In a disturbance downstairs in the darkened, closed cafe, Carl arrives with Victor, who has been wounded in the police raid on the Resistance meeting. After going to investigate from the upstairs balcony, Rick privately instructs
Carl to take "Miss Lund" to her hotel room through a side door so that Laszlo won't know of their meeting. As
Carl sneaks Ilsa away, Rick engages Laszlo in a conversation and a drink to stall for time - and hears again of the
Czech's firm belief in the "good" of the Cause.
Rick: Don't you sometimes wonder if it's worth all this? I mean, what you're fighting for.
Laszlo: You might as well question why we breathe. If you stop breathing, we'll die. If we stop fighting our enemies, the world will die.
Rick: And what of it? It'll be out of its misery.
Laszlo: Do you know how you sound, Mr. Blaine? Like a man who's trying to convince himself of something he doesn't believe in his heart. Each of us has a destiny - for good or for evil.
Rick: I get the point.
Laszlo: I wonder if you do. I wonder if you know that you're trying to escape from yourself, and that you'll never succeed.
Rick: You seem to know all about my destiny.
Laszlo does know of their mutual love for "the same woman" - a love for which no one is to blame. Without a need to seek vindictive revenge or find an explanation, he suggests, in his own self-sacrificial offer, that Rick use the letters of transit to take Ilsa away from Casablanca to a safe location - as a favor to him. He would remain in
Casablanca and take his chances. Incredulous, Rick is impressed by Laszlo's self-less caring, virtuous trust and devoted love for her:
Laszlo: I know a good deal more about you than you suspect. I know, for instance, that you are in love with a woman. It is perhaps a strange circumstance that we both should be in love with the same woman. The first evening I came into this cafe, I knew there was something between you and
Ilsa. Since no one is to blame, I, I demand no explanation. I ask only one thing. You won't give me the letters of transit. All right. But I want my wife to be safe. I ask you as a favor to use the letters to take her away from Casablanca.
Rick: You love her that much?
Laszlo: Apparently, you think of me only as a leader of a Cause.
In the essay “Beautiful Friendship: Masculinity & Nationalism in Casablanca”, Peter Kunze lavishly explains the magnificence of Michael Curtiz’s 1942 film Casablanca. Kunze focuses on how the movie not only highlights an exchange of relationships, but how the film has an underlying meaning between these relationships. He also implies that there is a more complex meaning behind every character in regards to their gender, economic, and social roles. The overall thesis of his reading is “the patriarchal ideology underlying the narrative commodifies Ilsa, leading Rick to exchange her with other men in an act of friendship and solidarity as well as to dissuade any perception of queerness between the strong male friendships in the narrative” (Kunze
The plot of Casablanca is that during World War 2 many people were trying to escape Europe and out of all these people we study three interesting characters. As we get to know these characters we learn that they are willing to sacrifice things that are important to them just so that humanity can be better. Getting to know the characters is a very important part of the whole movie because the characters can represent certain things. I think the climax of the movie is when Rick gives the transits to Iisa and her husband. He loves this woman so much that he is willing to do this for her. At the beginning of the movie Rick says "I stick my neck out for noboby" or something along those lines and this sacrifice proves how much love has changed him for the
Casablanca was directed in an era almost entirely dedicated to propaganda, as far as the film industry is concerned. The movie promoted America and the Allies similar to most films of the time, but it did so in a much different manner. The story told in Casablanca follows the main character, Rick, through his personal affairs and love tango with another lead character, Ilsa Lund. The film begins with Rick alone running his saloon based in Casablanca, in which he seems very indifferent to other people’s affairs, and comes off as very exclusive. He is delivered letters of transit by a man named Ugarte, which are nearly priceless to any refugee desiring to flee to the United States or another unoccupied country. Rick continues to act disinterested, reluctantly agreeing to hide the documents. He holds onto them even after Ugarte is killed for having stolen the letters, although there did not seem to be an...
Alice and Jerry figure out the truth, and Alice realized the error of her ways. Jerry was captured, and Alice searched for a way to find Jerry back in his apartment. On a hunch, Alice was able to find a partially abandoned building, great for secret operations. The halls were dark, and lit up only at the ends, and there were silhouettes of people stalking the halls.
