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Propaganda in Casablanca film
United States role in World War 2
WW 2 German film propaganda
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The film Casablanca centers on an American man by the name of Rick Blaine who flees a German-occupied France during World War II to a city in Morocco by the name of Casablanca. (Casablanca, 1942) This city is a territory of France at the time and is out of full German jurisdiction due to this status. (Casablanca, 1942) Many citizens of German-occupied countries in Europe sought refuge here due to the lack of control Germany had on other countries’ territories early in the war. The general intent of refugees in Casablanca was to flee to even further countries such as The United States of America, which they could not achieve in their home, occupied countries. As the film’s plot develops, the viewer is introduced to refugees very important to the freedom-fighting movement France, and we learn that Rick originated in New York, U.S.A.
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...
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..., Laszlo needs Rick’s help to achieve his goals, portraying Americans as a valuable, needed ally.
The film’s depiction of the war was very distant, as there are no portrayals of battle or direct war conflict. There are a select few instances, however, where individuals are shot either by police or Rick. Rick shot a German leader for the greater good, implying that killing the enemy was okay for a greater cause. Laszlo, representing the Allies, was willing to do almost anything for his cause. Rick did not seem to fear death either, as displayed when he was held at gunpoint by Ilsa. The German’s were very oppressive and intolerant, becoming very upset by the citizens of Casablanca simply singing a national song. (Casablanca, 1942) Very little violence was depicted, and it in no way glorified killing anyone aside from the oppressive Germans, and did so only slightly
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.
In the essay “Beautiful Friendship: Masculinity & Nationalism in Casablanca”, Peter Kunze lavishly explains the magnificence of Michael Curtiz’s 1942 film Casablanca. Kunze focuses on how the movie not only highlights an exchange of relationships, but how the film has an underlying meaning between these relationships. He also implies that there is a more complex meaning behind every character in regards to their gender, economic, and social roles. The overall thesis of his reading is “the patriarchal ideology underlying the narrative commodifies Ilsa, leading Rick to exchange her with other men in an act of friendship and solidarity as well as to dissuade any perception of queerness between the strong male friendships in the narrative” (Kunze
The film Casablanca, indeed, involves problems that Rick faced and he finally solved that problem, ending in a satisfying way. Risk’s equilibrium is disrupted when he is going to leave Paris with his girl friend Ilsa because Ilsa doesn’t showed up at last. Risk becomes a boss of a cafe in Casablanca but he never imagines that he would encounter Ilsa again. Ilsa walks into Risk’s life again by accident when she is planing to get a letter of transit in Casablanca in order to escape to America with her husband. At the same time, Nazi Major Strasser arrives in Casablanca and tries to stop Ilsa’s husband from leaving Casablanca. Risk’s equlibrium is disrupted again. Risk still loves and hates Ilsa, and moreover, he gets the letter of transit. Even though Risk wanted to stay with Ilsa and let her husband go to America alone, Risk finally let Ilsa and her husband go and killed the Nazi Major Strasser. That is a satisfying ending.
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.
Throughout their lives, people must deal with the horrific and violent side of humanity. The side of humanity is shown through the act of war. This is shown in Erich Remarque’s novel, “All Quiet on the Western Front”. War is by far the most horrible thing that the human race has to go through. The participants in the war suffer irreversible damage by the atrocities they witness and the things they go through.
...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.
Casablanca debuted in 1942, shortly following the bombing of Pearl Harbor and the United States' entrance into World War Two, although there was plenty of anti-Nazism sentiment, the movie fueled these feelings. There is pro-Allied forces propaganda to support the war, from the scene with La Marseillaise, to the characters of Renault and Rick, and to the last scene. Although the majority of the French patriots were elated to sing their national anthem, it created tension with the German soldiers who imposed their patriotic songs on the crowd, representing the imposition of Germany on France during the war. Captain Louis Renault, who tries to placate who he believes will be the winning side, seems flimsy when compared to Rick, the firm patriot who believes in freedom at all costs. The phrase, "Louis, I think this is the beginning of a beautiful friendship" represents the new strong bond between France and the United States once Nazi-Germany has fallen. Although the film is propaganda against the Nazis, the political language in the movie does not glorify American courage and valor, nor is it militaristic. The movie presents the facts while emphasizing the poor qualities of the Nazis.
