There is one specific scene in the movie “Casablanca” that stands out to me. The scene is set in Rick’s Café, where a group of German officers begins singing a patriotic song. In response, Victor Laszlo, the resistance leader, instructs the band to play the French national anthem. As the music swells, the patrons join in, their collective voices drowning out the Germans. The scene culminates with a woman chanting through tears: “Vive la Liberté!” 

Yes! Yay! Freedom and liberty. Woohoo! 

But wait! 

Where is the Moroccan song of freedom and liberty? Where are the Casablancans in “Casablanca”? 

It’s as if there is a giant missing piece in the movie. In this blog post, I want to discuss the hidden dimension of the movie “Casablanca” and offer solutions on how to address it. 

Before we proceed, let me summarize the plot of the movie for some context. 

“Casablanca” takes place in 1941 during World War II. France has been invaded by Germany. Many Europeans are fleeing German occupation through Casablanca in Morocco, hoping to find a better life elsewhere. The story follows Rick, an American expatriate who owns a nightclub in the titular Moroccan city. When his former lover, Ilsa, walks into his club with her husband, Victor Laszlo, a renowned resistance leader, Rick finds himself in a moral dilemma. Ilsa asks Rick for help in securing exit visas so she and Victor can escape the Nazis. Torn between his feelings for Ilsa and his commitment to a greater cause, Rick must navigate personal sacrifice, political intrigue, and the complexities of love and loyalty. In the end, Rick chooses to assist Ilsa and Laszlo, putting their mission above his personal desires, and they bid farewell at the airport, leaving behind a memorable tale of romance and heroism. 

What is missing from this description is the fact that in 1941, Morocco was colonized by France. 

In the movie, we encounter many platitudes from immigrants expressing their yearning for freedom and liberty, yet there is not a single mention of the Moroccan aspiration towards freedom and liberty. Not even by the idealistic resistance leader Laszlo. The Moroccans in the movie are relegated to background decoration. The most prominent Moroccan character is the club’s doorman, Abdul, who has very limited screen time and no substantial role in the narrative. This marginalization reflects a broader trend in the film industry, where non-European characters are often reduced to minor, stereotypical roles. 

Additionally, the Moroccan characters depicted in the film often embody clichéd traits. They are shown as either subservient or exoticized, reinforcing colonial stereotypes rather than presenting them as fully realized individuals with their own stories and complexities. This lack of depth and representation contributes to a one-dimensional portrayal of Moroccan society. The movie very much suffers from a heavy dose of Orientalism. 

Orientalism is a concept coined by the Palestinian scholar Edward Said to describe the Western depiction and interpretation of Eastern cultures, particularly those of the Middle East and Asia. This perspective often portrays the East as exotic, mysterious, and fundamentally different from the West, perpetuating stereotypes and generalizations. Orientalism reflects a power dynamic where the West views itself as superior and enlightened, while the East is seen as backward or uncivilized. This approach not only distorts the true nature of Eastern societies but also reinforces colonial attitudes and justifications for domination. Said’s critique highlights the importance of recognizing and challenging these biased representations to foster a more accurate and respectful understanding of diverse cultures. 

I remember how disturbed I felt the first time I watched the movie Casablanca. I kept hearing how romantic it was. This disjointed experience inspired me to include the movie Casablanca as a minor plot in the novel Take The Highway. Where two characters have a discussion about it from different perspectives.

Now, you might be thinking: “But Elen, this movie is old; it reflects the mindset of that time period.” You are right. “Casablanca” continues to be hailed as one of the greatest movies ever made. I am picking on this movie a little bit. However, I see similar tropes in modern movies. Even in today’s news coverage of current events, I see a similar attitude. The desire of one group of people for freedom and liberty is portrayed as completely natural. Yet for another group, the same aspiration is portrayed as unnatural and abhorrent. “What? You don’t want to be colonized for all eternity? What is wrong with you?” Our news coverage seems to be wagging its finger in our faces in admonition. 

What is the solution? What should we do about it? 

I believe we should fill the missing piece with companion pieces that consider the viewpoint of the Moroccan people. Whenever viewing or discussing the movie “Casablanca,” I invite you to fill the gap with some of the following suggestions: 

• Read a book by a Moroccan author. My favorite is Fatima Al-Marnissi. My favorite would be Dreams of Trespass.

• Listen to some Moroccan music. This one is a current favorite.

• Watch a Moroccan movie, such as “The Source.” 

• Watch movies that depict a North African nation’s struggle towards liberation from European colonization, such as “The Battle of Algiers” or “Lion of the Desert: The Story of Omar Mukhtar.” 

By engaging with these perspectives, we can enrich our understanding and appreciation of the diverse narratives that exist beyond the frame of “Casablanca.” Next time you view the movie Casablanca, spent a moment thinking about Casablancans. 

You might find it interesting to read some of my other movie reviews.