Argo and Casablanca – Main Characters Comparison

Both Tony and change state ar faced with a dilemma end-to-end Argo and Casablanca, respectively. They catch themselves getting to a greater extent and more(prenominal) involved with the escape plan, and then their emotional connection leads to self slight actions. Both Argo and Casablanca have a scene that underscores these typesetters cases transitions. On the first image Mendez, have a heated up conversation with his boss on the headphone, spot on the some other movie, Blaine points a gun at an official.Up to this part, the characters were re on the wholey cold, and professional, however, after it they fetch attached to the deal that be world saved. On one side, the scene selected in Argo straines on television television camera proximity and exertion, interior decoration and framing. On the other side, the scene selected in Casablanca focuses on expiretrack, camera crusade and baffleing, and on and off screen space. The camera proximity and camera trend in Argo, emphasizes the characters responses, by ceaselessly showing the character with the strongest reaction.It is noticeable that the camera zooms in Tony as soon as he is alone in the room, and is unbroken that close to him until the end his supervisor only has one close-up shot, period the camera spins around him, it is when he is explaining the new changes in CIAs operation, and for the quietus of the scene, the camera captures Jack ODonnell through medium/close-up shots, finishing with a medium shot of him breaking a cup on his table. The camera is handheld on Mendez shots, creating a more personal, and emotional perception of the character, term the zoom talllights his reactions and creates tensity to the scene as whole.The steady shots of Jack atomic number 18 calmer, and more impersonal, making him look more professional, and less emotive. The framing plays an authoritative role on this period. Both Tony and Jack argon placed on the right side of the screen at firs t, with Tony changing sides on the sick only when he states that he and his boss be responsible for the people they atomic number 18 trying to save. The right side of the screen is reserved for when the characters ar more impersonal and professional, term the left side of the screen is utilise only when Tony explicitly becomes emotionally attached.Decor and lighting variantiate the perception of all(prenominal) space used on the scene. In the house located in Iran, the lighting is darker because the scene is slightly underexposed, which helps create a low-key effect, while warm colors dominate the location. This assists on the creation of a more intimate environment, just want a house should be. On the other side of the world, in CIAs headquarters, ODonnells office receives innate(p) lighting from its window, which illuminates a blue wall as well as a typewriter of the same color, making this space look like a professional location, analogous to a typical workplace.In Casa blanca, the camera positioning and case play an important part too. However, the positions and movement are broader, ranging from long shots to close-ups and from inactive positioning to panning around the location different gos are used as well. Long shots in addition to panning introduce the area that will be used throughout the scene, which are the Cafes bar, and its entrance, that is seen from both the inwardly and outside.Another panning, more noticeable than the others, is the one that shows Renault spying on the other characters from ricks office the camera pans in a diagonal way of life from the upper right, where the officer is hidden, to the lower left, the spot where the three other character are and as well as the place where the rest of the sequence takes place. Racking focus is used when Major Strassers subordinate opens his offices entrance the focus quickly changes amongst the man and his superior. A low angle is used when the official says that Laszlo is un der arrest, which aggrandizes the captain.In this scene, mood and tension is accomplished in the important by soundtrack and sound effects instead of dialogue, in comparison to Argos selected scene, which does exactly the opposite. At first, when Rick is talking to Ilsa, the song As metre Goes By plays on the background as a motif, creating intimacy between them, and as Victor joins them, the song transforms for a brief moment, suddenly vanish when Renault, in the same shot as aforementioned in the in conclusion paragraph, surprises the Resistance hero, thus producing tension.To increase tension even further, a sound effect is used when Rick points his gun at Louis, and his voice is hear off-screen, until the camera tilts towards his face. The soundtrack is back before long, and its purpose now is to underscore tension as Renault makes the phone call. In terms of schematic elements, Casablancas selected sequence relates more to the rest of the movie than does Argos, because on ly the editing and mise-en-scene aspects are kept the same through the picture, the sound and cinematography are an exception to the rule.Casablanca brands its mise-en-scene and cinematography with relatively spacious locations, and the camera helps to manifest it by using all-embracing angled lens on top of long-shots. Lighting is often the modular three-point scheme, and it kept fixed on more or less reaction shots. Men are always formally dressed, while Ilsa changes between three different outfits and the cinematography is widely characterized by the use of straight-on angles, to maintain neutrality towards characters, with the exception of a few low shots, which raises some characters power.Long shots are predominant on the first base of scenes, and medium shots, showing two or more people in a group, soon substitute it close-ups are used mostly for reaction shots. Camera movement includes everything, nevertheless handheld and aerial shots. Wide-angle lenses are the favorit e in this motion picture. The editing and sounds, follows Hollywoods standards, always consist of an establishing shot on the beginning of distributively new scene, introduced by a dissolve from the previous scenes last shot, and a shot/reverse shot when characters are talking.Usually the rhythm happens on a medium speed. The diegetic sounds prevails, and are easily noticed, they include most of the music perceive on Ricks Cafe, background noises and sound effects of all sorts, and dialogues. The start of both Argo and Casablanca are almost the same, a narration in addition to various dissolves, introduces rapidly where the films will take place and also a point on history, the only difference is that Casablanca uses a globe, while Argo utilizes the sketches of the fake movie.In Argo, only the editing and mise-en-scene relates to the chosen sequence and the rest of the movie. The main locations are six Los Angeles, the Central Intelligence Agencys headquarters, the Persian house, Irans streets, the airport/airplane, and the US embassy on the opening of the movie and each of them has its own rhythm and amounts of tension, with the ones located in United States having the longest takes with less direct tension and the ones in Irans outdoors being the most tense ones and with the shortest takes.The connection between the countries is made with the repetitive use of cover cutting on some sequences. Continuity practically does not constitute on the chosen sequence, but does on the rest of the motion picture. around of the lighting is supposed to be natural. The costumes are typical of each characters home country. The editing strongly relates to Casablanca by using Hollywoods standards, like dissolve between scenes, shot/reverse shot during conversations.Cinematography is very different among scenes, and uses all of the possibilities. The scene selected is the only one with a handheld camera with shots focusing on only one character the other uses for this pr oficiency always include groups of people. Aerial shots are also included throughout the movie, in contrast with Casablanca that has none. The camera is always on the eye-level of the shortest character being shown. Close-ups are equally used to show reactions and details, with more camera movement on the last.Sound use is somewhat more complex in Argo, with numerous off-screen and voice over sounds, like when a conversation is held over the phone or background noises for instance. However, for all the other sections Casablanca and Argo are very standardised. Tony and Rick are exclusively professional characters, both of them possess a high social position, and are financially stable, they also enjoy desired policy-making positions among their peers, and neither display signs of emotional attachment to others, until the selected scene on each movie.After it, both characters start to be perceived as warmer people, who are still able to be, in their own ways, part of intimate relat ionships. As the pictures get closer to their ends, Mendez and Blaine are not seen exclusively as professionals anymore, but as more altruistic persons, the CIAs agent also boosts his social, and political, position by receiving an award, while the Cafes owner earns respect from the couple up and the corrupt official.In the end, it is easily acknowledged that both movies are more similar than different, with a special call for their plot, beginning, development of main character, and major formal elements. The differences, if evaluated properly, are almost none, and are all hidden among small details. coincidentally or not, Michael Curtiz has a quote that applies appropriately to both Tony and Rick when they become emotionally attached to the hostages and the couple, respectively the quote is The only things you regret are the things you dont do.