Casablanca and Bonnie and Clyde Auteur Essay

“The Hollywood machine has always crushed any individuality in filmmaking”. Compare the extent the films you have studied display auteur individuality.

The influence of Hollywood on American films was much more prominent under the studio system during the Golden Age of Hollywood, where films were highly reflective of the studios that made them. Casablanca (Michael Curtiz, 1942), for example, is characteristic of Warner Bros’ house style to the extent that the studio could be considered an auteur influence on the film. In contrast, Bonnie and Clyde (Arthur Penn, 1967) was made during the New Hollywood era, when there was much greater freedom for the directors producing under studios, but also more room for independent filmmakers and creative individuality. Bonnie and Clyde takes inspiration from the auteurs in the French New Wave, so although Penn’s style is arguably not that of an auteur himself, his influences from the French New Wave certainly were and as a result, Bonnie and Clyde shows secondary auteur individuality.

Much like many of Warner Bros’ other films during the Golden Age of Hollywood, Casablanca is a realistic film with an urban setting and fast-paced dialogue, conforming to Warner Bros’ house style. In the scene where Ilsa has gone to Rick to beg for the letters of transit, their exchanges are snappy, creating a sense of heightened emotion. Although Casablanca is an urban setting, the foreign city also provides exoticism to the film, which Warner Bros used to compete with the other studios and is shown off in the wide shots in the opening of the film. Therefore, there is some individuality in the film’s unique setting, though it still fits the Warner Bros house style. Additionally, the realistic wartime setting gave room for Jack Warner’s political agenda in wanting America to join WWII, showing his influence on the films produced by Warner Bros. Not every Warner Bros films had a political agenda, however, suggesting a degree of individuality in Casablanca.

During the Golden Age of Hollywood the studio system was supported by the star system, with each studio having their own ‘stable’. Whilst Warner Bros did not have a fixed stable, the studio frequently used the same stars, their regular collaborators including James Cagney, Edward Robinson and Humphrey Bogart, all of whom seemed more ‘guy-next-door’ than extremely attractive superstars. This set Warner Bros apart as a studio that favoured realism above everything, even in terms of its actors; for example Bogart’s heavy New York accent in Casablanca stood out from the common Mid-Atlantic accent used in contemporary films. In his earlier Warner Bros’ films, Bogart was known for playing gangster roles, and the studio used this to their advantage, even paying homage to these previous characters at the end of Casablanca, when Rick wears a suit, hat and coat with a turned up collar reflective of his gangster outfits. Therefore, whilst the actors did not have auteur individuality and were frequently typecast within their studio, Warner Bros had individuality from the other studios in terms of the stars that worked for them and the realism of them compared to hyper-glamorous stars at other studios.

Furthermore, Warner Bros showed off these unique assets, which is evident in Casablanca through the catch lights on Ingrid Bergman throughout the film to show her attractiveness. Similarly, in scenes with either Ilsa or Rick and supporting characters, the camera always favours the star; for example, in the conversation between Rick, Captain Renault and the Nazi major the camera remains focused on Rick, even when Rick stands up to leave the table and the other two men remain sat down. Equally, in the scene at the piano with Ilsa and Sam, Ingrid Bergman has a lot more screen-time, showing the importance of stars to the studios’ brands and in this case, Bergman and Bogart making Warner Bros distinct from the other studios.

Even directors at the time submitted to the dominance of the studios, forgoing much creative individuality and conforming to the studio’s house style. This is true of Casablanca‘s director, Michael Curtiz, who regularly worked for Warner Bros and made realistic films for the studio. Additionally, composer Max Steiner used his non-diegetic composed score in Casablanca for the purpose of the studio, manipulating the audience according to who Warner Bros wanted them to sympathise with. Whenever the Nazi characters are shown, the score takes a sinister turn, particularly noticeable during the arrival of the Nazi major at the airport towards the end. However, whilst directors and composers were less artistically powerful than the studios during the Golden Age of Hollywood, their contributions still altered the house style: Steiner composed over 100 scores for Warner Bros and was so influential he composed the signature Warner Bros fanfare that plays at the start of Casablanca, showing some of the artistic individuality of the time, even if it aided the studio’s overall auteur individuality.

Therefore, films produced during the Golden Age of Hollywood, such as Casablanca, were arguably the products of their studio ‘auteur’, which had individuality from the other studios, but many similarities amongst its own films, as all the artists contributed to the studio house style rather than having their own distinctive auteur individuality. In contrast, the individuals became far more important during the New Hollywood era, once the French New Wave had introduced the term ‘auteur’ and the individuality associated with it.

