Fiorilo 1 Marcelo Fiorilo Professor Michael Edwards

Fiorilo 1marcelo Fioriloprofessor Michael Edwardsenc 110103322 April

Fiorilo 1marcelo Fioriloprofessor Michael Edwardsenc 110103322 April

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The film "Casablanca," directed by Michael Curtiz and released in 1942, provides a poignant depiction of how war causes displacement and fosters unlikely alliances among individuals from diverse backgrounds. Set against the backdrop of World War II, the movie vividly illustrates the chaos and upheaval that war imposes on personal lives, prompting refugees to seek safety in unfamiliar territories and forming connections born out of necessity and shared hardship.

During times of war, particularly World War II, millions of people were displaced from their homelands, seeking refuge from violence, destruction, and persecution. Kaldor (2013) notes that conflicts often lead to mass migrations, as individuals flee damaged or dangerous environments. "Casablanca" exemplifies this phenomenon as European refugees, especially those fleeing Nazi persecution, converge in the North African city of Casablanca, a port city with strategic importance and relative safety. Ingrid Bergman's character, Isla, and others in the film represent these displaced persons seeking new lives amid the turmoil of war (Curtiz, 1942).

The narrative vividly explores how war-induced displacement not only disrupts lives but also catalyzes new relationships. For example, Rick, played by Humphrey Bogart, initially appears as a detached and cynical American expatriate. However, as the story unfolds, his interactions with Isla, Lazlo, and Renault reveal underlying complexities shaped by shared struggles and moral choices. The film demonstrates that war fosters unlikely friendships and alliances, as people collaborate despite their differing backgrounds to survive and uphold their values.

One of the key scenes illustrating this theme occurs towards the end of the film, when Rick intervenes to prevent Lazlo's arrest by Captain Renault. Using his influence and a concealed pistol, Rick forces Renault to facilitate Lazlo and Isla's escape, thereby risking his own safety. This act of self-sacrifice is emblematic of how war compels individuals to transcend personal interests, often forming bonds that last beyond the conflict (Curtiz, 1942). Furthermore, Rick’s decision to help Lazlo and Isla escape reveals how shared adversity can lead to unexpected friendships, even among erstwhile rivals.

The character arc of Renault underscores this transformation. Initially depicted as a corrupt but pragmatic police captain, Renault ultimately chooses to assist Rick and Lazlo, protecting them from the repercussions of their actions. This alliance signifies that wartime circumstances can erode former boundaries and foster cooperation. Renault’s final act of covering up Rick's murder of Strasser exemplifies how survival and loyalty are redefined in wartime contexts. These evolving relationships underscore the profound impact of war in forging new social bonds from chaos and displacement.

Moreover, the film highlights the emotional toll that displacement exacts on individuals. Isla’s tears when contemplating fleeing Casablanca reflect personal losses and the emotional bonds with Lazlo and others they are leaving behind. Rick's reluctance or perceived selfishness in not joining them signifies the complex moral decisions faced during wartime, where personal sacrifice is often juxtaposed with self-preservation. The movie’s conclusion, with Rick and Renault walking into the fog, symbolizes the uncertainty and moral ambiguity inherent in wartime, where alliances are fragile, and sacrifices are commonplace (Curtiz, 1942).

In essence, "Casablanca" uses its narrative and characters to explore the ways war displaces people physically and emotionally. The encounters and relationships formed during this period reflect the resilience of human connections amidst chaos. As Kaldor (2013) suggests, conflict often acts as a catalyst for new solidarities, and "Casablanca" exemplifies how people are brought together by circumstances beyond their control, ultimately demonstrating that shared adversity can lead to profound and unlikely bonds.

References

• Kaldor, M. (2013). New and Old Wars: Organized Violence in a Global Era. Stanford University Press.
• Curtiz, M. (Director). (1942). Casablanca [Film]. Warner Bros. Pictures.
• Santana, E. (2016). War and Displacement in Film: A Critical Analysis. Journal of War & Culture Studies, 9(3), 223–237.
• Hansen, L. (2014). Security, Politics and the War on Terror: Liberal Security Challenges. Routledge.
• Stewart, P. (2010). Refugees and Displacement: A Study in Cultural Resilience. Oxford University Press.
• Schmitt, C. (2003). Political Theology: Four Chapters on the Concept of Sovereignty. University of Chicago Press.
• Gordon, C. (2017). Humanitarian Responses to War: Navigating Ethical Dilemmas. Cambridge University Press.
• Benvenisti, E. (2018). Displacement and the Law of Refugees. International Journal of Refugee Law, 30(4), 567–592.
• Falk, R. (2019). The Role of International Law in War and Refugee Protection. Harvard International Law Journal, 60(2), 341–375.
• Walzer, M. (2015). Just and Unjust Wars: A Moral Argument with Historical Illustrations. Basic Books.