Casablanca has the reputation of being an "accidental masterpiece." In this article, Gary Green maintains that the brilliance of the film was no accident at all and that proof of the film's mastery can be found in its visual style, which can be attributed to the director Michael Curtiz. In directing Casablanca, Curtiz placed great importance on emphasizing the atrocities of the war, specifically the monstrous capability for evil of the Nazi regime and their control of the Vichy government. Yet even with the stressed war element, Curtiz visualized the film as a "mood piece", which is certainly reflected in the visual style of the film. Curtiz uses cinematic techniques of the German Expressionist tradition and film noir, such as emphasis of the mis-en-scene and the use of dark lighting and shadow to create meaning in the film. Green suggests that these stylistic ingredients attribute to Casablanca's visual aesthetic and narrative capabilities. Specifically, Green takes note of two ingredients: thematic darkness and the use of the 'triangle'. 

     Green finds two dominant triangles in the film: a political triangle between Rick Blaine, Louis Renault, and Major Strasser and a romantic triangle between Rick, Ilsa Lund, and Victor Lazlo. In both of these triangles, Rick functions as the focal character, which is visually apparent in the placement of his character in two parallel scenes where the triangles are first introduced in Rick's Café Americain. In both instances, Rick sits in the same spot at both Strasser's and Lazlo's tables. It is here that we see how Curtiz explores the two triangles by giving viewers a visual that lends narrative meaning. This is also evident in the final scene at the airport where he uses two shots and close-ups to show the dismembering of both triangles. Ultimately, Ilsa is visually and narratively linked to Lazlo, while Rick is linked to Renault. This last scene is the darkest visually as it reflects Rick's inner emotions. Curtiz utilizes light and darkness to allow audiences to profoundly connect to Rick as a character in the film and ultimately connect to the values and sentiment that he stands for. It is no coincidence that those values are those that reflect American ideals during WWII. This is the fundamental notion of my thesis; political messages are embedded in the character development and narrative of the film, making it an effective conduit for propaganda.
     This article is very helpful for my thesis because it reevaluates Casablanca by delving into the stylistic elements that give the film both aesthetic and narrative value. The motif of the triangle would be an interesting way to analyze the evolution of Rick's character. Throughout the film, he functions as both a literal and figurative focal point of a political and romantic triangle. These two triangles can be seen as a parallel of the two ultimate conflicts in Casablanca, politics and romance, and in the end Rick must choose between the two. Rick's final choice is what ultimately breaks up the triangles-he is no longer the apathetic middleman who is playing a game of tug-of-war, but rather he is a self-sacrificing idealist who chooses to take a political stance and join the fight against fascism. This article enhances my thesis because it shows the ability of stylistic techniques - the visual motif of the triangle along with the darkness that pervades the film - to absorb viewers into Rick's frame of mind and ultimately the political messages that he represents. The result is a profound investment in Rick as both a fictitious character in a drama and a stand-in for a political cause, one that reflects American ideals of anti-fascism and anti-isolationism.

Green, Gary. "The Happiest of Happy Accidents"? A Reevaluation of "Casablanca" Smithsonian Studies in American Art, Vol. 1, No. 2. (Autumn, 1987), pp. 2-13.

While many have called Casablanca a “happy accident” or suggested that the film serendipitously arose from a series of problems and random mistakes, Gary Green suggests a reevaluation of the film looking at it as a product of its director, Michael Curtiz. He says that the distinct ties between the visual and narrative aspects of the film are what make it most enduring and that Curtiz is chiefly responsible.

The main visual and narrative motif that is carried out in the movie is the triangle. Rick is part of two distinct triangles: the romantic triangle between him, Ilsa and Lazlo, and the political triangle with him, Strasser, and Renault. Visually Curtiz explores these two triangles by positioning the actors within the frame to represent their ties and connections. Through positioning Rick at the same spot at the table at the initial meetings of both triangles, he makes a connection between them. He uses two shots and close ups in the climactic last scene to show the breaking up of the triangles. In the end Ilsa is visually and narratively paired with Lazlo, while Rick is paired with Renault.

The other style that Curtiz lends to the film is the look of the films of the film noir period. Following in the footsteps of German Expressionists, his dark style with harsh painted on shadows help the audience become closer tied to Rick’s inner feelings. As the film goes on the style becomes darker as we become more and more involved in Rick. Even the stylistically light flashback sequence ends with a darker more sinister scene when they part with the train leaving. The end of the film is particularly dark visually with the airport almost lost in darkness. These stylistic elements that bring us closer into the film are the main reason for the film’s lasting ability, and the reason why it has become regarded as a masterpiece. Green wants to make sure that in our reevaluation of the film, we give credit where it’s due: to Michael Curtiz.