Glickert, Casablanca

Prior to the release of the 1942 film, Casablanca, producers envisioned reasonable success but soon found out they'd created one of the most popular films of all-time. Its success is often attributed to its wide appeal as it truly captured the zeitgeist of Americans in the late 30s-early 40s.  The suspense of the unraveling love triangle grabs most viewers attention and keeps them interested, but there is undoubtedly a political allegory behind the film that truly impressed upon the viewer, particularly due to the timing of the film's release. The film is set in December 1941, the month of the Japanese attack on Pearl Harbor.  The zeitgeist of the 1930s was one of political neutrality and anti-war sentiments; however, this attack immediately changed opinions and soon changed actions across the nation.

In many ways the protagonist of the film, Rick, represents the average American man that most viewers could easily relate to themselves (or members of their family).  He initially represents the average man before America's entrance into the war - a drinker who resents a past relationship, holds apathetic views on the war and American politics, and is narrowly focused on doing things in his own interest - without any plans to change his ways.  His character begins to develop when his former lover, Ilsa, enters into his nightclub with her husband, Lazlo.  Rick and Ilsa rekindle their love for each other and show promising signs of being together again.  During this same time, Rick begins to change his attitude toward the war. The closing scene shows him deciding to join the fight against Nazism in a highly patriotic fashion.  This is representative of the average man after the attack on Pearl Harbor - a man with a newfound (or revived) urge of patriotism and feeling of due diligence to his country - compelling him to join the war.

The dominant this frame is arguably Rick due to the compelling contrast in lighting; however, viewers may be drawn to Lazlo and Ilsa simply because they are moving and Rick is stationary. Lazlo and Ilsa are wearing dark clothing and are surrounded by monotonous gray fog while Rick has a small beam of light to the right of his head/back, and the part of his face that is visible is lighter than the fog and much lighter than his hat. The camera proxemic range from Rick is personal and the range from Lazlo and Ilsa is social but becoming public. The camera angle is neutral. This shot has little density since the monotonous gray fog takes up the majority of the space and has a stark texture. The form is open in the sense that there is minimal density and visual effects.  The framing is tight in regards to the context because Rick has already made his decision and Lazlo is now firmly holding onto Ilsa with only one way out. At the beginning of this cut, the character proxemic range is situated at a personal distance, but Lazlo and Ilsa gradually move to a public distance, implying a detachment from Rick.