Lighting and Contrast in Casablanca

The use of lighting in Casablanca is key in several major plot revelations.  Lighting (or lack of lighting) acts to highlight key locations, reveal character traits, develop plot transitions, and show contrast between characters.  These features provide deeper insight into character, location, plot, and theme by providing visual keys that remain in the mind.

The first key location highlighted by a contrast in lighting the piano in which Rick places the transit papers:

Immediately before Rick slides the papers into the piano, the saloon is shown in dim light.  The piano sits in the spotlight, indicating that this space is not the same as the surrounding area.  The act of placing the papers in the piano differentiates it, making it "sacred" as compared to the area around it. This space remains sacred throughout the film, and even as Rick's restaurant is ransacked in search of the papers, the piano remains untouched.

Soon after this piano scene, we find another use of lighting, this time revealing key facts about Rick.  As Rick retrieves money from the vault while talking to Captain Renault, he goes behind a wall and only his shadow is seen:

This image displays Rick as we see him throughout the majority of the film.  He is a man with the shape of a human, but he is essentially empty inside, displaying no feelings or emotions for anyone or anything. Rick's cynical personality is truly revealed in this image.

This shadow is used again near the end of the film in yet another encounter with Captain Renault.  As Rick leads the captain inside the saloon before the attempted arrest of Victor Laszlo, we see Rick again depicted with a shadow in a much different form:

The use of a low light to Rick's side creates a large shadow on the wall next to him as he unlocks the door. This foreshadows Rick's true intentions of bringing the captain to his saloon are part of a bigger picture.  Rick has become part of something larger than himself much as his shadow is displays his physical form, but much larger than he actually is.

While the shadow reveals transition in character, shadows are also used to show transitions in plot.  After Rick speaks with Ilsa when she sneaks into his room, lighting is used to develop a change in Rick and Ilsa's relationship:

Just before Rick reveals to Carl that Ilsa is hiding upstairs, she is shown in the dark shadows of the room (left).  As the door opens, light falls on Ilsa such that Carl is able to see her (right).  This transition from dark to light coincides with the first time anyone in Casablanca has realized Rick and Ilsa have once had a relationship and represents the change of ignorance to revelation.

One final lighting technique in Casablanca is the use of light and dark to create contrast between characters.  Beyond lighting, we see from the very beginning the contrast of black and white as Rick plays a game of chess. The black and white chess pieces represent the opposing sides that push back and forth throughout the film.  Contrasting black and white clothing is used consistently during the entire film.

 The most revealing contrast though is the scene directly after Rick's flashback:

As Rick sits with a bottle of liquor, he is in a very dark place both physically and mentally.  The door then opens, revealing this illuminating figure dressed in all white.  There is a stark contrast between Rick's dark state and the glowing white figure of Ilsa who represents the loving, caring, emotional man he used to be.  She is the only reason he has to show any type of positive emotion.  Ilsa herself is sacred to Rick, and much like the piano, she is seen glowing and we are immediately aware that she is more than another girl that Rick was once and acquaintance with.

Throughout the film, contrasting lighting techniques can be seen.  While some are less obvious than others, the contrast between light and dark is used artfully throughout the film.  These differences highlight key aspects of the film and provide more insight into the underlying themes of Casablanca.  In Casablanca there are constantly forces pulling in opposite directions or butting heads.  Between the Germans and the refuge population; between Laszlo and Rick; between Rick and himself; between Captain Renault and his corruption.  All of these are developed more fully by the stylistic use of light and dark throughout the film.