatic charm doesn’t appear to convince Bonnie’s mother of his suitability as a partner for her daughter. During this, Bonnie is portrayed in a much less playful and flirtatious light – she takes on a solemn demeanour, displaying concern for her future with Clyde. As Bonnie’s mother delivers her truthful opinion of Clyde to his face, she is once again isolated in a closeup – emphasising that no one possesses any hope for their future.

As the characters slowly begin to leave the frame, the final conversations revert back to utilising a typical shot/reverse shot sequence. This reinforces the idea that the jovial family gathering has now concluded, and the gritty reality of the poverty-struck South has once again become apparent. The sequence ends with a wide shot of the abandoned wasteland, leaving the Barrow Gang isolated in the frame – informing us that the family does not intend to aid their efforts, and the gang is truly alone.

Unconventional Auteur: Casablanca (Michael Curtiz, 1942)

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.

A tight two-shot of Rick and Ilsa from the final scene of Casablanca

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.

The Golden Age Of Hollywood: Casablanca (Michael Curtiz, 1942)

Casablanca (Michael Curtiz, 1942) is a film that arguably epitomises the landscape of filmmaking that existed in America throughout the Golden Age of Hollywood. It was produced under the context of the studio system, in which the Big Five and Little Three dominated the playing field of Hollywood, operating under a vertically integrated system.

In late 1941, Warner Bros. producer Hal B. Wallis became fascinated by an unproduced stage play called Everybody Comes to Rick’s. In late December of that same year, the studio bought the film rights for $20,000 and changed the title to Casablanca. The studio quickly began work on building bespoke sets for the film, creating the illusion of exoticism by foregrounding the lavish production values that the studio poured into the construction. Key set locations include the streets of Casablanca, the streets of Paris, and of course – Rick’s Café Americain, the primary location of the film. Each of these sets were populated with a multitude of extras in creating an artificial sense of hustle and bustle.

The film is both set and was filmed during the events of the Second World War. Because of this, executive producer Jack L. Warner pioneered the heavy wartime undertones featured throughout the film, as he vehemently believed that it would strongly encourage America to join the war effort. The final scene is particularly notable in this regard, as when Renault chooses to bin the Vichy-branded water bottle, it is symbolic of the studio’s views on fascism. Due to the ongoing war, the studio was not allowed to film at an airport after dark. Warner Bros. instead decided to film on a sound stage using a cardboard cutout of a plane – playing with perspective to create the illusion of a full-sized aeroplane.

The Vichy water bottle is disposed of by Renault, being indicative of Warner Bros.’ views on fascism

Casablanca was shot entirely in black and white, which was highly characteristic of Warner Bros. at the time. By 1942, colour had been implemented into a number films for around a decade, with studios such as MGM immediately choosing to embrace colour. MGM would go on to produce The Wizard of Oz (Victor Fleming, 1939) a landmark of the cutting-edge Technicolor technology, but the technology was considered by many other studios to be a ‘gimmick’. During the time of Casablanca’s release, black and white was arguably at its peak, and Warner Bros. believed that choosing to film in black and white – despite the introduction of colour technology – 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.

Despite the fact that Casablanca is now a landmark of American cinema, only three actors who received screen credit were born in the United States: Humphrey Bogart (Rick), Dooley Wilson (Sam), and Joy Page (Annina Brandel). All of the other actors were European exiles who had fled the war, landing themselves in Hollywood. Many of the actors who appear as Nazis in the film were in fact German Jews who had escaped from Nazi Germany, with Conrad Veidt, Major Strasser’s actor, being forced to flee Germany after the SS learned of his friendship with the Jewish community. Veidt was convinced that he was aiding the war effort by playing a Nazi villain.

Casablanca is also a product of the Golden Age of Hollywood that exemplifies the ‘stables’ of film stars owned by the studios. Due to ‘unbreakable contracts’ that exclusively contracted actors to specific studios, Warner Bros. endeavoured to make apt use of their stars, The studio chose to cast Humphrey Bogart as Rick. Throughout the Golden Age of Hollywood, Bogart was often typecast as the ‘rugged individual’ archetype in films such as The Maltese Falcon (John Huston, 1941) and Rick’s character was customised to suit Bogart’s acting capabilities.

