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Character Analysis of Michael Curtiz's Casablanca
Sacrifice in Casablanca movie analysis
Character Analysis of Michael Curtiz's Casablanca
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Recommended: Character Analysis of Michael Curtiz's Casablanca
Casablanca (1942) is an American romantic drama film that was directed by Michael Curtiz.Set during world war two, the story focuses around the life of Rick, who is an American expatriate who runs a nightclub in Casablanca. In a series of events, he comes into possession of extremely important letters with evidence related to the war. In a cruel fate of irony, his ex-lover comes to Casablanca with her husband in search of the letters and to escape to America. IIsa, the woman Rick loved more than anyone else then comes to him and asks for the letters, this causes a spiral of emotions in Rick as he still loves IIsa but holds anger towards her for leaving him. However he then learns the truth as to why she ran away from him in the first place, without ever contacting him again. As the truth comes out, he realizes that he must put his feelings aside and see IIsa and her husband to safety as the Germans are after them. In the end, IIsa leaves safely with her husband and Rick says goodbye to the only woman he has ever loved. …show more content…
IIsa must give up her love for Rick to be with her husband, whom she had thought originally to be dead. Victor, her husband ends up understanding that IIsa is still in love with Rick, even though she told him otherwise and accepts this, but takes her away for her own safety. The moral ideology that love means sacrifice is prevalent throughout the whole storyline, as everyone sacrifices something important to them. The story of Casablanca is one filled with this ideology, sacrifice is a central theme throughout the whole film. It is a key component as it shows different sides to the characters involved and creates depth to the overall
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.
Audience members, when seeing Casablanca, would associate it as a war film, and I agree with that, but to be more precise, it is a pro-Allie war film. The literary elements in the film are the reasons why it can be viewed this way, with the emphasis on the plot and characters. The timing of when the film was released also supports the idea of it being an anti Axis film. Although it was set in 1940, it was made a year after Pearl Harbor and America entering the war, but it was released right before the Allies had a meeting in Casablanca, so the filmmakers seemed to have wanted the audience to empathize with the Allies. The whole plot seems to be focused around how Rick is neutral at the beginning of the film, but because of an old flame coming into his life once again, he slowly becomes in favor of the Allie side.
All Quiet on the Western Front shows the change in attitudes of the men before and
The body of Kunze’s essay is broke down by the “three triangulations of desire” and these relationships are dissected to support Kunze’s argument. He elaborates on the importance of Rick, Ilsa, and Sam; Rick, Ilsa, and Victor; and what he believes is most important Rick, Ilsa, and Renault. He uses resources such as Kosofsky Sedgwick’s work on homosocial male desire to support his own argument that Casablanca “accurately depicts the emotional complexity of male friendships and the reductive role of women in these fraternal bonds not only to fulfill the film’s admittedly propagandistic goals, but as an inadvertent testament to gender dynamics in a power structure organized around male power and interactions” (Kunze pg.20). Using Sedgwick’s work as a model, Kunze constructs this erotic triangle between each group of characters mentioned above. Kunze examines each relationship and believes it serves as a sensitive register. Kunze explains that there is more power and meaning that the general content. Utilizing Sedgwick 's model, Kunze suggest that the viewer can see the “complexity of Rick 's interactions with Sam, with Victor, and with Captain Renault—each of whom represents different levels of homosocial desire, all trumping Rick 's love and respect for Ilsa” (Kunze pg.21). Throughout the body of the
Throughout history, the film industry has seen many directing styles and techniques. The early part of the 20th century saw a factory style of film production, but as the years went by, director's began to employ new and untried techniques in their pictures. One such technique which these director's implemented was a new approach to the use of the camera and camera angles. "Casablanca," an Academy Award winning film of 1942 saw director Michael Curtiz manipulate the camera in ways others had not. He uses the close-up, point-of- view, and creative shot motivation methods in his film starring Humphrey Bogart and Ingrid Bergman, to create an American cinema classic.
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 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.
The city of Casablanca is a bleak place full of hardship and full of people that are tied down. These people look for an escape that can set their mind on a different path. Rick’s Cafe Americain reflects that place to visit that can set the people’s minds free. Specifically, there rests a piano that can turn the minds of the people away so that they can feel free and have an enjoyable time at the cafe. With this, the cafe and piano give the people a sense of living a normal life. In the movie, Casablanca, Sam’s piano resembles a symbol that not only resembles a sense of enjoyment and freedom, but helps establish a connection to the past of Rick and Ilsa.
...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.
The film Les Misérables, based upon Victor Hugo’s 1845 novel and directed by Tom Hooper, follows the life of Jean Valjean upon his release from prison and his attempt to live honourably in successive years. Valjean spends his life working his way out of poverty, dealing with many different social classes and ways of life during the French Revolution. The characters Javert, Fantine and the bishop all demonstrate different approaches to life; Javert focusing on enforcing the law, Fantine willing to do anything to support her child, and the bishop demonstrating generosity and forgiveness towards Valjean's wrongdoings. As Valjean encounters each character, he learns to accept differing mindsets, circumstances, dreams and desires. Through these encounters, Hugo’s underlying message and ideology remain the same. Compassion and empathy are essential for human fulfillment. Through the musical Les
Entering a war is an effort that is best when it has popular support and enthusiasm. Casablanca is propaganda for the Allied forces to help rally support. There is clear evidence of this idea in the scene with the French national anthem, the character development, and the ending. France and the United States prevail as Germany falls and dies.
Afghanistan was a war country where people got attacked by the talibans. In the kite runner a novel by Khaled Hosseini Afghanistan, was a dangerous country. It's the story about a relationship About 2 boys called Hassan and Amir that at this time in the book they were victims and innocents and don't deserve a punishment on the story. People gain empathy when others need the help, when they lose someone, when there's a bond between people and are demonstrating when others have help us we want to help them.
What makes this film a favorite of women? Lets take a closer look at the film and find out. Casablanca is set in the exotic land of Morocco where refuges wait for passage to America, the Promised Land. In a popular American café, Rick, the café owner, hides from the memories of a lost love. Rick is a mysterious, masculine hero who hides behind a hard outer shell but is really thoughtful and unpredictable. Rick soon runs into the girl he loves, Ilsa. Ilsa Lund is a beautiful woman who is torn between two lovers. Thus begins the tender love story that women cannot turn away from.
In 1982, the journalist Chuck Ross, in an experiment for Film Comment, mailed the script of Casablanca to 217 agencies under a different title and under a different authorship name. Although many rejected it for external reasons, eighty-one agencies read it and of those, fifty-three did not recognize it as the classic. But here’s the cherry on top: forty-one agencies criticized the iconic, Oscar-winning script with harsh words. One wrote, “Story line is thin. Too much