Stars & Genre

     Many concepts come to mind amongst the star-studded climate of Hollywood's Golden Age. Peaking as the United States launched itself  into war, the studio system in this era displayed a focused yet extravagant perspective toward the art of cinema. An important component in the studios' structure was the connection between movie stars and movie genres; these two concepts, while they may seem somewhat interchangeable in the present day, were nearly inseparable to filmmakers and audiences of the Golden Age.
     Moviegoers of the time period, similar to today, were familiar with the various genres - musicals, westerns, mysteries, and crime thrillers, to name a few. However, during this time, audiences would have conceived stronger connections between certain actors and certain genres than they do today. Judy Garland was recognized as the centerpiece of the MGM musical, Edward G. Robinson was viewed as a staple of the gangster movie, and Gene Kelly was famous for his unparalleled dancing talent. The connections between these performers and their respective genres was so powerful, that oftentimes their very presence in a film would trump the genre of the work. Judy Garland, for instance, in the setting of a romantic comedy, would need to sing a song for her performance to reach its recognizable expectation.
     As a result of this concept, films of the Golden Age were given more formulaic narratives and plot devices. When audiences went to view these films, they were less interested in seeing the actual story unfold, and more interested in seeing the performers carry out expectations in the generic setting. Musicals would undoubtedly include a crowded, large-scale show-stopping number, and gangster features would conclude with the death of the principal gangster. The formula was established and understood; audiences did not view the movies in order to find out what would happen, but to see how effectively the performers executed their roles, and to connect with the understood concepts.
     A fine example of this idea is the role of Humphrey Bogart. Bogart was a classic 'tough guy,' a hard-boiled antihero who would find a solution to his problems through whatever difficult means. His dialogue was coarse and direct; his behavior was down-to-earth and unsentimental. Typically, Bogart would hold a position of authority, such as a policeman or detective, and would be tangled up in a legal mishap. We see that Bogart holds this position even in Casablanca: despite being understood as a war film of sorts, Bogart's commanding presence establishes that he is in control of his American saloon, and that he will solve problems on his own. Although, like his other characters, he seems rough and unemotional, 'sticking his neck out' for no one but himself, his actions eventually take charge of the conflict and lead the film to its resolution.