Ilsa’s actress, Ingrid Bergman, was an internationally renowned Swedish actress known for her radiant beauty. Warner Bros. capitalised upon this by casting Bergman as Ilsa, accentuating her glamour by utilising lighting and costume design to portray Ilsa in a glamorous manner. The fact that Bergman measured two inches taller than Bogart did not align with the gender stereotypes at the time of release. Because of this, Bogart was actually made to stand on boxes during specific shots of the film to make him appear taller than Bergman.

Casablanca Close-Up (Closing Sequence)

Overview

The final sequence of Casablanca is widely regarded as one of the most poignant scenes across cinema. We are displayed a heartfelt final goodbye between Rick and Ilsa, before Rick shoots Major Strasser – symbolising good triumphing over evil. The sequence ends with Rick and Renault walking off into the mist, before Rick speaks the iconic final line of the film: “I think this is the beginning of a beautiful friendship”.

Cinematography

The sequence opens on a mid-tracking shot of an airport attendee, before coming to rest on the moving car. The camera then tracks the movements of the passengers leaving the car, before pulling out further into a five-shot that displays who Captain Renault is speaking to. This is a clear example of the Classical Hollywood style of camera technique, and blocking which prevents the requirement for any jarring cuts that would shatter the immersion for the viewer.

Rick and Ilsa’s final exchange is filmed with a tight two-shot, framing them in a romantic manner. This also alleviates the requirement to film a shot/reverse shot sequence, which would be less immersive. Both characters are filmed in a shallow depth of focus, directing the viewer’s attention towards Rick and Ilsa.

Sound

A number of reoccurring leitmotifs can be heard in Steiner’s non-diegetic score during this sequence, including As Time Goes By. This encourages the viewer to reminisce on Rick and Ilsa’s relationship, and how it has evolved over the course of the film.

Mise-en-scène

Lighting is utilised to make Rick’s eyes glisten alongside Ilsa’s for the the first time, emphasising the heartfelt nature of their final conversation. He has finally come to terms with his relationship with Ilsa.

Editing

A rapid shot/reverse shot sequence is employed between Rick and Major Strasser heightens the tension of the scene, before cutting to an over-the-shoulder shot that displays Rick’s quickdraw victory.

Performance

Renault’s line “round up the usual suspects” harkens back to his earlier line heard in the opening sequence. It informs us that he is not going to incriminate Rick, reinforcing his sleazy demeanour.

Context and Representation

Instead of immediately shooting Strasser, Rick gives him three chances before finally shooting him in a non-fatal way. This represents Rick as the noble rugged individual American protagonist archetype.

When Strasser is shot, no blood is displayed due to the restrictions of the Hays Code. This emphasises the content restrictions that Casablanca had to abide by.

Renault actively chooses to throw the Vichy-labelled water into the bin, proceeding to then kick it. This symbolically reflects Jack L. Warner’s views on the abolition of fascism – it is his way of encouraging America to join the war.

Casablanca Close-Up (“Play It, Sam” Sequence)

Overview

This sequence begins with Rick glumly drinking in his café alone, after coincidentally reuniting with Ilsa after she happens to walk into his abode, stating the famous line: “of all the gin joints in all the towns in all the world, she walks into mine”. After Sam walks in, he requests for him to play As Time Goes By, reminding himself of his time with Ilsa in Paris. We then transition into a flashback sequence. This example of analepsis serves to contextualise Rick and Ilsa’s relationship in Paris, also informing us that Ilsa ran away without telling Rick in order to save her husband – Laszlo – whom she’d presumed to be dead in a concentration camp.

Cinematography

The scene where Rick sits in the bar is shot with dim lighting, shrouding Rick within a thick shadow. This aptly reflects his distraught state of mind.

The closeup of Ilsa’s final note to Rick is left on the screen for an appropriate amount of time as to provide the viewer with enough time to read it. The fact that the ink is melting on the page is perhaps also symbolic of the two lovers’ relationship melting away.

As Ilsa enters Rick’s café when we return to the present, over-exposure is implemented to portray Ilsa as a beacon of light. This illustrates her as an angelic deity, entering Rick’s dark inner sanctum.