Although stars in the Golden Age of Hollywood did not have much freedom, this changed in New Hollywood, where actor Warren Beatty had enough control over his portrayal of Clyde to emphasise the sexual ambiguity of the character, which might have been omitted without his input and star quality. He also chose to maintain a limp throughout the film to create a sense of naturalism. Beatty’s other significant influence over the film Bonnie and Clyde was as a first-time producer. Despite it being his producing debut, Beatty received 40% of the gross rather than a fixed fee for the film, which shows the increasing importance of individuals compared to the domination of studios during the Golden Age of Hollywood.

Director Arthur Penn is arguably less distinct as a creative presence in Bonnie and Clyde due to the amount of inspiration taken from the French New Wave in the film. For example, Bonnie and Clyde was shot on-location in the deep American South to create a sense of realism promoted by the French New Wave. The South had not fully recovered from the Great Depression era, providing an apt, deprived-looking setting for the film, which would not have been the same in the more stable Eastern cities. Since they were shooting on-location, available light was used more instead of expensive lighting set-ups that would have to be transported. To take advantage of the sun as natural lighting, Bonnie and Clyde was often shot at golden hour, such as in the sequence where the Barrow Gang meets up with family members. The warmth of the sun at this time, along with the filters on the lenses make the sequence look dreamlike, which contrasts the harshness of the rest of the film. However, the shadows also create a sense of conflict, as the meet-up is only temporary and the gang have to return to their life of violence on the run.

Other than the one warmer sequence, the film is very harsh and realistic, from setting to dialogue and editing. The French New Wave encourage improvised dialogue, with less focus on the overarching plot and this is evident in Bonnie and Clyde, as the focus is more on the characters themselves. Additionally, in the opening sequence in which Bonnie and Clyde meet for the first time, they often speak over one another, which is more accurate to reality than the carefully constructed and timed dialogue in films such as Casablanca.

The editing in Bonnie and Clyde moves away from the traditional continuity editing in Golden Age of Hollywood films that aimed to tell the story in a straightforward way. The French New Wave made use of editing as an artistic element and featured jump cuts that Arthur Penn was inspired by in the making of Bonnie and Clyde. The opening has jarring editing between the photographs, with loud camera click noises to emphasise the harshness and set up the violent nature of the film. The photos themselves show effects of the Great Depression, immediately grounding the film in a sense of realism that reflects French New Wave films.

Another huge change in Hollywood films from the Golden Age to the New Hollywood period was the presentation of character. The strict Hays Code implemented during the Golden Age restricted sexual or violent imagery in films, showing the limits Hollywood put on creative freedom and expression at the time. Therefore, the protagonists were reduced to ‘heroes’ and the female characters were demure and pure, evident in Ingrid Bergman’s Ilsa in Casablanca. However, by the time of New Hollywood, cinema had become more bold through the French New Wave influence and in Bonnie and Clyde, Bonnie is sexualised from the very beginning through the close-up of her red lips and her implied nudity. The French New Wave also featured anti-authoritative characters, such as in Jean-Luc Godard’s Breathless. Similarly, in Bonnie and Clyde, the protagonists are violent criminals who are against the state and rob banks, yet the audience is positioned with them despite their lacking morals, in stark contrast to the characters in Casablanca.

Ultimately, there was much greater individuality and variety in films made in New Hollywood, compared to the Golden Age of Hollywood, where studios had a monopoly over American cinema and mass-produced films that conformed to their house style. However, through the individual studios, there was auteur individuality in each of their different outputs, meaning the studio Warner Bros had more of a claim to the title ‘auteur’ than director Michael Curtiz for the film Casablanca. Equally, it is not director Arthur Penn that has the auteur individuality in Bonnie and Clyde, but his French New Wave influences, directors such as Jean-Luc Godard and François Truffaut. Therefore, it could be argued that the ‘Hollywood machine’ had crushed individuality to the degree that it required foreign influence to revive individuality and create the concept of individual auteur style.

