As the world plunged into the throes of World War II, every corner of the globe felt the rippling effects, from the battle scarred terrains of Europe to the bustling streets of Casablanca. In this tumultuous time, the city of Casablanca emerged as a transitional space, an outset between the despair of war-torn Europe and the hope of freedom across the Atlantic. Within this context Casablanca finds its setting, weaving a narrative rich in romance, intrigue, and the shadow of global conflict. The film follows Rick Blaine, an expatriate running a popular nightclub in Casablanca, who navigates the complexities of loyalty, love, and life amidst the backdrop of wartime struggles. Through his story, and the multitude of characters that find their …show more content…
Among these, the idealized depiction of resistance activities is particularly pronounced. In cinematic terms, the resistance is portrayed through the lens of romanticized heroism, epitomized by characters who navigate their anti Nazi endeavors with a blend of charisma and moral clarity. This portrayal stands in stark contrast to the historical accounts of resistance efforts, especially in North Africa, where operations were fraught with peril, marked by internal divisions and often entangled in a complex web of alliances. Moreover, the film's over simplified portrayal of Nazi presence and influence in Casablanca glosses over the nuanced reality of the Vichy regime's complicity with Nazi policies. While Casablanca somewhat touches on the Vichy government's collaborationist stance by depicting its officials in cooperation with Nazi interests, it underrepresents the extent of Vichy's active participation in Nazi endeavors, notably in the persecution of Jews and political dissidents. Historian Robert Paxton’s "Vichy France and the Jews," co-authored with Michael Marrus, provides a detailed account of how Vichy's antisemitic laws assisted the Nazi's Final Solution, an aspect conspicuously absent in the film's narrative. This representation of Nazi Vichy relations contributes to a misleading understanding of the political dynamics in Casablanca and, by extension, the complexities of French collaboration during WWII4. The discrepancies between Casablanca's depiction and the historical complexities of resistance activities and Vichy Nazi collaboration highlight a broader tendency in wartime cinema to distill intricate political and social realities into more palatable narratives. While such simplifications serve the storytelling dynamics of cinema, they inadvertently contribute to a
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.
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.
The way that a movie is pieced together by the director/producers has a huge impact on the viewer’s experience. Stylistic elements are used to help engage the viewer; however, without these techniques the viewer will most likely loose interest. In this essay I will be taking a look at a scene within the movie Casablanca directed by Michael Curtiz in 1942. Casablanca is a classic film that is reviewed to be one of the greatest movies of all time. This could be due to the notable quotes used throughout the movie, or its ability to follow a historic, comical, and romantic storyline throughout the course of the film. It caters to several different viewers, making this movie favorable to many. This scene in Casablanca uses specific editing techniques
Censorship in the 1950's: How did this affect the making of “Night and Fog” one of the first ever cinematic documentaries on the Holocaust? A film by Alain Resnais.
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.
Robert B. Ray categorizes Casablanca as "the most typical" American film. Ray uses Casablanca as a tutor text for what he calls the formal paradigm of Classical Hollywood as well as the thematic paradigm that addresses the conflict between isolationism and communitarian participation. The film is typical in its appropriation of an official hero Laszlo, who stands for the civilizing values of home and community, and an outlaw hero Rick, who stands for individu...
The movie opens with a short news reel showing the importance of Casablanca on the steps to America. This movie takes place during the time of world war two, so all the people in Casablanca are trying to get out. After the brief newsreel, the director uses a very intriguing way of showing the audience the main character, Rick. Everyone is talking about him, describing him, but we never actually see him. Just from these first few descriptions of Rick, we can tell he is self-centered and does not interact much with others. This is demonstrated by a quote by Captain Renault, saying Rick does not drink with anybody. The actor then states that he is the second largest bank owner in Casablanca. In, a humorous response, Captain Renault states
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.
La Rafle is a movie that is both entertaining and educational; it takes us into the lives of the Jewish children and families, who are living in France and still going through the horrors of extermination. This movie is a brave answer to the eroding memory of that time. We are faced to watch and learn about one of the most heinous atrocities ever committed by man, however such knowledge is needed for many survivors will not be alive to share their stories. Artifacts like museums and movies shed light on the events that occurred during the war.
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.
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
Romeo, the lovesick 16 year old who falls in love with his enemies daughter, Juliet. He is 16 years old and lovesick. He is the only son of the Montague’s. Romeo is a static character who displays sensitive, lovestruck, and immature traits throughout the play which affect the other characters negatively. Romeo and Juliet was written by William Shakespeare. This play is about a boy and a girl whose families are enemies. Then later on they meet and falls in love. It is a forbidden love.
Quentin Tarantino’s 2009 film Inglourious Bastards entails a Jewish revenge fantasy that is told through a counterfactual history of events in World War II. However, this story follows a completely different plot than what we are currently familiar with. Within these circumstances, audiences now question the very ideas and arguments that are often associated with World War II. We believe that Inglourious Basterds is a Jewish revenge fantasy that forces us to rethink our previous understandings by disrupting the viewers sense of content and nature in the history of World War II. Within this thesis, this paper will cover the Jewish lens vs. American lens, counter-plots with-in the film, ignored social undercurrents, and the idea that nobody wins in war. These ideas all correlate with how we view World War II history and how Inglourious Basterds muddles our previous thoughts on how these events occurred.