Sound

As we transition into the analeptic flashback sequence, Steiner’s non-diegetic soars to a crescendo in the mix.

During the café sequence, Sam can be seen playing As Time Goes By, which recontextualises the previous interaction between Sam and Ilsa.

Mise-en-scène

The shot of Rick and Ilsa driving is shot with the use of back projection, creating the illusion of a Parisian vista being behind the couple.

Makeup has been applied to Rick and Ilsa to make them appear younger during the flashback sequence. Rick’s face appears to be much less wrinkly and rugged due to the fact that he is wearing concealer.

The Eiffel Tower can be seen in the background of the set, informing the audience that we are in Paris. A number of props can also be seen throughout this sequence, such as Ilsa’s beret and a model of the Eiffel Tower in the café. These silently remind the viewer of the location that this flashback is taking place in – Paris.

The heavy rain at the train station as Rick hopelessly waits for Ilsa to arrive is an example of pathetic fallacy, reflecting Rick’s distressed inner turmoil.

Editing

Despite the fact that Sam is playing piano, the camera remains on a closeup of Rick, highlighting his importance as the protagonist.

To initiate the flashback sequence, the camera pushes into a tight closeup of Rick, before fading to white. We then cross-fade between an array of positive memories of Rick and Ilsa in Paris, characterising their relationship.

Performance

Rick utters his famous line: “Here’s looking at you, kid” during the flashback, foreshadowing Rick and Ilsa’s final goodbye at the end of the film.

Context and Representation

The use of analepsis in the film is a notable deviation from the Classical Hollywood style. The vast majority of films released throughout this period were told in a predominantly linear fashion, as to tell a simple narrative in a clear and easily digestible fashion. Despite this, the extended flashback sequence is told through normal continuity as to not confuse the viewer.

The striking implementation of real wartime newsreel footage ground this sequence in reality, reinforcing the war setting that the film was both set and filmed during.

Rick dons a trench coat and hat during the train station scene, paying homage to Humphrey Bogart’s classic detective roles during the Film Noir scene. This is an example of Warner Bros. capitalising on the ‘stable’ of stars that they possessed, using them to their fullest capability.

Auteur

The dialogue during the flashback sequence is highly expositional, serving to clearly explaining the events of the Nazis invading France. The viewer now has a clear understanding of Rick and Ilsa’s relationship in Paris, and thus forms an emotional connection to them.

Casablanca Close-Up (“Leaving Rick’s” Sequence)

Overview

This sequence establishes the foundations of the history that Rick, Ilsa, and Sam share together during their time in Paris. At this point, the events of what actually happened are shrouded in mystery, and the viewer is left to ponder why the relationship between the characters is so tense. This sequence also introduces us to the main theme of the film – As Time Goes By – which is performed by Sam.

Cinematography

We spend the majority of the conversation between Sam and Ilsa looking at Ilsa, with the typical shot/reverse shot sparsely being used.

As Sam plays As Time Goes By we cut to an extended reactionary shot of Ilsa. From this, the viewer is able to infer that she has an emotional connection to the song.

As Rick enters the room, we cut to a low-angle shot that frames him centrally. This provides an appropriately dramatic entrance for the tense reunion between the past lovers.

Rick’s depth of field is much deeper than Ilsa’s subconsciously diverting the viewer’s attention towards Ilsa’s glamour. The closeup of Rick draws attention to his rugged, craggy appearance, whilst also being able to take in the surroundings of the café.

Sound

As Time Goes By is expertly implemented as an emotionally manipulative diegetic piece that provides an appropriate romantic evocation – it was specifically selected by Max Steiner himself.

As Rick and Ilsa see each other, Steiner’s emotional score promptly enters the mix, highlighting the tension between the couple.

Mise-en-scène

Rick’s café as a set is arguably the heart of the production, being meticulously designed and highly expensive. The location is inevitably displayed often, foregrounding the lavish production values.

Ilsa wears extravagant jewellery that glistens in the light, highlighting her beauty.

Careful blocking of the actors allows for everything of importance to be visible in the frame. For example, Laszlo moves out of the way when Renault calls a waiter to the table in order to display who he is talking to.