Casablanca and Bonnie and Clyde Context Essay

Compare how far your chosen films reflect their different production contexts

The Golden Age of Hollywood was a period of studio domination, as eight major studios had a monopoly over the American film industry. Films such as Casablanca (Michael Curtiz, 1942) were produced under the strict control of the studio system, and this influence is evident in all aspects of the films. In contrast, New Hollywood was a period of far greater creative freedom, allowing films such as Bonnie and Clyde (Arthur Penn, 1967) to be made with clear inspiration from foreign cinema, particularly the French New Wave.

Casablanca was produced by Warner Bros, which was known for its gangster films and political dramas. Therefore, Casablanca was very typical of Warner Bros’ output, as it offered the realism of a wartime setting and the political agenda of Jack Warner, who wanted to promote American involvement in World War Two. This agenda is presented through the film by the caracturised Nazi villains and the non-diegetic composed score, which takes a dark turn whenever they appear on-screen to manipulate and position the audience.

The film is more focused on the narrative and political message, suggested by the emotive opening narration, which places the audience in the context of the film immediately. It was typical of Hollywood films at the time to provide information necessary to understanding the film at the start, so the film could quickly move on and progress with the linear narrative. The opening also uses a globe to visually explain the foreign setting, which was perhaps chosen as a way for Warner Bros to compete with the other studios in terms of spectacle and exoticism.

In addition, there was competition between studios with their sets, aiming to out-do each other with lavishness. In Casablanca, Rick’s cafe is a very expensive set, which is maximised and shown off through the gliding shots moving around it, particularly when it is first shown.

The star actors are shown off in the same way as the sets in Casablanca, which reflects the importance of the star system during the Golden Age of Hollywood. Most studios had a stable of stars and whilst Warner Bros did not have a fixed stable, Humphrey Bogart and Ingrid Bergman were closely associated with the studio, so the pairing of them together drew a big audience. In the opening credits, both their names are emblazoned across the screen, which is Warner Bros advertising their assets to the audience and taking advantage of their established star personas.

Throughout the film, the two are lit carefully to show off their attractiveness, in particular, catch lights are noticeable in Bergman’s eyes during her introductory sequence in the diner with her husband, Victor Laszlo. The camera frequently favours the two stars above other characters, even when they are not involved in the ongoing conversation: after Rick has finished talking to the Nazi major and Captain Renault, the camera tilts up as he stands and pushes in on him walking away, rather than remaining focused on the two men still sat down.

However, cinematography in the 1930s and 40s was still largely more practical than creative. Casablanca features many conversations in which an additional person joins in, so the camera accommodates by pulling out from two-shots to three-shots and adjusting the framing. The composition is also important in establishing relative powers to the audience; for example, Victor is sat down when the Nazi major approaches him, but he stands up and is taller in height, showing he is not intimidated.

Editing throughout the Golden Age of Hollywood was a tool rather than an artistic device, which is true of Casablanca‘s continuity editing. The dissolves used throughout the film make it easy to follow and the editing is mostly ‘invisible’ editing, to avoid disrupting the audience’s immersion within the film.

Whilst Casablanca is very reflective of the Golden Age of Hollywood and the impact of the studio system, the decline of the studios after the United States v. Paramount Pictures case and the rise of television hugely changed the landscape of cinema in America. Without the studios’ monopoly, there was more room for independent filmmakers, and even within the surviving studios, there was more artistic freedom. Bonnie and Clyde is a prime example of the New Hollywood that was being ushered in, through its French New Wave influences and bold, shocking content.

With the availability of television, film in this era had to offer something different and exciting, which could not be provided at home. This led to more daring images, both sexual and violent. Bonnie and Clyde is excessively violent at times, particularly in the final scene, when Bonnie and Clyde are brutally murdered with rounds and rounds of shots being fired at them. A 1960s/70s audience would not have expected this type of violence from a film due to the Hays Code during the Golden Age of Hollywood, and it certainly wasn’t available at home on the television, where there were strict regulations.

Similarly, the introduction of Bonnie with her implied nudity was very edgy and the character is seen as beautiful in a sexual way, rather than the demure beauty of female stars such as Ingrid Bergman during the Golden Age of Hollywood. These elements of violence and sexual imagery are often combined in the film; for example, when Clyde shows off to Bonnie by talking about his past robberies and showing her his concealed gun. During this conversation, both characters are sucking on cola bottles suggestively, in a highly phallic image. At times, the cruelty of the gang is even comical, such as when they throw the two passengers out of the car in the middle of nowhere, or leave the sheriff floating and stranded on a lake.

