In this scene from Casablanca, Signor Ferrari is trying to buy Sam from Rick for his own club, The Blue Parrot. Rick informs Signor Ferrari that he isn’t in the business of selling human beings. Ferrari believes they should ask Sam himself if he might be up for a change. On their way over to Sam at his piano, Ferrari tells Rick “…In this world today, isolationism is no longer a practical policy,” which Rick ignores. Sam refuses the offer to go over to the Blue Parrot and play piano for Ferrari although his pay would be doubled. He wants to stay right where he is.
The Political Expediency Theory as applied to film is a balance that is held as to not alienate opposing audiences. Casablanca achieves political expediency rather nicely. Although throughout most of the film Rick could be seen as America and their unwillingness to join in the efforts of WWII, in this scene Sam could be seen as America. He is happy just where he is, and even if better things are offered to him on the other side of things, he doesn’t wish to make the risk.
Dominant: Sam, because he is in the middle and at a lower level from the other two men.
Angle: The camera is neutral, allowing the viewer to make decisions for themselves.
Compostition: The design is Sam surronded by two very different men. Blaine in front, casual and open. Ferrari behind looking stiff and sneaky.
Form: Closed- The elements of the scene are carefully placed in a proscenium arch.
Framing: Tight, Sam can’t move around at all, being surrounded by the two men and the piano; however, he doesn’t wish to move around anyhow.
Character Placement: Center. Personal. The other characters are very close to Sam, but not in his face.
Rick is more America. That Sam wants to stay where he is puts him in a subservient position. He seems to be saying he prefers a good master.
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