How does mise en scene make meaning in Casablanca’? [10]

One way that the mise en scene makes meaning in Michael Curtiz’s ‘Casablanca’ during the flashback scene is with the motif of the piano. Sam piano’s is a motif that appears in both the current time for the characters and in the flashback. The piano and the theme/motif of the ‘As Time Goes By’ song that is played on the piano triggers Rick’s memories to think back on his past with Ilsa. Casablanca like most classical Hollywood films has a linear narrative with a flashback that shows the protagonist’s motivations and feelings, in this case, we learn of Rick’s love for Ilsa and how she broke his heart, shown by the symbolic close up of her note to him getting washed away in the rain. The fact that the piano, and therefore Sam, is constantly a noticeable element in Rick’s life (both flashback and the current time) links to the representation of ethnicity. Sam always being present shows his loyalty to Rick, but Rick shows him no loyalty back; his performance includes him ordering Sam around. This representation would have still been a positive representation at the time that the film was made, but now the film’s representation of Sam comes across as very wrong, although being a named character, he has no exterior or interior motivations other than to work for Rick and Rick doesn’t really show him much respect.

During the flashback sequence, elements of Curtiz’s signature auteur film form elements can be seen. An auteur is a director that has an overview over the film, their techniques and styles can be seen in their films as well having frequent collaborations. In Casablanca, Curtiz worked with Hal Wallis, the producer, and Humphrey Bogart, two people he frequently worked with. In terms of the cinematography and mise en scene, Curtiz’s signature auteur style can be seen, there are lots of strong shadows caused by the high key and functional lighting, plus there’s a shadow of the window on the floor. This is an example of Curtiz’s signature style, as it’s an element of his technique that is in multiple of his films after being influenced by German Expressionism.

Ilsa’s forehead and cheeks are always lit up due to paramount lighting making her appear beautiful and more feminine as paramount lighting is a common lighting for women. This links to how the representation of women in this sequence is glamorised, for example, Ilsa wears a different outfit in every scene. This contrasts to Rick who is lit with side lighting. Controlment and manipulation of lighting and the way that it looks on the screen (mise en scene) is another one of Curtiz’s signature auteur film form elements. After Rick has the flashback, Ilsa comes in wearing all white, with a light shining on her, and being in the centre of the frame. This makes her appear like a ghost of the past that has come to haunt Rick to the audience, as well as angelic. The idea of Ilsa being angelic links to her (and therefore women) being represented as passive throughout the film, such as at the end when Rick does the thinking for ‘the both’ of them.

The mise en scene links Rick and Ilsa together. For example, the narrative repetition of a glass being knocked over. Ilsa knocks one over in the flashback due to feeling angry and upset. Partly because of having to leave Rick but also because of the war, the German’s are going to march in which is negatively affecting her life. This will link to the audience’s lives as well, as they too will be at war when the film comes out. This sequence heavily focuses in on American isolation and getting the idea that it was wrong across to the audience. This is because in many ways this film is a propaganda film, showing how the studio had influence over Curtiz while making it. America initially isolated themselves because they lost too many people in the first war, but after pearl harbour which the film was set days before, they became involved in the war and so the film had to put across this message. Similarly to Ilsa knocking over a glass, Rick knocks over a glass after the flashback which visually links them together. This could represent their bond that they will always have, and/or their memories that they will always have together to the audience.

When Rick and Ilsa are in the car, it is shot directly at them with a fake background that has edited in images. This is because the film was film in the Warner Bros. Burbank’s studio, just like Blade Runner, meaning that they couldn’t actually film them in the places shown. They often had to hide the fact that they were on a set. Such as, during the ending, the mise en scene is foggy because they needed to hide the fact that they were not actually at an airport. Plus, the planes were not planes but instead models because they had to budget their expenses.