However, the film also has very realistic elements, indicated by the opening sequence which displays real photos from the Great Depression. This places the audience into the context in a jarring way, which contrasts the soothing tones of the narrator’s exposition in the Golden Age of Hollywood film Casablanca.

Another notable difference is in the performance and accents of the stars in Bonnie and Clyde compared to Casablanca. The regional Southern accents heard in Bonnie and Clyde were more reflective of reality, but unusual in American cinema until New Hollywood, as previously the ambiguous Mid-Atlantic accent was preferred.

Additionally, the characters in Bonnie and Clyde seem more human as opposed to being careful, unruffled stars as in Casablanca. At times, Clyde is dishevelled in appearance and does not maintain a cool exterior as Rick does in Casablanca, presenting him as a realistic character with faults, rather than an aspirational star.

New Hollywood placed greater focus on the characters above the narrative: Bonnie and Clyde ends when the titular characters die, showing that there is no film without them. The lack of music with the ending forces the audience to witness the brutality in isolation, with only the sounds of the piercing and repetitive gunshots, which reinforces the audience’s positioning with the protagonists, even though they are criminals. In contrast, Casablanca has very distinct ‘hero’ and ‘villain’ characters.

The increased creative freedom during the New Hollywood is evident in Warren Beatty’s performance. He leans into the ambiguous sexuality of Clyde, which likely would have been omitted without his star power and influence. Furthermore, Beatty actually received 40% of the gross for his producing debut with the film, which would have been unheard of during the Golden Age of Hollywood when stars were paid fixed, sometimes stingy fees.

Director Arthur Penn also had creative freedom to draw from his French New Wave influences, who greatly contributed to the style of films in New Hollywood. The invisible editing from the Golden Age of Hollywood is replaced with jarring straight cuts in the film, as the French New Wave saw editing not just as functional but an opportunity for further artistic choice.

The French New Wave also encouraged on-location shooting, rather than large expensive sets as during the Golden Age of Hollywood. This gave a greater sense of realism than extravagant sets such as Rick’s cafe in Casablanca. In Bonnie and Clyde, the vast majority of the film is shot in the expanse of the American South, which still had remnants of the hard times of the Great Depression, having not recovered in the same way as the big cities in the East. Therefore, the setting is very naturalistic and immersive for the audience, such as when Bonnie runs through the corn fields away from Clyde and the gang.

On-location shooting often involved maximised natural lighting, and this is true in Bonnie and Clyde. The sequence where the gang meet up with family members was shot at golden hour to give a warm tone and dream-like quality to contrast the coldness and realism of the rest of the film.

The often improvisational cinematography and long focal lenses allow more freedom for the actors’ movements, as the camera can be positioned out of the way and follow them without having to be set-up every time. This contrasts the careful choreography of Casablanca and other Golden Age of Hollywood films, as it gives a more natural sense.

Both Casablanca and Bonnie and Clyde are indicative of the period in which they were made: Casablanca is a product of the Golden Age of Hollywood, its studio and star systems and Warner Bros’ house style, whilst Bonnie and Clyde is a product of the freedom and French New Wave influence of New Hollywood.

New Hollywood: Bonnie and Clyde

New Hollywood came after the decline of the studio system and the popular rise of the television, meaning the film landscape had vastly changed in America. There was greater influence from abroad, in particular the French New Wave, and more room for creative expression in cinema, without the strict confines of the studios and their agendas. The filmmakers were given more control over their own films, even those still produced under a studio; for example, Warren Beatty made his producing debut with Bonnie and Clyde (Arthur Penn, 1967), receiving a massive 40% of the gross rather than taking a fixed sum, which would have been unheard of during the Golden Age of Hollywood.

During New Hollywood, the studios continued to exist but in diminished form, whilst the creators thrived with their new freedom. At the start of Bonnie and Clyde, the Warner Bros logo is not accompanied by fanfare, whereas Casablanca presents the studio as an institution through this fanfare. Additionally, the logo in Casablanca has the name of executive producer Jack L. Warner on it, showing his control over the film in comparison to the plain logo in sepia at the start of Bonnie and Clyde suggesting its age and decline. Star actor Warren Beatty also had more control over his presentation of the character, choosing to play up his ambiguous sexuality, which would not have been suggested or even promoted by the studio alone and Arthur Penn had more freedom as a director than the Golden Age of Hollywood directors who served to channel the studio’s vision; Casablanca is very much a product of Jack Warner’s vision, rather than that of director Michael Curtiz.

