The film I am analyzing for my final, Casablanca, is a romantic drama set in a French colony in Morocco during World War II. It is easy to see at the beginning of the film what type of movie it is; due to the lack of any narrator or historian, I would immediately categorize the film as a narrative, and more specifically as historical fiction. Casablanca follows the journey of its main character, Rick Blaine, over a few days, as he reunites with the woman he loves, Ilsa Lund, and then almost immediately lets her go again. The history in the film is used for the setting and to increase the drama in the film, rather than to educate the audience, as would be the goal of narrative films rather than documentaries. Furthermore, any history that can …show more content…
After then, the main American ideal switched to interventionism, or getting involved in the war to stop the Axis powers from taking over. The two principles are represented in the characters of Casablanca, with a clear favoritism towards interventionism. The first hint that the film will be pro-interventionism was in the bar, where Signor Ferrari, Rick’s friendly business rival, states to Rick that “isolationism is no longer a practical policy.” Rick himself is one of the characters that represent isolationism, along with the French Vichy official, Louis Renault, as evident by these lines of dialog between them from the beginning of the film: “I stick my neck out for nobody.” Rick states, to which Renault replies “A wise foreign policy.” Both only work for themselves, and Renault unashamedly admits that he is a corrupt official who looks out for himself before anyone else, even if it means bowing to the Third …show more content…
Casablanca’s obvious support of interventionism, as I have already explained in this paper, is what led me to this conclusion. The main example that supports this argument is Rick’s sudden change of heart, and his willingness to sacrifice his own safety and neutrality in order for Laszlo and Isla to escape so that Laszlo can continue his important work with the resistance. This theme is seen in other places in the film that I have not yet mentioned and that do not necessarily have anything to do with the themes of isolationism or interventionism in the film. For example, Annina and Jan Brandel are a newlywed Bulgarian couple who are desperately trying to get letters of transit to America. They do not have enough money, however, and while Jan tries to gamble for winnings at the roulette table, Annina has been approached by Renault, who will give her and her husband exits visas in exchange for sexual favors from Annina. While she is reluctant to do so, she feels that she would rather put her own feelings aside and get her and her husband to safety in America, and goes to Rick to make sure that if she does this, Renault will keep his word. This shows Annina’s willingness to per aside her own safety for what she believes
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
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...
In the film Casablanca, directed by Michael Curtiz, a clear juxtaposition exists between Rick and America. Despite Rick’s numerous similarities to America and his deep longing to be part of the country, a physical and psychological barrier separates the two. With America practically being on the opposite end of the world, Rick understands that he cannot abandon his responsibility to aid and influence others in Casablanca. Rick is willing to sacrifice his personal comfort and well-being for the greater good of society. This juxtaposition between America and Rick foreshadows that the United States would soon become involved in the war by overtly displaying Rick’s transformation when he confronts his troubled past.
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.
argues that America needs to be more engaged in internationalism. On the other hand, realism
Casablanca debuted in 1942, shortly following the bombing of Pearl Harbor and the United States' entrance into World War Two, although there was plenty of anti-Nazism sentiment, the movie fueled these feelings. There is pro-Allied forces propaganda to support the war, from the scene with La Marseillaise, to the characters of Renault and Rick, and to the last scene. Although the majority of the French patriots were elated to sing their national anthem, it created tension with the German soldiers who imposed their patriotic songs on the crowd, representing the imposition of Germany on France during the war. Captain Louis Renault, who tries to placate who he believes will be the winning side, seems flimsy when compared to Rick, the firm patriot who believes in freedom at all costs. The phrase, "Louis, I think this is the beginning of a beautiful friendship" represents the new strong bond between France and the United States once Nazi-Germany has fallen. Although the film is propaganda against the Nazis, the political language in the movie does not glorify American courage and valor, nor is it militaristic. The movie presents the facts while emphasizing the poor qualities of the Nazis.
Despite not being considered as the traditional ‘hero’s journey’ which is outlined in Joseph Campbell’s argument of ‘separation-initiation-return’, Humphrey Bogart’s character Rick Blaine, in the 1942 film Casablanca, can be argued to follow this twelve-step journey. Campbell states “whether the hero be ridiculous or sublime…” (p.38), on this basis, Rick Blaine qualifies as a hero. These twelve steps are: Ordinary World; Call to Adventure/Disruption; Refusal of the Call; Meeting with the Mentor; Crossing the First Threshold; Tests, Allies, and Enemies; Approach to the Inmost Cave; Ordeal; Reward; The Road Back; The Resurrection; and Return with the Elixir. Although in some parts stages may overlap, this essay aims to argue that Casablanca still
Starting from the late 19th to early 20th century, modernist writing has become widely spread as a way for people to express ideas and feelings that are written in a more isolationist form. The modernist literary movement was driven by the desire to transform writing from the classic views of the time period and begin to express the newly developed emotions that were going on at the time. Both The Guest by Albert Camus and The Metamorphosis by Franz Kafka, are two modernist texts that strongly exhibit the feelings of emotional isolation and alienation throughout each book. In each story, the protagonist undergoes a sense of desolation, and although both characters experience the same sense of remoteness, each are isolated in different ways.
...t it is clearly obvious what is about to happen using an establishing shot. Casablanca also uses camera angle specifically portraying Captain Renault and Strasser as less powerful people in the office scene. Editing allows for smooth transitions between shots and allows for us as viewers to experience the scene like we are seeing through the characters eyes. Lighting provides us a mood of the scene, specifically when Rick first sees Ilsa for the first time since Paris. The Music plays a role in how we as audiences should feel while watching the movie. And without production design movies would not flow correctly. Every setting is specifically chosen to depict the location where the scene takes place. Casablanca is a quintessential film because it ties up all the formal elements of classical Hollywood. Without this movie Hollywood may be a completely different place.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Audiences are quickly aware that Ilsa and Victor’s appearance in Casablanca causes inner turmoil for Rick, who has been there for quite some time. Ilsa and her war rebel husband
...al events. Some events that happened in the film, didn't actually happen in history. Especially the whole romantic theme, though the scenes with romance helped develop the plot of the film, and to elaborate on the film's themes and message. Although the film seems to be mostly inaccurate, it still held some historical accuracy.
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.
The years after World War II witnessed global dominance by the United States and established the US as the single most powerful nation postwar. Henry R. Luce wrote The American Century as a prophesy for American influence postwar while Charles H. Wesley questioned the freedoms for nonwhites in The Negro Has Always Wanted the Four Freedoms. The United States shifted into new postwar roles, as did nonwhites who wondered if the freedoms spoken about applied to them.