Editing

In typical Classical Hollywood fashion, Curtiz employs a shot/reverse shot sequence between Rick and Ilsa. However, the closeups of Ilsa are much more prolonged, highlighting her radiant appearance.

Reframing the composition of the shot provides a seamless transition from a four-shot to a three-shot, reducing the frequency of potentially jarring cuts.

Performance

At the end of the sequence, Rick silently conveys his emotions. His distraught facial expression emphasises his emotional inner turmoil as he turns to face the camera. Although he doesn’t look directly into the camera, this mid shot of Rick appropriately illustrates his wistful state of mind.

Context and Representation

The dialogue between Rick and Ilsa is highly melodramatic, reflecting the conventions of the romance genre that the film conforms to. The specific language used successfully manipulates the viewer to tug on their heartstrings and emotional resonate with the characters.

Throughout the Golden Age of Hollywood, Humphrey Bogart was a film star who was often typecast as the ‘rugged individual’ archetype. Studios capitalised upon the fact that audiences went to see films in order to see their favourite stars, and Rick’s character epitomises Bogart’s acting strengths.

Casablanca Close-Up (“Laszlo and Ilsa” Sequence)

Overview

This sequence serves to introduce us to two more important characters in the film – Victor Laszlo and Ilsa Lund. As they sit at a table in the café, we learn that Victor Laszlo is a fugitive Czech Resistance leader who narrowly escaped a concentration camp. Strasser confronts Laszlo in the café, and the two face off against each other in attempt to stand their ground. Under Major Strasser’s command, Captain Renault arranges a meeting with Laszlo for the next morning.

Cinematography

A tracking shot is used to follow the movements of the couple as they enter the cafe, diverting the viewer’s attention towards them.

During the dialogue sequence, the camera moves fluidly, panning up and down whilst maintaining a gliding motion. This allows the composition of the shot to easily be reframed without having a convoluted shot/reverse shot sequence.

Main, back, and fill lighting is used to light Ilsa in a highly flattering and glamours manner, as opposed to Renault who is lit more modestly, in order to appear more compassionate.

The closeups of Ilsa use a much shallower depth of field than the closeups of Lazslo, which fully draws the viewer’s attention towards her glamorous appearance.

Sound

When Laszlo and Ilsa approach Sam, the diegetic sound of his piano playing rises in the mix, immersing the viewer into their position. Conversely, the piano lowers in the mix during the dialogue scenes in order to efficiently convey exposition.

Mise-en-scène

In the last sequence, we were introduced to Rick wearing a white suit. As Lazslo and Ilsa enter the café, we can see that the couple are also both wearing white – with Ilsa’s costume being the whitest. This use of colour is representative of the characters’ purity and innocence, whilst also drawing the viewer’s eyes towards Ilsa’s radiant appearance.

Editing

When Laszlo speaks to the resistance member, Curtiz employs the use of a shot/reverse shot sequence to display who is talking at a specific moment.

Performance

Laszlo’s expression is stoic, emphasising his resilient nature after enduring the torturous concentration camp. Ilsa, on the other hand, appears to be nervous as she enters Rick’s abode, provoking questions in the viewer’s mind. We also see Sam’s reaction to the couple’s arrival – his face exudes a sense of apprehension when he sees Ilsa, which suggests that he knows her from the past.

Context and Representation

Ilsa (played by Ingrid Bergman) was an international film star and was thus dressed in a radiant manner, andlit in a highly flattering lighting in order to fully accentuate her feminine beauty. This can be seen through her meticulous neat hair and how her skin does not contain a single blemish. Bergman was predominantly filmed from her left side, so that the three-point lighting caught her eyes in a way that made them appear to shine.

Conversely, the male characters – such as Rick and Laszlo -are lit in are a more obscured lighting to emphasise their ruggedness. This is exemplary of Warner Bros. selling the ideal of glamour within their films, a notion that was highly typical of the Classical Hollywood style.

Ilsa speaks in a Mid-Atlantic accent – a superficial accent used frequently throughout the Golden Age of Hollywood. This accent blends the British and American accents in a way that appeals to both audiences and also conveys a sense of aristocracy and elegance.