With the availability of television, film in this era had to offer something different and exciting, which could not be provided at home. This led to more daring images, both sexual and violent. Bonnie and Clyde is excessively violent at times, particularly in the final scene, when Bonnie and Clyde are brutally murdered with rounds and rounds of shots being fired at them. A 1960s/70s audience would not have expected this type of violence from a film and it certainly wasn’t available at home on the television, where there were strict regulations. Similarly, the introduction of Bonnie with her implied nudity was very edgy and the character is seen as beautiful in a sexual way, rather than the demure beauty of female stars such as Ingrid Bergman during the Golden Age of Hollywood. These two elements of violence and sexual imagery are often combined in the film in that the violence carried out by the Barrow Gang is glamorised. At times, the cruelty of the gang is even comical, such as when they throw the two passengers out of the car in the middle of nowhere, or leave the sheriff floating and stranded on a lake.

However, the film also has very realistic elements, indicated by the opening sequence which displays real photos from the Great Depression. This places the audience into the context in a jarring way, which contrasts the soothing tones of the narrator’s exposition in the Golden Age of Hollywood film Casablanca. Another notable difference is in the performance and accents of the stars in Bonnie and Clyde compared to Casablanca. The regional Southern accents heard in Bonnie and Clyde were more reflective of reality, but unusual in American cinema until New Hollywood, as previously the ambiguous Mid-Atlantic accent was preferred. Additionally, the characters in Bonnie and Clyde seem more human as opposed to being careful, unruffled stars as in Casablanca. At times, Clyde is dishevelled in appearance and does not maintain a cool exterior as Rick does in Casablanca, presenting him as a realistic character with faults, rather than an aspirational star.

Furthermore, instead of large, expensive sets created by the studios, New Hollywood films often shot on-location, giving a more naturalistic setting to the films. In Bonnie and Clyde, the vast majority of the film is shot in the expanse of the American South, which still had remnants of the hard times of the Great Depression, having not recovered in the same way as the big cities in the East. Therefore, the audience is placed more thoroughly into the environment in a way that Golden Age of Hollywood films don’t manage as successfully with their extravagant sets, such as Rick’s Diner in Casablanca.

From the Golden Age of Hollywood to New Hollywood, there was a shift in what narratives focused on and the portrayal of characters. The typical Golden Age of Hollywood film Casablanca has a strong focus on the plot, using the narrative device of the transit letters to drive it. The audience are placed firmly with the ‘hero’ characters Rick, Ilsa and Victor against the caricturised Nazi villains, who are always accompanied with a dark turn in the composed score. In contrast, the protagonists in Bonnie and Clyde are the ones on the wrong side of the law, yet the audience is encouraged to sympathise with them and they are the main focus of the film, hence the finale being their death, as there is no reason to continue the film without them. The ending is made particularly shocking through its lack of music, forcing the audience to witness the brutality in isolation, with only the sounds of the piercing and repetitive gunshots. This emphasises the positioning of the audience, as their deaths seem unnecessary and the number of shots excessive.

The influence from foreign cinema was particularly prominent during New Hollywood and Arthur Penn’s inspiration from the French New Wave is evident in Bonnie and Clyde. The invisible editing from the Golden Age of Hollywood is replaced with jarring straight cuts in the film, as the French New Wave saw editing not just as functional but an opportunity for further artistic choice.

Bonnie and Clyde is drastically different from any of the films from the Golden Age of Hollywood, so was clearly indicative of the ‘New Hollywood’ that was being ushered in. Films of this time were eventually characterised by the foreign influence and more daring content contained within them, such as the extreme violence and evident sexuality in Bonnie and Clyde. Arguably, the film would not have existed under the strict studio regime or safe output of the Golden Age of Hollywood before television came to challenge cinema, so it is very much a film of its ‘New Hollywood’ time.

Unconventional Auteur: Casablanca

In the Golden Age of Hollywood, studios had such a strong influence and each had its own signature style that certain films are recognisable as the film of a particular studio. This is true of Casablanca, a film by Warner Bros and which is largely characteristic of the studio’s realism in films. Therefore, Warner Bros’ input on the film could be considered ‘auteur-like’, even though the term is more typically associated with directors.

