First and foremost Casablanca is one of the quintessential romances of American cinema, but with the perspective of American propaganda during World War II it serves as sufficiently more. In 1942, when the film was released, support for the war was growing but FDR’s administration still faced problems in fostering support for the war. The Office of War Information worked to convince a still largely unfavorable American populous, even after Pearl Harbor, to contribute to the war effort.
The Bureau of Motion Pictures was established in response to the movie industry’s offer of support in 1941. The Bureau was directed by President Roosevelt to advise Hollywood studios as to how they could help further the war effort. During the war, Hollywood managed to produced nearly 500 films every year and had audiences of eighty million per week domestically, and were matched internationally. Movies still had a huge drawing power even during the war, and the Office of War Information took notice. OWI director, Elmer Davis, said that movies could be “the most powerful instrument of propaganda in the world, whether it tries to be or not” and Roosevelt believed that movies were among the most effective ways to reach the people (Koppes 1997 pg 89).
The main focus of the Bureau of Motion Pictures was to review nearly every film made in America during the war and its contents in relation to the war (Shull 1996 pg 2). Often suggestions were made to filmmakers as to how films could be ‘improved’. The Bureau tried to abstain from censorship while promoting messages that were positive about the war and the Allies (Myers 1998 pg 58). Casablanca was a critical success in that it won three academy awards, but it was also a success to the Bureau of Motion Pictures. It was liked because of its depiction of a valiant underground effort, the United States as a haven for those who have been oppressed, and the sacrifice of personal desires for the sake of the superior cause that is the war effort (Koppes 1997 pg 98). The propaganda of Casablanca goes much further however, through symbolism of characters, the symbolism of Rick’s Café Américain, and the film’s style and story telling make it a much more powerful engine of propaganda.
The film’s central figure and hero, Rick (Humphrey Bogart) is introduced as the man who coined the phrase “I stick my neck out for nobody”. He is an American living abroad, and owns Rick’s Café Américain, the symbolism of which will be addressed later. Rick is quickly characterized as a tough guy, he has a fondness for a cause, and he fights for the underdog. These are all admirable qualities of course, but they’re also especially revered in American culture. The struggle of the underdog is seen in America’s independence from Great Britain and consequently has been ingrained in American ideals. The use of such a characterization is certainly propaganda, designed to connect the character with the audience’s affections.
Howard Koch, one of the film’s screenwriters, considers the possibility that the film is a political allegory in his book Casablanca Script and Legend. In this allegory Rick is President Roosevelt, as casa blanca is Spanish for “white house”, and “a man who gambles on the odds of going to war until circumstance and his own submerged nobility force him to close his casino (partisan politics) and commit himself – first by financing the Side of Right and then by fighting for it” (Koch 1973 pg 166). Such a consideration by one of the films screenwriters certainly inspires greater thought as to the depth that propaganda is imbedded into the films narrative. As Rick goes from “I stick my neck out for nobody” to sacrificing his feelings for Ilsa (Ingrid Bergman) in favor of the greater good he hits a home run for the Bureau of Motion Pictures. Rick’s sacrifice could be identified in the audience’s own participation in wartime efforts such as rationing and price controls.
The film gives two connotations to the French, one through Ilsa and one through Captain Renault (Claude Rains). Ilsa earns more sympathy from the narrative than Renault. Ilsa’s intimate relationship with Rick is a more complicated ‘lady in distress’ situation. Perhaps Ilsa, being an attractive woman in peril, increases the audience’s attention to the plight of the French as a whole. Ilsa’s reappearance in Rick’s life eventually helps Rick realize that he cannot stay independent of the rest of the world, similar to America’s transition from avoiding conflict in Europe to joining the war. Ilsa’s troubles are a propaganda intended to create sympathy in the audience for the victim’s of the war throughout Europe.
