"Play it, Sam. Play 'As Time Goes By,'" purrs a moon-faced Ingrid Bergman in the now-famous scene from 1942's Casablanca. Staccato t's and accordion-stretched a's lend a musical flavor to Bergman's lilt. "Early" becomes "euh-ly" and "perhaps" unfolds as "peuh-haps.'"
The grandeur and glamor in her voice, though, is a sham.
No, really. That's not a real accent. It's a now-abandoned affectation from the period that saw the rise of matinee idols and Hitchcock's blonde bombshells. Talk like that today and be the butt of jokes (see Frasier). But in the '30s and '40s, there are almost no films in which the characters don't speak with this faux-British elocution—a hybrid of Britain's Received Pronunciation and standard American English as it exists today. It's called Mid-Atlantic English (not to be confused with local accents of the Eastern seaboard), a name that describes a birthplace halfway between Britain and America. Learned in aristocratic finishing schools or taught for use in theater to the Bergmans and Hepburns who were carefully groomed in the studio system, it was class for the masses, doled out through motion pictures.
There are many theories as to how it became any sort of standard. The most probable being that when the silent film era was bulldozed for the early talkies, so too were those films' famous faces, on account of their indecent sets of pipes. Silent movie star Gloria Swanson once notoriously quipped: "We didn't need dialogue. We had faces." Expression was paramount, and actress Clara Bow was master. Bow was born in a run-down tenement in old Brooklyn and withstood a dizzy ascent to stardom in films like It (1927) and Wings (1927). Her morose pout and slanted eyes took Paramount straight to the bank. People paid to ogle her. When she heard her voice recorded for the first time, she was appalled. "I hate talkies," she said in Elizabeth Goldbeck's The Real Clara Bow, "they're stiff and limiting. You lose a lot of your cuteness, because there's no chance for action, and action is the most important thing to me." In The Wild Party (1929), for take after take Bow's eyes would shift nervously to the microphone overhead, calling for another take.