Warner Bros’ focus on realism is reflected in Casablanca‘s wartime setting, despite the storyline of romance. Jack Warner, joint-head of the studio, pushed for realistic and political films and the power of his influence is evident when looking at the output of the studio at the time. He had a firm political agenda with Casablanca, as he was an advocate for America joining WWII, so produced a film that was sympathetic towards the Resistance, embodied by Victor Laszlo in this film. Laszlo is a fairly uncomplicated character and is presented as a dedicated hero, who is even willing to sacrifice his escape for his wife.

Rick, however, is more complex and reflects Warner Bros’ realism in both action and appearance. The studio was known for having less overtly attractive actors, with a feeling of ‘guy-next door’ about actors such as James Cagney and Edward Robinson. Similarly, Bogart was relatively old and plain-looking with a heavy New York accent that stood out from the common Mid-Atlantic accent of the time. He became known for his roles in Warner Bros gangster films, proving the control that studios had over their stars, as they could market them in particular ways and create typecasts that they could use to their advantage in their next films. For example, Rick’s outfit in the airplane scene pays homage to his gangster roles because he wears a suit, hat and coat with a turned up collar and Warner Bros uses this outfit to show-off Bogart’s film star persona.

Most studios at the time had a stable of stars from which they drew their leading cast members for each film. Whilst Warner Bros did not have a set stable, they still contracted stars for a certain number of films and maximised them in every one. Therefore, in Casablanca, as in other films, the stars are clearly displayed and glamourised throughout, because Warner Bros was utilising their unique ‘assets’. This can be seen in the catch lights on Ingrid Bergman’s character Ilsa throughout the film and the camera favouring her in the scene between Ilsa and Sam at the piano. The focus remains on Bogart in one of his scenes with the Nazi major and Captain Renault, even as he is leaving the table and the other two remain seated, the camera follows him, showing the importance of stars to the studios and their brand, making them distinct from one another.

Although directors were not as artistically important during the Golden Age of Hollywood, certain directors were still associated with different studios and contributed to their house style. In the case of Warner Bros, Mervyn Le Roy and Michael Curtiz were regular directors that they used who carried out their vision, evident in Casablanca directed by Curtiz. Another name associated with Warner Bros was composer Max Steiner, who uses his non-diegetic composed score in Casablanca to manipulate the audience according to who Warner Bros wants them to sympathise with. Whenever the Nazi characters are shown, the score takes a sinister turn, particularly noticeable during the arrival of the Nazi major at the airport towards the end. As Steiner composed over 100 scores for Warner Bros, his music significantly contributed to their style, even composing their signature fanfare that is heard at the start of Casablanca.

A key part of Warner Bros’ house style was short, rapid dialogue and Casablanca also conforms to this aspect of the style. In the scene where Ilsa has gone to Rick to beg for the letters of transit, their exchanges are snappy, creating a sense of heightened emotion. Warner Bros were also known for their urban settings, and Casablanca makes the foreign city its setting, providing exoticism for the audience and an urban setting which matches their house style.

Casablanca is typical of a Warner Bros film in many ways: it features regular contributors in the actors Humphrey Bogart and Ingrid Bergman, composer Max Steiner and director Michael Curtiz, all of whom became associated with the studio as did their artistic choices, merging them into the house style. Jack Warner himself had a particularly strong influence over the studio as its head and this can be reflected in its films of the time, including the political and realistic Casablanca. Therefore, whilst the term is not typically applied to businesses, the studio Warner Bros could be considered an auteur, due to its distinctive and recognisable style and Casablanca could be considered a product of this auteur.

Golden Age of Hollywood: Casablanca

During the Golden Age of Hollywood, eight major studios dominated and had a monopoly over the America film industry. One of these studios was Warner Bros, known for its gangster films and realism. Each studio had a stable of stars from which it picked when producing a new film and Warner Bros’ included Humphrey Bogart and Ingrid Bergman. The two stars were paired together for the 1942 Casablanca (Michael Curtiz), a big draw for audiences at the time. The film’s setting in World War Two also suggests Jack Warner’s political motives of wanting the USA to become involved and gives a realistic backdrop to the romance between Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman), reflective of Warner Bros’ house style.

Stars were a significant part of the studio system and this is evident in the very opening of Casablanca, when Bogart and Bergman’s names are emblazoned across the screen, equal in size; Warner Bros are advertising their assets to the audience. Throughout the film, the two are lit carefully to show off their attractiveness, in particular, catch lights are noticeable in Bergman’s eyes during her introductory sequence in the diner with her husband, Victor Laszlo (Paul Henreid). The camera frequently favours the two stars above other characters, even when they are not involved in the ongoing conversation: after Rick has finished talking to the Nazi major and Captain Renault, the camera tilts up as he stands and pushes in on him walking away, rather than remaining focused on the two men still sat down.