Major Strasser is presented as a cold and ruthless force during his confrontation with Lazslo, standing over him to assert his dominance. Laszlo then stands up out of his chair to tower over him, shifting the power dynamic. This paints Laszlo as the ‘noble European’, standing up to the nefarious Nazi forces.

Casablanca Close-Up (“Rick’s Introductory” Sequence)

Overview

“Rick’s Introductory Sequence” serves to introduce us to the primary location of Casablanca (Michael Curtiz, 1942) – Rick’s Café Américain. The entire café was a set built for the film, and this sequence serves to foreground the illicit dealings that occur within the establishment, alongside introducing us to the protagonist of the film after 10 minutes of build-up – Rick Blaine played by Humphrey Bogart.

Cinematography

The scene opens on a long shot of Rick’s café, which then cuts to a wide shot that clearly displays the sign for the viewer to see. This sequence of shots is typical of the Classical Hollywood style that Casablanca epitomises.

Curtiz employs a multitude of sophisticated filmmaking techniques in this sequence that are presented in a seamless manner. The camera movements are very smooth and appear to glide around the set, which was achieved by the bespoke set constructed purely for the film. This seamless camera movement is reminiscent of a Steadicam, which was not invented until 1974.

One character holds the door open for the camera, breaking the fourth wall. This is almost as if the camera is a customer entering Rick’s café which serves to provide a heightened sense of immersion. The shot then becomes a crab shot, displaying the set in all its splendour.

The camera tracks a waiter’s movements across the cafe, creating a flowing rhythm as we move to the new location which lies deeper within the cafe. This area exists within the inter area of the bar, perhaps representing a deeper core of Rick’s establishment.

As we eventually cut to the casino, we are first introduced to Rick through a closeup of a document that he is authorising. The fact that he uses his own name to represent his authority, merely writing OK RICK” establishes that he sits at the highest level of importance within the café. We then cut to a shot of Rick’s arm handing the document to another man, before the camera finally tilts up into a closeup of Rick himself.

Curtiz briefly pulls Rick out of focus in order to draw attention to his rugged and weary face, demonstrating that he is a weathered and experienced figure.

The sequence concludes with an over-the-shoulder shot of Rick observing his empire. Each person appears to be looking up at Rick, seeking his approval.

Sound

As the camera crabs and pushes in towards Sam, the diegetic sound of Sam’s singing rises in the mix. We are able to hear him more clearly the closer the camera gets, further immersing the viewer within the establishment.

Mise-en-scène

The actors are deliberately blocked out of the way of the camera, which allows for clean shots of the interior. This immerses the viewer within Rick’s world as we seamlessly glide into his inner sanctum.

The chessboard on Rick’s desk perhaps conveys symbolism. We can see that the black pieces are on Rick’s sides, emphasising his mysterious and powerful presence. Rick also smokes and drinks alcohol, which conveys his masculinity to the viewer. The camera finally tilts up to reveal that Rick is wearing a white tuxedo and a black bow tie, emphasising his elegance and sophistication.

Editing

After the closeup of Sam singing, we cut to a wide shot of a different angle of the café. Through the use of a sophisticated L-cut, we are still able to hear Sam singing. This subconsciously informs the viewer of the fact that we are still in Rick’s café, despite the cut to a different angle.

Performance

To inform us of the fact that the bar is a seedy location, the viewer is presented with some shady exchanges in which the actors speak in a hushed manner. For example, a man tells a man to remember to pay him in cash, which provokes the viewer to fill in the blanks. This reinforces the secretive and illicit nature of this dealings.

Context and Representation

Rick’s café is another expensive set that a large portion of the film takes place in. Because of this, the set is displayed frequently in order to foreground the lavish production values of the constructed reality that is the café.

Rick’s iconic white tuxedo with a black bow tie inspired the likes of later cinematic icons like James Bond.

The fact that Rick is displayed drinking and smoking only serves to paint him as a rugged, masculine individual. To contrast this, the women seen in the café are lit in a juxtaposing light, serving to accentuate their femininity.

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.

Casablanca Close-Up (Opening Sequence)

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.

