JSTOR: Smithsonian Studies in American Art: Vol. 1, No. 2, p. 3

"The Happiest of Happy Accidents"? A Reevaluation of "Casablanca"
Gary Green

This article reevaluates the role of Michel Curtiz in Casablanca. Often relegated to a position of influence rather than prominence, Michel Cutiz has rarely been given the credit that he is due for his work on Casablanca. According to Green, however, the time has come to reanalyze Curtiz’s work and honor his achievements. The main forcus of this reanalysis is Curtiz’s work on the film’s visual structure. Through camera angles and actor positioning, Casablanca’s visual structure is established as a series of compositional triangles that refect the triangles that are inherant to the film’s narrative. Rick, Renault, and Major Strasser form one such triangle. Rick, Ilsa, and Lazlo form another one. Each triangle constanly seeks resolution but is denyed such a conclustion until Rick changes emotionallly and breaks each triangle visually (the final scene of the film). In Green’s opinion, such structural methods are the constructs of Curtiz’s enlightened directing style and can be traced to the film theories of Eisenstein. Green stresses that Curtiz’s work should not be underestimated despite the enourmous size of the Warner Brothers studio and the number of people who worked on Casablanca. While it is often said that Casablanca was merely the surprise result of many happy accidents, this article assures the reader that a great deal of theory and effort amounted to the film’s great quality and success. This knowledge contributes greatly to the film’s analysis as well as the analysis of the studio system.

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JSTOR: Smithsonian Studies in American Art: Vol. 1, No. 2, p. 3