Lecture 2 Subtext Casablanca 1942 Written by Julius

Lecture 2: Subtext Casablanca (1942) Written by Julius J. Epstein, Philip G. Epstein, Howard Koch Professor Daniel Cutrara 1

Previous Lesson • Conflict and Connection • Principles of Antagonism Ordinary People (1980) Written by Judith Guest (novel) and Alvin Sargent (Screenplay)

This Lesson • Scene Fundamentals • Scene Analysis • Assignments Casablanca (1942) Written by Julius J. Epstein, Philip G. Epstein, Howard Koch

Scene Fundamentals Casablanca (1942) Written by Julius J. Epstein, Philip G. Epstein, Howard Koch Lesson 2: Part I 4

The Fundamentals • Scenes are mini-dramas, with their own beginnings, middles, and ends. • Normally, there should be a shift in character arc from the beginning to the end of the scene. • That arc is created by a value shift resulting from the conflict. 5

The Function of Scenes • Scenes function in the following ways: – They advance the audience’s understanding of the characters. – They advance the plot toward the climax. – They advance the audience’s understanding of the story through exposition. – They create mood. 6

Scenes Must Have Subtext • The text is the surface. – What the audience sees – What the characters say • The subtext is below the surface. – It is what is not being said – It is what is really meant – What is really at stake 7

Scenes Have Beats • The Beat – Is the smallest element of structure • According to Mc. Kee: A beat is an exchange of behavior in action/reaction. Beat by Beat these changing behaviors shape the turning of a scene. 8

Scene Analysis Casablanca (1942) Written by Julius J. Epstein, Philip G. Epstein, Howard Koch Lesson 2: Part II 9

Scene Analysis - 1 • Pause the lecture and watch the accompanying clip from Casablanca. • Then read the corresponding excerpt in Mc. Kee’s Story, Chapter 11, “Scene Analysis”. Casablanca (1942) Written by Julius J. Epstein, Philip G. Epstein, Howard Koch 10

Scene Analysis - 2 • We are using the analysis from Mc. Kee in this exercise. You may not agree with his entire assessment. Hopefully, it will be an opportunity for you to make your own analysis. 11

Scene Analysis – Step 1 • Step One: Define the Conflict – Rick’s desire is clear: “To win Ilsa back. ” – Ilsa’s desire can be phrased as: “To keep her affair with Rick in the past and move on with her life. ” – Note: Their desires are in direct opposition. – You may assign different desires for these characters, however, I think you would agree they are in direct opposition. 12

Scene Analysis – Step 2 • Step Two: Note the Opening Value – Love governs the scene because the audience sees a ray of hope for this couple. – Can you think of a different value that may govern this scene? – What emotions are motivating these characters? 13

Scene Analysis – Step 3 • Step Three: Break the Scene into Beats – Keep in mind that you could separate the beats differently. You might also define the actions in a different way. 14

Scene Analysis – Beat 1 • Beat #1 – Vendor’s action: SELLING • You’ll not find a treasure like this in all Morocco, Mademoiselle. – Rick’s action: APPROACHING HER – Ilsa’s action: IGNORING HIM 15

Scene Analysis – Beat 2 • Beat # 2 – Rick’s action: PROTECTING HER • You’re being cheated. – Ilsa’s action: REJECTING RICK’S ADVANCE • It doesn’t matter, thank you. 16

Scene Analysis – Beat 3 • Beat #3 – Rick’s action: APOLOGIZING • I am sorry I was in no condition to receive visitors when you called on me last night. – Ilsa’s action: REJECTING HIM AGAIN • It doesn’t matter. 17

Scene Analysis – Beat 4 • Beat # 4 – Rick’s action: EXCUSE MAKING • Your story left me a little confused. Or maybe it was the bourbon. – The Arab Vendor: • I have some tablecloth, some napkins… – Ilsa’s action: REJECTING RICK FOR THE 4 TH TIME • Thank you, I’m really not interested. 18

Scene Analysis – Beat 5 • Beat # 5 – Rick’s action: GETTING HIS FOOT IN THE DOOR • – Why’d you come back? Tell me why you ran out on me at the railway station? Ilsa’s action: OPENING THE DOOR A CRACK • Yes. 19

Scene Analysis – Beat 6 • Beat #6 – Rick’s action: GETTING DOWN ON HIS KNEES • – Well you can tell me now. I’m reasonably sober. Ilsa’s action: ASKING FOR MORE • I don’t think I will, Rick. 20

Scene Analysis – Beat 7 • Beat # 7 – Rick’s action: GUILT TRIPPING HER • Why not? After all, I was stuck with a railroad ticket. I think I’m entitled to know. – Ilsa’s action: GUILT TRIPPING HIM BACK • Last night I saw what has happened to you. The Rick I knew in Paris, I could tell him. He’d understand-- but the Rick that looked at me with such hatred… 21

Scene Analysis – Beat 8 • Beat # 8 – Ilsa’s action: SAYING GOODBYE • I’ll be leaving Casablanca soon. We’ll never see each other again. We knew very little about each other when we were in love in Paris. If we leave it that way, maybe we’ll remember those days-- not Casablanca-- not last night-- – Rick’s action: REFUSING TO REACT • Rick simply stares at her. 22

Scene Analysis – Beat 9 • Beat #9 – Rick’s action: CALLING HER A COWARD • Did you run out on me because you couldn’t take it? Because you knew it would be like, hiding from the police, running away all the time? – Ilsa’s action: CALLING HIM A FOOL • You can believe that if you want to. 23

Scene Analysis – Beat 10 • Beat # 10 – Rick’s action: SEXUALLY PROPOSITION HER • Well, I’m not running away anymore. I am settled now-- above the saloon, it’s true--but walk up a flight. I’ll be expecting you. – Ilsa’s action: HIDING HER REACTION • Ilsa turns away from Rick. 24

Scene Analysis – Beat 11 • Beat # 11 – Rick’s action: CALLING HER A WHORE • All the same, someday you’ll lie to Laszlo— you’ll be there. – Ilsa’s action: CRUSHING HIM WITH THE NEWS • No, Rick. You see, Victor Laszlo is my husband. And was… Even when I knew you in Paris. 25

Scene Analysis – Step 4 • Step Four: Note Closing Value and Compare with Opening Value – According to Mc. Kee: The Central Plot turns sharply from a hopeful positive to a negative at a darker depth than Rick could have imagined. For not only does Ilsa make it clear she doesn’t love him now; she implies she never did. Her secret marriage turns their Paris romance into a sham. 26

Scene Analysis – Step 5 • Step Five: Survey Beats and Locate Turning Point – The action/reaction pattern builds a rapid progression of beats. – Each exchange tops the previous beat. – The gap opens in the middle of the 11 th beat on the revelation that Ilsa was married to Laszlo. 27