Institution As Auteur: Warner Brothers

A small circle of key individuals were heavily involved in the creative production process of Casablanca (Michael Curtiz, 1942). The idea of the executive producer, producer(s), and director having almost an equal amount of creative control was commonplace throughout the Golden Age of Hollywood, and this became known as the ‘studio auteur’. Below is a list of these individuals, explaining the roles they played throughout the production process of Casablanca.

Executive Producer: Jack Warner

Jack Leonard Warner was a Canadian-American film executive, being the president and figurehead of the Warner Brothers’ Burbank Studio. With a career spanning forty five years, Warner became known for his incisive judgement and confidence, inciting a steep level of fear within many of his employees.

He both acquired Warner Brothers’ impressive ‘stable’ of film stars and also promoted the gritty social dramas that the studio was later characterised by. Warner’s primary duties involved overseeing the films produced by the studio, and making suggestions that he believed would enhance the film. His primary agenda involved accurate representations of cultural customs and atmospheres, and this can be vividly observed throughout Casablanca.

Jack L. Warner pictured with Bette Davis (left) and Joan Crawford (right)

Producer: Hal B. Wallis

Harold Brent Wallis was a Warner Bros. film producer, best known for producing Casablanca, The Adventures of Robin Hood (Michael Curtiz, 1938), and True Grit (Henry Hathaway, 1969). Throughout his career as a producer, Wallis received 19 Best Picture nominations. After Warner Bros., Wallis was affiliated with Paramount Pictures during which he oversaw films starring Dean Martin, Jerry Lewis, and Elvis Presley.

In late 1941, Wallis became fascinated by an unproduced stage play called Everybody Comes to Rick’s. In late December of that same year he bought the film rights for $20,000 and changed the title to Casablanca. Wallis also wrote the famous final line of the film: “This could be the start of a beautiful friendship.”

During the 1943 Academy Awards, Casablanca (Michael Curtiz, 1943) won the award for Best Picture. Upon being announced, Hal B. Wallis got up to accept the award, only to find that Jack Warner had rushed onstage “with a broad, flashing smile and a look of great self-satisfaction”. Wallis later recalled that “I couldn’t believe it was happening. Casablanca had been my creation; Jack had absolutely nothing to do with it. As the audience gasped, I tried to get out of the row of seats and into the aisle, but the entire Warner family sat blocking me. I had no alternative but to sit down again, humiliated and furious. … Almost forty years later, I still haven’t recovered from the shock.” This dispute demonstrates the contention of the true ownership of the film, as Jack Warner believed that he was in the right to claim all the glory, merely due to him being the figurehead of the studio.

Director: Michael Curtiz

Michael Curtiz was a Hungarian-American director who became the head of Warner Brothers’ Burbank studio. Curtiz’ filmography is vast, spanning over 100 films, the majority of which were released under Warner Brothers. Within Hollywood, Curtiz pioneered the utilisation of: lighting to create a particular aesthetic, fluid camera movements, high crane shots, alongside the use of unusual camera angles.

Curtiz is considered a highly versatile director, handling an eclectic range of genres throughout his time at Warner Bros, including the likes of: comedy, romance, film noir, musicals, Westerns, and horror. Curtiz believed that the “human and fundamental problems of real people” were integral to creating gripping drama, and often based his films on the foundation of this precept.

Curtiz’s vast body of work is greatly outshined by Casablanca, being a cornerstone of the entire Golden Age era. It is a key exemplar of the ‘studio auteur’ style of filmmaking that dominated the cinematic landscape of the Golden Age, epitomising all of the tropes that the Classic Hollywood style would later be known for.

Michael Curtiz (director), Ingrid Bergman (actress), and Hal. B Wallis (producer) pictured together

Cinematographer: Arthur Edeson

Arthur Edeson was a cinematographer whose career ran through both the Golden Age of Hollywood – including both the Silent and Sound Eras. He worked on many landmarks of the era, namely All Quiet on the Western Front (Lewis Milestone, 1930) and of course, Casablanca. Co-founding the American Society of Cinematographers, Edeson’s style was built on the influence of German Expressionism brought to America through German cinematographers during the 1920s, whilst also keeping to the style of gritty realism popular within the Hollywood studio system.