The film Casablanca, indeed, involves problems that Rick faced and he finally solved that problem, ending in a satisfying way. Risk’s equilibrium is disrupted when he is going to leave Paris with his girl friend Ilsa because Ilsa doesn’t showed up at last. Risk becomes a boss of a cafe in Casablanca but he never imagines that he would encounter Ilsa again. Ilsa walks into Risk’s life again by accident when she is planing to get a letter of transit in Casablanca in order to escape to America with her husband. At the same time, Nazi Major Strasser arrives in Casablanca and tries to stop Ilsa’s husband from leaving Casablanca. Risk’s equlibrium is disrupted again. Risk still loves and hates Ilsa, and moreover, he gets the letter of transit. Even though Risk wanted to stay with Ilsa and let her husband go to America alone, Risk finally let Ilsa and her husband go and killed the Nazi Major Strasser. That is a satisfying ending.
The 1942 movie, “Casablanca” portrays a World War II era enclave where refugees fled Nazi Europe and used this unoccupied city as a safe haven while pursuing their dreams of coming to America. The main character is Rick Blaine, played by Humphrey Bogart, who owns a nightclub and casino in unoccupied Morocco during the Nazi era. Blaine, whose sole purpose appears to be money, illuminates a sense of arrogance and self righteousness as he assists in retrieving the necessary immigration documents for those who are willing to pay the price for their freedom. Hidden deep within his memory are the reflections of a women that he once loved, Ilsa Lund, played by Ingrid Bergman. The third leading role was that of Paul Henreid who played the Ilsa’s husband in the movie. Victor Laszlo, a Jewish activist who was on the run from the German Regime was once believed to be dead after being captured and placed in a concentration camp, during which time his wife (Ilsa) fled to Paris and ultimately had an affair with Rick Blaine.
obtain love from something , it is easy and very possible to have love for
Meanwhile, Monk and Natalie manage to drag themselves to the fireplace and Natalie sends out an SOS smoke signal in Morse code. The two policemen with whom Monk works see the signal and are able to come in just in time. They save Monk and Natalie from being shot and arrest the handyman.
to him, something for which he can strive, so he puts all of his energy into
Victor is jailed because he is suspected of murdering his friend Henry Clerval. The murder occurs the previous night and there are witnesses that say they saw Victor acting suspiciously during the night.
Throughout history, the film industry has seen many directing styles and techniques. The early part of the 20th century saw a factory style of film production, but as the years went by, director's began to employ new and untried techniques in their pictures. One such technique which these director's implemented was a new approach to the use of the camera and camera angles. "Casablanca," an Academy Award winning film of 1942 saw director Michael Curtiz manipulate the camera in ways others had not. He uses the close-up, point-of- view, and creative shot motivation methods in his film starring Humphrey Bogart and Ingrid Bergman, to create an American cinema classic.
Dallas dragged Curtis out through the window and started hitting his arm since it was on fire. Then, there was a loud scream from the church and Winston jumped into the church to get Johnny out of the building.
“I woke up from the nightmares with a cold fear,” she said. “I came to a point where I didn’t want to die, but just wanted to be dead.”
If Casablanca's audience had to choose between Rick and Laszlo, they would choose Rick because everything in the film has prepared them to choose him, who represents the rejection of America's involvement in world politics. Instead, the film relieves the audience of the necessity of choice by displacing the film's political conflict into melodrama, where familiar emotions overwhelm ideas. Although Victor Laszlo is always in Rick's shadow, he stands for the values of the father and the prevailing American belief in 1942 that freedom is worth fighting and dying for, which is the definition of the official hero. By censoring the theme of American reluctance to give up its autonomy, the film spares the audience the agony of siding against the values of the father, condensing the oedipal resolution to another shared experience between Rick and the viewer.
...d shots and Alan’s hand had gotten hit. The boys were back inside and the police called and told them that Doctor Curt had arrived. Doctor Curt spoke to the boys and told them that the first shot had been an accident; and that he had read the paper and it looked fine, so they could come out. The kids all walked out, they dropped their guns and were handcuffed, except for Zach who went to his mother and got his medication.