W5.1 March 31 (Mon) - Kim Gyuri 김규리

Goffman’s Theory in a Nutshell

Before diving into the film, here’s a quick recap: Goffman argues that social life is like a stage. People are like actors performing roles for others, using settings, costumes, and scripts to control how they’re perceived. There’s a front stage, where we present our polished selves, and a back stage, where we can relax and be more “real.”

Now let’s apply that to Casablanca.

Rick Blaine: The Man with Two Faces

Rick, the owner of Rick’s Café Américain, is the perfect example of Goffman’s front stage/back stage theory.

• Front Stage Rick is cool, cynical, and emotionally detached. He repeats, “I stick my neck out for nobody.” That’s his public persona—the tough guy, politically neutral, emotionally untouchable.

• But behind the scenes, Back Stage Rick is a romantic idealist still heartbroken over Ilsa. We see this when he drinks alone after she walks into his bar, and again when he risks everything to help her and Laszlo escape. His true self is hidden until the right moment.

This shift between his public and private selves mirrors Goffman’s idea of impression management—we see how Rick performs a role to protect his reputation and emotional vulnerability.

Costumes, Settings, and Scripts

Goffman would’ve loved Rick’s café. It’s a literal stage: people perform roles in front of others—French officials, Nazis, refugees—all trying to control how they’re seen. The café becomes a social microcosm where each group tries to assert dominance or maintain appearances.

• Costumes: Rick’s white dinner jacket vs. the Nazi uniforms—each signals status and role.

• Setting: The café is the ultimate front stage, while Rick’s private quarters or the back alleys of Casablanca serve as the back stage.

• Scripts: Characters speak differently depending on their “audience.” For example, Ilsa’s tone changes between Laszlo and Rick—her dialogue reflects her shifting roles as a wife, lover, and survivor.

Role Switching and Face Work

One of Goffman’s most interesting ideas is how we switch roles based on context—and we see this throughout Casablanca.

• Captain Renault is a master performer, constantly shifting between collaboration and resistance depending on who’s watching. He plays the charming opportunist, but in the final scene, he suddenly shifts roles and sides with Rick.

• The characters also engage in face work—managing their dignity and social standing. Rick lets Ilsa and Laszlo go, not just out of love, but also to preserve his “face” as someone who ultimately does the right thing. It’s an act of redemption, perfectly timed for his audience (Renault, and us, the viewers).

Final Thoughts

Watching Casablanca through Goffman’s lens added a whole new layer of depth. It reminded me that classic films aren’t just entertainment—they reflect deep truths about human interaction. Everyone in the film is performing, negotiating roles, and managing impressions, just like we do every day.

So next time you watch Casablanca, don’t just focus on the romance. Think about the roles, the stages, and the performances. It’s Goffman, Hollywood-style—and it’s brilliant.