Arthur Edeson on the set of Casablanca with Dooley Wilson (Sam) and Ingrid Bergman (Ilsa)

Composer: Max Steiner

Maximilian Raoul Steiner was an Austrian composer and conductor who, after emigrating to America in 1914, became a renowned composer for Hollywood. He composed over 300 film scores with both RKO and Warner Bros., being nominated for 24 Academy Awards.

Steiner’s score is an integral component in Casablanca’s long-lasting legacy, providing a rich romantic evocation that serves to accentuate the relationship between Rick and Ilsa that lies at the heart of the film.

Max Steiner playing piano

Classical Hollywood Style

Throughout the Golden Age of Hollywood, a distinctive style of filmmaking was birthed under the control of the studio system. Being produced between the 1930-1960s, the filmmakers aptly utilised each of the key elements of film form in order to augment the emotional weight of the narrative being told.

The films produced throughout this era often shared a handful of common narrative conventions. These included a psychologically defined individual who is caught in a struggle to solve a problem or achieve their goals. There is usually a conflict between this central protagonist and other external circumstances, before resulting in a clear-cut victory or defeat at the end of the film.

This narrative-driven and newly audiovisual style of filmmaking has been broken down into the key elements below, with a few specific examples from Casablanca (Michael Curtiz, 1942) being provided.

Mind map that details the features of Classical Hollywood style

Casablanca (Michael Curtiz, 1942)

Casablanca (Michael Curtiz, 1942) is arguably the most prolific and well-acclaimed film released during the Golden Age era of Hollywood. It is an American romance/drama film starring Humphrey Bogart, Ingrid Bergman, and Paul Henreid. Being a landmark of cinema, Casablanca’s characters, quotes, and evocative theme song have garnered an iconic status over the last 80 years.

Plot

The film was both shot and takes place during World War II, centering around the protagonist, Rick Blaine – a cynical owner of a gambling den in Casablanca, Morocco – a French colony. The club is a cultural hub of refugees attempting to acquire visas to depart for America, who remained neutral in the war at the time. Rick’s cafe also hosts a number of Vichy French and German officials who attempt to persecute these refugees. Rick himself claims to be neutral in all matters, but we soon learn that he was a gunrunner for Ethiopia during the Second Italo-Ethiopian War and also fought for the Republican side in the Spanish Civil War, demonstrating to the viewer that he fights for justice.

A crook called Ugarte has obtained “letters of transit” by killing two German couriers. These letters allow the bearers to travel freely around German-occupied Europe. Being highly sought after among the refugees in Rick’s club, Ugarte plans to sell them and persuades Rick to hold the letters for him. Ugarte is instead arrested by Captain Louis Renault – the corrupt police prefect of Casablanca – and dies in custody, keeping the fact that Rick has the letters secret.

Afterwards, a woman called Ilsa Lund enters Rick’s cafe. After Ilsa asks the club’s pianist, Sam, to play “As Time Goes By”, Rick becomes initially furious at Sam for disobeying his order to never play that song again. However, as Rick spots Ilsa, he is astonished and his anger is relieved immediately. It becomes clear that the couple have a history. Ilsa is married to Victor Laszlo, a Czech Resistance leader who is a fugitive and the couple seek an escape to America. A Nazi leader, Major Heinrich Strasser, enters the club in an attempt to arrest Victor.

After finding out that Rick possesses the letters of transit, Victor attempts to buy the letters off him. Rick refuses his offer and informs him to ask his wife, Ilsa, the reason why. Ilsa then confronts Rick to inquire why he refused her husband the letters, threatening him with a gun. She soon professes that she still loves Rick and explains that she thought that Victor had been killed while trying to escape from a concentration camp. We cut to a flashback sequence, and receive a glimpse of Rick and Ilsa’s time in Paris together. As the couple are about to flee the city together, Ilsa mysteriously abandons Rick without explanation to see her husband, who we learn is in a physically distraught condition after escaping the camp.

After learning this, Rick agrees to help the couple, falsely informing Ilsa that he will stay with her when Victor leaves. Victor enters unexpectedly and learns of Rick’s feelings for Ilsa. After she leaves, Victor tries to persuade him to use the letters of transit to take her to safety. Victor is then arrested by the police, during which Rick convinces Renault to release him by promising to set him up for the crime of possessing the letters. Rick explains to Renault that he and Ilsa are soon departing for America. Renault declines and attempts to arrest Victor, before Rick threatens him with a gun.

