Argo and Casablanca - Main Characters Comparison
Both Tony and Rick are faced with a dilemma throughout Argo and Casablanca, respectively. They catch themselves getting more and more involved with the escape plan, and then their emotional connection leads to altruistic actions.
Both Argo and Casablanca have a scene that underscores these characters transitions. On the first movie Mendez, have a heated up conversation with his boss on the phone, while on the other movie, Blaine points a gun at an official. Up to this part, the characters were very cold, and professional, however, after it they become attached to the people that are being saved.
On one side, the scene selected in Argo focuses on: camera proximity and movement, decor and framing. On the other side, the scene selected in Casablanca focuses on: soundtrack, camera movement and positioning, and on and off screen space.
The camera proximity and camera movement in Argo, emphasizes the characters reactions, by always 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 kept that close to him until the end; his supervisor only has one close-up shot, while the camera spins around him, it is when he is explaining the new changes in CIA’s operation, and for the rest of the scene, the camera captures Jack O’Donnell 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, while the zoom highlights his reactions and creates tension to the scene as whole. The steady shots of Jack are calmer, and more impersonal, making him look more professional, and less emotive.
The framing plays an important role on this sequence. Both Tony and Jack are placed on the right side of the screen at first, with Tony changing sides on the frame only when he states that he and his boss are responsible for the people they are trying to save. The
Both Argo and Casablanca have a scene that underscores these characters transitions. On the first movie Mendez, have a heated up conversation with his boss on the phone, while on the other movie, Blaine points a gun at an official. Up to this part, the characters were very cold, and professional, however, after it they become attached to the people that are being saved.
On one side, the scene selected in Argo focuses on: camera proximity and movement, decor and framing. On the other side, the scene selected in Casablanca focuses on: soundtrack, camera movement and positioning, and on and off screen space.
The camera proximity and camera movement in Argo, emphasizes the characters reactions, by always 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 kept that close to him until the end; his supervisor only has one close-up shot, while the camera spins around him, it is when he is explaining the new changes in CIA’s operation, and for the rest of the scene, the camera captures Jack O’Donnell 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, while the zoom highlights his reactions and creates tension to the scene as whole. The steady shots of Jack are calmer, and more impersonal, making him look more professional, and less emotive.
The framing plays an important role on this sequence. Both Tony and Jack are placed on the right side of the screen at first, with Tony changing sides on the frame only when he states that he and his boss are responsible for the people they are trying to save. The