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

Overview:

This scene takes place 6 minutes into the film, and introduces us to the protagonists place of business. It establishes the seedy and lawless nature of the cafe, immersing the audience in the world the protagonist rules over, showing multiple different illegal activities and exchanges that set an image of what life is like for many in Casablanca. At the end of the sequence, we are introduced to the protagonist, Rick, although he says nothing, and his actions and appearance are the only indicators of his character here.

Key Elements:

Cinematography –

This sequence is a perfect example of the subtlety of the classical Hollywood style, beginning with a long shot establishing the location, then cutting to a close up of the sign to direct the audiences attention and contextualise the scene. The camera then tilts down and follows a group of customers into the cafe, where the doorman holds the floor open for the camera and a waiter greets us, immediately immersing the audience in the environment. The camera glides smoothly around the set in a rare method for filmmaking in this time period. It is possible here because the set has been built and the actors have been blocked precisely to allow for the film to be made and for the location to be seen perfectly by the audience.

A wide shot displays the vast and complicated location crabs along the room, tracking the movements of a distant waiter, bringing us deeper into this location, where eventually the waiter leaves the frame and the camera smoothly glides down into a close up of Sam. We then cut to a new location, and the camera, again, carbs to the left and pedestals down to bring our attention to a pair of men, keeping the editing to a minimum and keeping our focus on the story, every small scenario here used to establish what life is like for those trying to escape Casablanca. Hopelessness, desperateness, and turning to illegal activity. They also establish the environment of Rick’s cafe, and what sort of people it attracts. This can be seen again where it pans from one small chipper of conversation between a pair of men doing something illegal to a man being served at the bar. This efficiency of storytelling all serves to contextualise Rick’s life.

Once again, a long shot of the waiter opening the door cuts to a wide shot that tracks his movement through a new location, to a close up of some new characters which dolly’s back to an over the shoulder shot 4 to shoot the dialogue. Everyone in all parts of the frame are kept in focus for us to see who is talking, and the camera smoothly follows the waiter so that we can follow the whole conversation. The scene is all one shbut is reframed seamlessly by the gliding camera movement.

We are introduced to Rick’s character before we even see him. The close up of his lazy signature on a document signifies his importance, and his silence signals that he is a stoic man of few words. A carefully framed close up reveals all in one frame his tendency to drink and smoke, and his strategic thinking through the chess board, which he plays the black pieces on, signifying his tendency to fight as the “underdog”. When he is revealed, no one else is in frame to keep our attention on only him, his face is in shadow and him being in a dark, lonely corner of the bustling cafe, making him appear gruff and mysterious, a large part of his character being revealed before he even speaks. This is also shown in how people look to him for approval to enter, and he only casually nods to say give permission.

Editing –

There are as few cuts as possible as we enter the cafe, immersing the audience due to keeping all focus away from the filmmaking and on the story and location/set design.

Sound –

As the camera nears Sam, the diegetic sound of his singing and the music he is playing rises to become the dominant sound in the sound mix, keeping our attention on him and further immersing us in the audience. This is also true when it L-cuts to a further location and the sound of his singing drops in the mix, but only enough so that we can infer we are still near him, or at least in the same area.

Mise-En-Scen –

The mixed costume design, from Western tuxedos to fez hats, shows how multicultural the location is, further contextualising the story.

Ricks suit is pristine and white, bringing our attention to him. It shows that he has class and style, and also shows his authority and importance over the black costumes that most of the cafe employees wear.

Performance –

The large mix of accents perpetuates the situation that Casablanca is in, fillies with immigrants trying to get out but failing.

Context:

As much of a films success at the time was dependant on the size of its cast, much buildup is made to emphasise Rick’s reveal, which in itself is a somewhat dramatic moment because of the way he is kept off frame at first before being revealed in a shot all by himself, the lighting illuminating his face and him immediately displaying his authority as owner of the cafe.

Representations and Aesthetics:

The lighting on the women in the film is much softer and smoother than that on the man, which is harder and outs them in shadow, gibing them more gruff or weathered faces. The women, by contrast, are presented as much smoother and fairer, making them appear fragile and elegant, whereas the men seem tough and masculine.

Auteur: