Villavicencio-Casablanca

Set in December 1941 in Casablanca of French-ruled Morocco, the film Casablanca depicts the romantic struggle between an ex-freedom fighting nightclub owner, Rick, and his rediscovered true love, IIsa, who had previously deserted him when the Nazis invaded Paris and later went on to marry someone else. The film also has an underlying reference to American involvement in World War II.

The character of Rick Blaine is complex in that although pessimistic and apathetic—refusing drinks from night club customers, disrespecting his lover Yvonne, and having no interest in politics—he also still reveals a glimmer of the old Rick, a man who was happily in love with IIsa in Paris before she broke his heart. As the film comes to an end, Rick surrenders his reignited love for IIsa, allowing her to escape out of Casablanca with her husband, Louis.

Ricks character can be interpreted as representing the difficulties that arise when one attempts to be neutral, whether it involves a forbidden love or a World War. This relates to the Political Expediency Theory, in which director Michael Curtiz attempts to remain neutral regarding World War II. He used an excess of actors from many different races and a protagonist set on impartiality and detachment (yet who is at times also generous and passionate). In the end however, the main character chooses a side unable retain a complete disregard from the world around him.

The political expediency theory deals with presenting a certain political opinion (or lack there of in this case) in order to please others, rather than staying true to one’s own beliefs and morals.Because this film was released in 1942, the theme of between impossible neutrality parallels to Americas struggle to remain uninvolved in the war.

One important scene where Rick’s neutrality finally falters is when IIsa admits she is still in love with him and they kiss.

Mise en Scene:

Dominant: IIsa would be the dominant in this scene because not only does she take up the majority of the frame, but she also has more lighting casted on her face. She is facing the camera slightly more than Rick is as well.

Subsidiary: Rick would obviously be the next thing a viewer’s eye moves to even thought the background is lighter.  

Lighting: The characters in the scene seem to be somewhat casted in a shadow. The background is more lit than the characters but still dim overall. This would probably be considering low lighting. 

Camera Proxemics: this is an extreme Close-up because only their faces are within the frame. 

Frame: This frame would tight, closing in on their faces with the background out of focus and mostly unidentifiable. 

Angle: The camera seems to be at the same level of their faces so would be considered a straight on shot or eye level. 

Character proxemics: The characters are in an intimate proxemics of each other. 


Casablanca--Internet Movie Database

Griffin, Casablanca

Final Minutes of "Casablanca"

            In the final minutes of “Casablanca,” Rick’s isolationism is broken in the climactic scene where he shoots the senior German military official. If Rick is understood to represent the United States pre-WWII, then the analogy is continued in this scene. Just as Rick could no longer isolate himself in stoicism and denial, so, too, the US could no longer not interfere in the war. This scene extends the nationalist rhetoric of the film because Rick’s ultimate initiation into greater affairs by shooting the German is positively received by the audience, and so, the audience could begin to question America’s isolationist attitude and reexamine the worthy costs for entering the war. Throughout the film, the ideology is neutral but gradually emboldens to a pro-America, anti-isolation stance.

            In the scene in question, the cutting between Rick and the German is quick and jumpy, heightening the intensity and suspense of this dueling moment. Who will back down or shoot first? To increase the suspense, the framing is tight and the shot and camera proxemics are intimate. The dominant figure alternates between Rick and the German. Because of the heavy material of the German’s military costume, his look has a high density. During the stand-off, Rick’s face is in shadows. The camera angle is directly on the faces. Characters are shot from the waist or shoulders up; there is no full—body shot. All of these mise-en-scene elements increase the intensity of the moment, creating uprising action that is broken by the shoot-off. When the German falls, the camera does not go down with him, but maintains a height above him, and the viewer looks down upon him. Rick was successful, and so, too American could defeat the enemy at war. 

 

Gevry, Casblanca

No matter the premise of a film, its plot, character, or overall composition politics often times play a central role int he film. As evident even in Casablanca, politics and most notably World War II, are weaved into every shot of every scene.What Casablanca ideally does is create a world in which politics turn romantic. Rick is the strong and mysterious United States that will, though originally as bystander, take a heroic and successful stand. Americans were constantly bombarded with he images of war so for a film like Casablanca to have such a highly political agenda and yet still come across to the American public as a story of wartime heroics and romance is immensely impressive. Casablanca successfully created an movie that allowed viewers almost an escape into the ideal war. One in which a hero would step forward, love would outweigh all, and an ending was ascertainable.

The scene I believe most connects to the Political Expediency Theory would have to be the closing scene in which Rick and Renault walk off into the fog.

Dominant: The dominate in would have to be Renault and Rick.

Camera Angle: Neutral, yet slightly tilted downwards as if the viewer were watching the scene unfold from higher up,

Lighting: The lightning within this film is dark, almost twilight. This is done perhaps to show that it is always darkest before the dawn and that both Rick and Renault are going to see a bright new day.

Camera Proximic: This is a crucial piece. The camera is situated in a public proximity. As Rick and Renault walk away into the fog the camera does not follow them, it is merely to show that things will get better. In time all of us can, in essence, walk through the fog and move on.

Hales, Casablanca

 

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.

Mathey, Political Expediency in Casablanca

Casablanca was a really good movie with very deep meanings that would have an impact on its audience. My favorite scene was probably the one when everyone in the bar sings aloud the Marseillaise in order to be overheard against the germans. It was very emotional to me because I am French and it made me felt patriotic. My grandfather fought in World War II and was in the Free French Forces. That might explain why I lovedthis movie so much. However, this movie does not portray France in this case but the choice that the United States made to get involved in the war. The director showed us this through the character of Rick Blaine who can be described as a lone wolf living in isolation from a world that once deceived him. Rick has everything he desires. He owns one of the nicest clubs of Casablanca however, Rick is confused all along the movie and has to choose between getting involved with the problems of his long lost love Ilsa or staying away from it and go back to his normal boring life. I chose to this picture because it has lot of elements that explains the movie's point of view towards the main character. During the entire movie, Rick is always dressed very nicely in white which can only portray him as important. However his confusion can be noticed very well in this scene. He is surrounded by shadows representing doubts. He is also drinking proving the fact that he does not know what to do. Notice that there is an empty glass next to the bottle, which also demonstrates Rick's lonelyness We feel bad for him which is what political expediency tries induce, feelings for the main character such as empathy in order to relate to him. The director wants us to get to know Rick better and at the end of the movie, to like him because of the choice he makes even though he seems indifferent at the beginning of the movie. There is another aspect of the movie shown in this scene. Sam, the piano player and friend of Rick is wearing a black suit explaining us that he is less important but his face is lit while Rick's is half in the shadow. This can be interpreted such as the opinion of Sam are important and have an impact on Rick.

Mise en scene Analysis:

Dominant: Our eye is first attracted to Rick because his white suit is the only thing bright in this whole shady environment. The director wanted to put Rick in evidence, he wants us to pay close attention to him.

Camera proxemic: It is a medium shot because half the body of Rick is fi
tted in the screen and some of the surrounding space is noticeable. This could be called an exposition scene.

Angle: We are looking at Rick directly from eye level which means that the director wants us to be sympathetic instead of judging him. Notice how we are looking up to Sam however, showing his importance in this scene once again.

Subsidiary contrast: The second thing our eye is attracted to is Sam's face because it is brightened by some light and we are always looking for the brightest element on a screen.

Framing: The framing is somewhat pretty loose. Rick would be able to move freely without impediments. This suggests that it is up to him to make a choice. He still has a chance to get involved.

Character placement: The characters are placed on the edge while the bottle of alcohol is in the center of the screen. The director wanted us to notice this detail so he used the two actors to highlight it so one is on the right and the other is on the left.

Staging position: Rick is looking away from the camera. He would like to be alone and our presence is annoying to him. He does not want to show his confusion because he doesn't want to seem weak in front of others.

Character proxemic: This a personal proxemic, Rick and Sam are about four feet away letting us know that the two characters are somehow friends or know each others pretty well.

Nolley- Casablanca (the right one)

The political expediency theory in Casablanca influences the audience’s feelings toward America’s involvement in World War II. The audience becomes sympathetic toward Rick and he is the focus of the film, character wise. He represents America and its transition through World War II. In the beginning of the film, he is indifferent to the events going on around him and he is focused on running his business. But when Ilsa enters the picture, his idea on the issues going on changes and by the end of the movie he does what’s best for everyone. This illustrates how America’s entrance into World War II was a necessity and how in the end it was the noblest thing to do. This change is a commentary on how America was determined not to enter the war, but realized if they did not it would hurt more people in the end. Ilsa was the motivation for Rick to do the right thing, just as Pearl Harbor was the last straw before the U.S. entered the war. The events surrounding Ilsa and Victor showed Rick that he needed to act in a selfless way in order to help the bigger picture. This film is used to justify America fighting in World War II. It showed the viewers that sometimes fighting is okay if one is fighting for what is right. Casablanca allows the audience to feel comfortable with such a huge event in history. It creates confidence in America and shows that with the support of its citizens, things will turn out okay. The political expediency theory gives Casablanca the underlying political message needed for that time in American history.

Barkley, Casablanca

The scene at the end where Rick helps Victor and Ilsa escape is a great representation of the Political Expediency Theory that is depicted throughout Casablanca. At the beginning of the film Rick is viewed as neutral in terms of the war. As the film progresses, Rick begins to change his political views as he begins to play a more active role in the events that surround him. Then, at the end Rick's views have completely changed against the Germans as he now believes that they are the bad guys. So we see Rick take a character arc throughout the film as his political views slowly change as the film progresses.

As Rick's political views change, so does Casablanca's lighting. The film begins with Rick seen as neutral in terms of the war. While Rick's views are neutral, everything in Casablanca is very bright, almost too bright, and everything is white. However as the film progresses, Rick slowly changes his political views and as this happens the lighting becomes darker and by the end of the film he see's the German's as the enemy. At the very end of the film, Rick proceeds to shoot a German officer to ensure Victor and Ilsa's getaway.

The scene at the end where Rick helps Victor and Ilsa escape is very dark and all there is to see in the background is fog. This represents the ominous ending in the film.