Introduction
Casablanca is one of the most significant films in cinema history, known for its popularity with viewers and artistic qualities. The director, Michael Curtiz, has created a timeless, relevant movie, especially regarding its emotional context. In the current paper, Casablanca’s narrative structure, including the beginning (setup), middle (conflict), and end (conflict resolution), will be discussed. Flashbacks relating to the romantic and personal dynamic of the main character, Risk, will be highlighted alongside the restricted narrative.
Summary and Structure
Casablanca‘s structural organization follows a standard composition. The movie’s beginning sets up further confrontation. Casablanca, the Moroccan city, is the place where refugees seek escape from the terrors of the Nazi regime. The protagonist, an owner of a casino and club, Rick Blaine, unsuspectingly reconnects with his former love, Ilsa, who is there with her husband, Victor (Casablanca). The middle of the film, which also serves as the conflict, illustrates Risk’s dilemma: wanting to remain neutral in the war, seeking to renew his past romance, fighting a noble cause, and navigating his emotions. The conflict resolution and, simultaneously, the end of the film portray Rick’s decision to help Ilsa and Victor, despite the sacrifice he must make to assist them.
Flashbacks
One of the main flashbacks is set in a nightclub, where Rick hears a song that makes him reminisce about his love for Ilsa, which occurs in the middle of the movie. He remembers their time in Paris, their connection to each other, and the happiness Rick was experiencing at the time (Casablanca). The sequence’s importance stems from the fact that Richard’s character is presented as an existential hero, a theme emphasized in the scene (Lev).
An additional portion is critical as it facilitates a background for the character’s seemingly neutral and ignorant political ideology. Namely, Captain Renault reflects on Rick’s history, and a flashback provides insight into him being an idealist who was willing to fight for freedom rather than be distant. The contrast between his portrayal in his memories and the present illustrates how life events have changed him.
Narrative
The film primarily presents the events from Risk’s perspective. For example, the protagonist is seen stating, “I stick my neck out for nobody,” emphasizing his self-centered approach to the external environment (Casablanca). According to critics, the narrator symbolizes the changing attitude towards war experiences among Americans who can empathize with the conflict depicted on screen (Hu 106). In other cases and on a rarer occasion, the director employed an unrestricted model, for example, when it comes to Captain Renault’s acknowledgment that cooperating with Nazis is necessary.
Conclusion
The cinematographic love story goes beyond romance and uncovers the complexities of emotional dilemmas, internal struggles, and political challenges. The director follows a standard structure: setup, conflict, and resolution, which correspond to the beginning, middle, and end of the film. In addition, flashbacks and a restricted narrative help the reader view the story from the protagonist’s perspective.
Works Cited
Casablanca. Directed by Michael Curtiz, Warner Bros. Pictures, 1942.
Hu, Bonny Tan. “Research on the influence of war on film art taking Casablanca during World War II as an example.” Communications in Humanities Research, vol. 14, no. 1, 2023, pp. 106–110.
Lev, Peter. “Casablanca.” Cinema and Media Studies, 2022.