The movie viewed for this paper was Casablanca (1942), directed by Michael Curtiz and starring Humphrey Bogart and Ingrid Bergman. The basic premise involves a love triangle and two travel permits to leave for Lisbon in French Morocco during World War II. This paper will examine the setting, performance, and framing of the mise-en-scene at the end where Lazlo, Rick, and Ilsa are saying good-bye.
The setting of the final scene takes place outdoors on the airstrip in Casablanca on a cold, foggy evening, with just enough lighting to view the action by. The atmosphere is thick, gray, and a little gritty, reflecting the same color tones in the character's clothing, and perhaps emotional tones as well. The lights of the plane can be glimpsed in the background.
Framed in the scene from left to right are Victor Lazlo (Paul Henreid), Ilsa Lund (Ingrid Bergman), and Rick Blaine (Humphrey Bogart). Lazlo, on the one side, is wearing a lighter trench coat with the white hat of the hero. On the other side, Rick is wearing a darker trench coat and a black hat. Both are in profile facing inwardly and framing Ilsa, who is wearing a coat and hat that are neither light nor dark, but somewhere in between, driving home the intent of the plot, which is that she must choose between these two men.
The performance of the actors is very tight, emotionally, again going from Lazlo on the left to Rick on the right -- both focusing on Ilsa in the middle. Lazlo wants no explanation for Rick's generosity, yet Rick is compelled to explain that Ilsa pretended to still love him to get the permits and "I let her pretend." The camera then cuts to a close up of Ilsa, now fully the focus of attention, as she says, "Good-bye, Rick. God bless you." Then she and Lazlo turn and walk away.
This particular scene in Casablanca underscores the entire premise of the story where Ilsa must choose between one ma
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