In the 1930s and 40s, cinematography was used more for practical purposes than creative or imaginative decisions. Casablanca features many conversations in which an additional person joins in, so the camera accommodates by pulling out from two-shots to three-shots and adjusting the framing. The composition is also important in establishing relative powers to the audience; for example, Victor is sat down when the Nazi major approaches him, but he stands up and is taller in height, showing he is not intimidated. At times, the cinematography also takes opportunities to show off the expensive sets, a staple of Classic Hollywood films: when Rick’s cafe is introduced, there are gliding shots moving around the set to show its lavishness.

Music is also carefully used in the film to manipulate the audience. The non-diegetic composed score at the beginning is the French national anthem, loud and patriotic, but this takes a darker tone to accompany the narration which details the “torturous” journey to Casablanca; the emotive language places the audience on the side of the refugees. Similarly, whenever the Nazi characters are shown, Steiner’s score becomes sinister to position the audience against them.

The opening of the film is very efficient with its exposition, providing the background information the audience needs within a few minutes. This was typical of Hollywood films at the time, the aim was to get the essential information out of the way and progress with the linear narrative. Casablanca uses a globe to give the audience context as to where the film is set and this foreign setting was part of studio competition to provide greater spectacle and exoticism to their films. However, the time in which it was made combined with the foreign location means the film uses racial stereotypes as a shortcut for storytelling, notably the scene with the ‘wealthy but confused Englishman’ and the ‘thieving, dishonest foreigner’.

The Mid-Atlantic accent is recognisable as from the Golden Age of Hollywood as its attempt to strike a balance between British Received Pronunciation and Standard American English, thus sounding exotic to both sides of the Atlantic. This is present in Casablanca, making it distinct as a film from its era. The accent was strongly supported by studios, again emphasising their influence on every film, down to the small details, although Bogart’s prevailing New York accent could suggest Warner Bros’ desire for realism.

Overall, Casablanca is very reflective of the Golden Age of Hollywood, particularly as a film representative of the studio system, as Warner Bros’ impact is evident from the genre to the chosen stars. The film is equally as traditional in terms of cinematography, editing and mise-en-scène, using them all to aid the narrative and display the stars, whilst the composed score aims to manipulate the audience’s emotions. Casablanca could even be considered the epitome of a Golden Age of Hollywood film, it being one of the first films people think of when referring to the era.

Casablanca (Michael Curtiz, 1942)

Casablanca is one of the most famous romance films, using WW2 as the backdrop for the relationship between Rick and Ilsa. Having met in Paris, the two are separated when Rick moves to Casablanca but Ilsa stays behind. This rejection turns Rick into a cynic and he opens a bar in Casablanca, but “stick[s] [his] neck out for nobody”, applying this motto even when rebel Victor Lazslo arrives. Accompanying Laszlo is his wife, or Rick’s ex-lover, Ilsa Lund, making Rick even more unwilling to provide the two letters of transit they need to escape to America. Eventually, the sentimental side of him wins out and his feelings for Ilsa return, but he lets her go for her own sake, encouraging her to take the flight with Victor. Rick and the devious Captain Renault remain in Casablanca for the time being, agreeing that they will find passage out together and that it is “the beginning of a beautiful friendship”.

The film is full of now famous quotations, though I personally hate “Here’s looking at you, kid”, as it just seems creepy and out-of-place as a line. For me, the ending really makes the film, which can feel a little slow to start with. My favourite character has to be Captain Renault, purely for his lack of morals and ‘whichever way the wind blows’ attitude. I honestly want to tell Rick to stop being a miserable sod at the beginning, but he does slightly redeem himself, though I’m not sure I quite appreciate the final ‘romantic gesture’ in the way some viewers might have, particularly a contemporary audience. The setting of WW2 and Casablanca is really interesting, I think it adds an additional, realistic dimension to the film and actually gives a reason for Ilsa and Rick to be separated. I also liked the use of the motif ‘As Time Goes By’ and generally the music in the film.

Overall, I would say the film is a good one, perhaps not one of my particular favourites; however, I definitely appreciate it as an iconic and classic film, which does deserve its recognition, even if just for its awesomely quotable lines, of which I most like “We’ll always have Paris” and “round up the usual suspects”.