Despite not being considered as the traditional ‘hero’s journey’ which is outlined in Joseph Campbell’s argument of ‘separation-initiation-return’, Humphrey Bogart’s character Rick Blaine, in the 1942 film Casablanca, can be argued to follow this twelve-step journey. Campbell states “whether the hero be ridiculous or sublime…” (p.38), on this basis, Rick Blaine qualifies as a hero. These twelve steps are: Ordinary World; Call to Adventure/Disruption; Refusal of the Call; Meeting with the Mentor; Crossing the First Threshold; Tests, Allies, and Enemies; Approach to the Inmost Cave; Ordeal; Reward; The Road Back; The Resurrection; and Return with the Elixir. Although in some parts stages may overlap, this essay aims to argue that Casablanca still
In the first battle, Marx gains grounds to better position himself with the Warner Bros. “Ferdinand Balboa Warner, your great-great-grandfather,..., stumbled on the shores of Africa and,... named ot Casablanca”. Warner Bros controls Casablanca and Marx destroyed that whole claim by showing some historical information that there is no connection the histories. He makes an absurd connection to prove that their is no ownership over Casablanca. Marx finds their weak spot with he tried to invade the city.
Michael Curtiz’s film, Casablanca, the film follows the love triangle between an expatriate, Rick Blaine, his former lover, Ilsa Lund, and her husband Victor Lazlo. Rick being a well known figure in the community must use his congenial disposition with the other to not only maintain his life style, but at the request of Ilsa, aid in the escape of Victor; an enemy of the state in Germany. Casablanca, acts as a middle point for European refugees fleeing Nazi Germany and eventually making it to the United States; causing the city to become a buzzing capital due to the massive influx of foreigners. Although the film demonstrates the power of self-sacrifice, the depiction of native citizens in Casablanca manifests in a negative way. Quite often “The Other”, or foreign entities are represented and embodied under
The film Casablanca intertwines the historic context of World War two into the plot of the work. This 1942 film’s narrative focuses story of two lovers who are reunited in the refugee town of Casablanca during the time of World War two. That said, their romance is not moved to use the plot forward rather ,the historic context is used to not only move the plot forward, but to produce a MacGuffin as well. In this film the letters of transit are this MacGuffin(Maltby
The most interesting and best played, were Rick Blaine, the owner of the café, and Captain Louis Renault, a crooked cop. Rick can at first is seen as a really tough kind of man, who will only do what is in best interest for him. He seems to be an overall manly man, who would care for no one, but as the movie progresses, you can realize his true personality. Captain Renault, on the other hand, is clearly state to be a crooked cop, and he stays that way to the end. The relationship between both, is very uncommon. Rick owns a café where there is an illegal café, but if you were to stroll in there one night and play roulette, you just might see Captain Renault having good time. Even though they seem to be friends, they still don’t fully trust each other 100%. There’s an instance where Rick help a young women at the gambling table to win money, so she can pay her way out of Casablanca. If Rick wouldn't have helped, she would have had to sleep with Renault to earn her way out. Renault tells Rick that is not that big of a deal since he has a more attractive women he still needs to “attend
Everyone at one point runs from something, whether it be out of fear, or pain, or loss. There is 20/20 vision looking into the past but the effects of the things that have happened are frightening and the future is never very clear. Michael Curtiz’s Casablanca is a war-time film intended to teach the audience the truth in never being able to escape the past and, furthermore, the truth in never being able to escape from problems. The story follows American Rick Blaine, a bitter man who frequently falls into moral ambiguity, who ultimately must decide between the love of his life, Ilsa, and the leader of many resistance movements, Victor Laszlo. Ultimately, Curtiz’s use of characterization, setting, and theme portray the lesson that the confrontation
The short story “In Another Country” by Earnest Hemingway is a story about the negative effects of war. The story follows an unnamed American officer and his dealings with three other officers, all of whom are wounded in World War I and are recuperating in Milan, Italy. In war, much can be gained such as freedom and peace, however war also causes a plethora of negative consequences. Cultural alienation, loss of physical and emotional identity, and the irony of war technology and uncertainty of life are all serious consequences of war that are clearly shown by Hemingway.