Thomas-Casablanca

Casablanca is set in the same month that Peal Harbor was bombed. It’s almost impossible to not see Casablanca as a political film. Rick, the indifferent bar owner, represents America. He didn’t see any need in getting caught up in all the drama that was going on in Casablanca. He isolated himself and didn’t take anyone’s side in the beginning, much like America before Pearl Harbor.

Rick is fair; he doesn’t take sides and he treats everyone the same. When the banker comes into the bar and expects special treatment, Rick turns him away and treats him like he would treat anyone else. Rick thinks the best way to stay out of trouble is to stay out of all the politics going on at Casablanca and to not take anyone’s side. In the end, Rick shoots the senior German military officer and finally takes a side.

In the beginning of the film, Rick sits and chats with a few german militants. One of the officers asks Rick questions, attempting to get a feel for his political stance and why he decided to leave Paris. “Rick is completely neutral about everything,” states one of the Germans.

Dominant: The dominant in this scene is the men sitting at the table. Occasionaly Rick and the officer are the dominats in the frame.

Lighting Key: The lighting in the scene is very bright and open. The lighting reflects Rick’s attitude towards politics.

Camera Proxemics: The shot is pretty close. The men at the table fill up the frame.

Angle: The angle is straight on.

Density: In the beginning, the scene is very detailed and we see everyone in Casablanca. Later, the table is where the eye goes to first.

Form: The form is close in this scene.

Framing: The Frame is tight.

Character Placement: The characters are located in the center of the shot.

Character Proxemics: The characters proxemics are intimate since they’re sitting at a round table sharing a serious conversation.