Right as the plane to Lisbon is about to leave, Rick tells Ilsa to board the plane with Victor, informing her that she would regret going with him and that “we’ll always have Paris”. Major Strasser attempts to intervene and arrest Victor, before Rick promptly shoots him. After the police arrive, Renault orders them to “round up the usual suspects”, before suggesting to Rick that they join the Free French in Brazzaville. As Victor and Ilsa depart for Lisbon, Rick and Renault walk away into the mist. Rick says, “Louis, I think is the beginning of a beautiful friendship.”

The final shot of the film

Context

The film was directed by Michael Curtiz, a Hungarian-American director who became the head of Warner Brothers’ Burbank studio. Curtiz’ filmography is vast, spanning over 100 films that were all released under Warner Brothers.

Released in 1942, Casablanca gained immediate critical success, winning three Oscars including Best Director – despite Warner Brothers’ apprehensiveness towards the film, fearing that it would flop. This was due to the fact that it was filmed over the course of three rushed months, with the actors and Curtiz not working well together on set. Casablanca was merely one of a multiplicity films released by Warner Brothers’ in 1942, and was neither the most expensive film nor the film the studio expected to take off.

Despite taking place in the exotic location of Casablanca in Morocco, the entire film was shot at Warner Brothers Studios in Burbank, California – the only exception being the the opening sequence in which Strasser flies past a aeroplane hangar, filmed at Van Nuys Airport, Los Angeles.

As previously mentioned, the film was both shot and takes place during World War II. Interestingly, the film was shot a mere four months before the events of Pearl Harbour, which is why the United States remain a neutral territory in the film. It exists in a liminal period in which America was fully at war, but not yet fully immersed in a propagandistic war ideology.

A shot from the opening sequence of Casablanca

Techniques

The film’s narrative is predominantly linear, with Curtiz making use of one flashback sequence to illustrate Rick and Ilsa’s romantic affairs in Paris. Curtiz also employs lots of centrally-framed closeups of both Rick and Ilsa, with key lighting and fill lighting also being implemented. Through this, both harsh shadows and well-defined outlines of the characters are created. This, alongside the fact that the film is in black and white accentuates the wistful emotion and atmosphere of the film. Due to the lighting, Ilsa appears to be emanating a sort of radiance which contributes to the mythical nature of her character. Rick’s cafe also feels incredibly lived-in and bustling through the use of blocking, mise-en-scène, and diegetic ambience.

As previously mentioned, the film’s main theme is particularly iconic – the diegetic implementation of the 1931 jazz piece, As Time Goes By. The piece provides a strong romantic evocation, and is played by Sam, the house pianist, in Rick’s club.

I really enjoyed Casablanca for the inarguably timeless romance story it offered, underpinned by the hardships faced by the refugees of World War II . It holds up extremely well for an 80-year-old film, and its prestigious pedestal in cinematic history is well deserved.

Overall, I would rate Casablanca ★★★★.

A central closeup of Ilsa, enhanced by key and fill lighting

Component 1a: Hollywood 1930-1990 (Comparative Study)

The next component we are studying is Component 1a: Hollywood 1930-1990. This section of the course entails two films of study, Casablanca (Michael Curtiz, 1942) and Bonnie and Clyde (Arthur Penn, 1967) . Throughout this component, the areas of study are the core study areas (including the key elements, contexts, aesthetics and representation) as well as two specialist study areas – Auteurship and Context. This component also involves a direct comparison between the two studied films, unlike previous two-film components.

Being the french word for ‘author’, the concept of auteurship suggests the that each work of art is produced by a single artist alone. In concept, this auteur possesses full creative and artistic control over the film and thus, their ‘style’ becomes highly distinctive. Auteurs are often defined by specific reoccurring traits and techniques that appear throughout their body of work, placing their name above the film itself.

Context details the relevant cultural, historical, institutional, political, social, and technological background information surrounding the two films we will study.

Component 1a mind map