The counter to Ilsa’s sympathetic character is Captain Renault. Renault essentially abides by the policy of “I stick my neck out for nobody” as well. He is treated much like a coward for working with Major Strasser (Conrad Veidt), cowardice being regularly with the French military today. Renault is a cynic, much like Rick in the beginning of the film, they look out for each other’s interests but they initially remain self-serving. By the end of the film, with Rick’s transition and Renault’s eventual commitment to free France, together they work against the Nazi’s. The development of Rick and Renault’s relationship is symbolic of America’s relationship with its wartime allies.
The villain of the film is Major Strasser, who has been sent to capture Victor Lazlo (Paul Henreid), and is portrayed as a stereotypical Nazi. He is heartlessly cruel and robotically efficient. However, Strasser’s portrayal is not that of a sadistic or openly violent figure, he is always polite. The political climate that is portrayed in Casablanca is where Strasser draws his power and sense of impending danger. In the film Casablanca is not under Nazi control, however Strasser’s influence robs the French government of its authority, and the city is essentially treated as though it was under Nazi control. This distant Nazi threat is perhaps more menacing to America than depictions of war in Europe because it shows that the threat extends far beyond their frontlines - a scare tactic to make the audience question how safe they may actually be at home.
The most idyllic depiction of America’s allies comes from Victor Lazlo. Lazlo is presented as a nearly flawless character for his part in the war. Lazlo’s character has persisted in fighting the fascist regimes of the Axis powers even after his stay in a concentration camp. He is an inspiring figure of the underground resistance that shows that America has allies to be proud of. Lazlo is a character so noble that despite his importance to the resistance he is willing to sacrifice himself so that his wife can escape Casablanca. He symbolizes a cause that is great enough that Rick is willing to set aside his desires to support, suggesting that the audience be willing to make sacrifices to support the war and America’s allies. The character of Lazlo is propaganda in that he is used to show the audience that America has noble allies that are worth fighting and dying for.
Rick’s Café Américain is a symbol of American ideals that audiences would have recognized. The patrons are a melting pot of locals and a multicultural group of refugees. The cast is made of a variety of European actors and the characters come from a variety of nations, Sam and Rick being the only Americans in Rick’s Café Américain. The music is jazz, an American music style and a symbol of decadence, the musician is an African American who is shown with a great deal of respect, it is implied that he would not experience such equality outside of Rick’s. Within Rick’s Café there is gambling and drinking, the visitors are enjoying freedoms that are threatened elsewhere by the encroaching Nazis – much like Americans enjoyed freedom and peace at home during the war. Rick’s is the also the location that many of the refugees come to attempt to make their way to America, which is the ultimate freedom from fascism. This is a propaganda that inspires pride but also a sense of duty to help those who are oppressed reach these freedoms and uphold the American reputation.
At no point in the film does it seem that the propaganda of Casablanca is overwhelming. This is why Casablanca was so important - its propaganda is often, but not entirely, subtle and tasteful. The audience enjoys a memorable love story unfolding on screen while being reminded of their American values and duties. There is clear symbolism throughout the movie, as characters and locations stand for more than they may appear. It is easy to see why The Bureau of Motion Pictures and audiences alike praised Casablanca - the audience is treated to a classic romance that stands as an impeccable piece of story telling, and as Elmer Davis said “The easiest way to inject propaganda into most people’s minds is to let it go in through the medium of entertainment picture when they do not realize they are being propagandized”.
Works Cited
Curtiz, Michael. Casablanca. Warner Bros. Pictures. 1942.
Koch, Howard. Casablanca Script and Legend. Woodstock NY: The
Overlook Press, Inc, 1973. Print.
Koppes, Clayton. (1977). What to Show the World: The Office of
War Information and Hollywood, 1942-194. The Journal of American History, 64(1)
Myers, James. The Bureau of Motion Pictures and Its Influence on
Film Content During World War II. Lewiston NY: The Edwin
Mellen Press, 1998. Print.
Shull, Michael. Hollywood War Films, 1937-1945. Jefferson NC:
McFarland & Company, Inc., 1996. Print.
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