Casablanca: Sequence Analysis

Opening Sequence 00:00:00 – 00:03:57

Fanfare begins over the Warner Brothers logo, marking it out as a prestigious production

The producers name, Jack L. Warner appear on the Warner Brothers logo as the producer is more important in terms of influence than the director, Michael Curtiz

A-list actors from the studios stable are shown following the logo as WB value their assets and its in their best interests to promote them as they are the pull factor for a large sum of the profit they make

Humphrey Bogart was widely known for his roles in gritty and realistic films

Lesser known actors follow the main title card of ‘Casablanca’

The map behind the title cards depicting the continent of Africa places the film in a real world, rooting the story in reality

The title cards are at the start of the film as there is major competition between studios and their stables and they have pride in their output

At the end of the title sequence, the non-diegetic composed score transitions to a rendition of Le Marseillaise, the French National anthem, which is belted out very patriotically, foreshadowing its importance later in the story before taking on a sinister tone at the end of the rendition, further foreshadowing the imminent trouble

As the globe turns, the camera pushes in towards it, focusing on Europe as that is where the war is most prominently taking place and emphasising that this film is set in a reality which is still occurring

There is non-diegetic narration which uses emotive language such as ;torturous’ and ‘refugee’ to evoke a response from the audience

News footage from real life events of wartime refugees struggling across Europe in harsh conditions plays in the background as narration occurs

The transition to the first shot goes from a map showing Casablanca to the location. A painting of Casablanca that gives the impression of an establishing shot

The camera cranes down to show a street filled with people going about their lives

‘Wait…and wait…and wait’ timeless – shows the length of the war and the desperation of people to get out of French Morocco to freedom

Set in a foreign country, exotic, unfamiliar, competing with other studios for biggest spectacle

Non-diegetic composed score takes a sinister turn, manipulating the audience when the policeman receives the telegram that the news is important

Exposition from Policeman of telegram that positions the audience in the film so they understand what is happening

Dissolve shows the passing of time – link subject matter of telegram to the following scene

Rapid editing and camera movements convey the urgency in the scene as people are rounded up

The shooting of the man shows the brutality in Casablanca and the corruption within it

Audience told to empathise with the man fleeing as camera tracks his movement rather than focus on the Vichy French so that we stay with him before he gets shot

Medium focal lengths and small apertures give a realistic and natural look that was introduced by Orson Welles in Citizen Kane a year prior

Man dies in front of the large picture of French oppressor

Close up shot of French propaganda to free France showing he is a good guy/ moral

Shot of French prison display liberty and freedom shows corruption as contrasts man being shot in the shot beforeahnd

The Enemy Arriving Sequence 00:03:58 – 00:06:29

Exposition efficiently delivered by pickpocket

Massive sets filled with furniture, shrubbery, impressive buildings and plenty of extras that show lavish production values

In terms of composition there’s a sense of scope not just because of the depth created in the foreground and background but also because of the balance in the top half and bottom half of the frame so there is no need for a cut when the pickpocket is describing what casbalancas like to the couple while seeing all three

Two shot where pickpocket I looking to the right while man is looking to the left which gives a sense of scope and doesn’t limit the world feeling alive to the conversation

Relies on racial stereotypes as a shortcut to tell story quickly with the untrustworthy foreign man, rich and confused Englishman

Encouraged to empathise with characters who hope to leave, girl foreshadow later on when hope turns to desperation giving a greater world view

Ominous score when bad plane is arriving

Plane full of danger approaches, flying over Ricks cafe

German soldiers uniform is the same to distinguish between good and evil

Framing of the shot is used to focus on the story – two shot on those two people

Rick’s Introductory Sequence 00:06:30 – 00:09:12

Dissolve showing passing of time

Diegetic upbeat score from Ricks cafe that increases in volume as the camera dolls in closer

Camera crabs from right to left to show off the large cafe set

creative decision that they’ve changed the aperture from a deep depth of field to a shallow depth of field to focus on the stars and glamourise them

Snippets of dialogue from characters that are trying to escape from Casablanca that help build up the situation/ Sam singing has been lowered in the mix

Dialogue builds up anticipation of Rick

Rembrandt lighting used on the stars which creates a triangle light on the cheekbone of the actor which gives them contrast

Close up shots of glass, cheque, chess board, smoking tells us what Ricks traits are before we actually see him/ Power – playing chess against himself and signing authorisation for someone else

Camera tracks the cigarette, tilting up to reveal Rick centrally framed and dolls backwards so we see all of him

All previous shots in his cafe have been busy with people talking and lots of extras but Rick is in isolation, music plays very faintly with little dialogue heard

Lazlo and Ilsa Sequence 00:25:18 – 00:29:53

Ilsa wears white – purity and innocence

Arrival has an impact as seen by the reaction shot of Sam the piano player as the camera stops tracking their movement and focuses on Sam

Camera tightens in, separating Lazlo from Ilsa at the table – centrally framed

Power levels – control French man standing over them then Lazlo stands up. Nazi officer is taller than all of them then Lazlo stands up again to assert power

blocking – actors positioned within frame helps to show power

gone from a 2 shot, framing is always service of the narrative, those who are talking are framed

Rick responds with witty humour, cool under pressure, strong leading man, refusal to be intimidated, displaying all the star qualities for which Bogart is known

When rick is being questioned rick is centrally framed

camera movements is based around bogarts movements, tilts up then pushes in – Bogart end the conversation dominance

glance object shot of the ring shows its importance

filters on lenses when focused on Ilsa which makes her highlights bloom and gives a sparkle to the eye

all characters we empathise with show dislike to nazis

profile shot of concern of Ilsa centrally frames her which still shows off her beauty

Leaving Rick’s Sequence 00:31:15 – 00:35:39

the camera holds on Ilsa as she is the important character

diegetic sound of Sams piano playing stops to underline seriousness of her request

long reaction shot of her when listening to the song focuses on her reaction which is important, centrally framed

the scene is defined by subtext, the dialogue isn’t explicit instead its suggestive and implicit

Rick enters dramatically, first time he seems aggitated

no- diegetic music on cut from rick looking at Ilsa and the reaction shot of both of them, dramatic

Ilsa presence is always felt throughout scene despite lack of dialogue due to composition

non diegetic score changes to something more sinister when the germans marching into France are mentioned

Lazlo and policeman have a conversation but shows reaction shot of Ilsa and rick

Composition of shot as they leave Ilsa in foreground while Lazlo is in the background as if overlooking what’s going on

Airport Sequence 01:35:25 – 01:42:10

Embraced his film star persona by the end appearing in detective style outfit much like the crime dramas

camera is close in on them when they are talking – two shot and shot reverse shot

shallow depth of field used puts a greater focus on them

non diegetic composed score of ‘as time goes by’ is a call back to the romance they shared

non diegetic composed score changes to a more sinister tone when transitioning to the nazi officer driving – foreshadows trouble

bogarts demeanour – tough, no nonsense, ‘manly‘

Hollywood hero – he only shoots when threatened with a gun himself

Dumping Vichy water glass in bin symbolic

French national anthem begins to play melodically at the end which draws the film to a close then becomes more upbeat as the end title card appears

Happy ending – Didn’t get Ilsa but made sure that she was safe with Lazlo, shot the Nazi officer and the two men get away with it and walk off free