W5 The movie Casablanca —JIA YUAN

 The 1942 film Casablanca is not only a classic about love, sacrifice, and faith, but also a "theater" filled with social interaction and identity portrayals. This movie takes place in the Moroccan port city of Casablanca, set against the backdrop of World War II, centered around three characters: the stern bar owner Rick, his former lover Ilsa, and her husband, the anti-Nazi underground hero Victor Laszlo. The film portrays human choices in a tumultuous era while also skillfully showcasing numerous theoretical elements proposed by sociologist Goffman in his book "Self-Presentation in Daily Life."

Casablanca is not just a romantic film; it is also a social stage where characters continually play roles, manage impressions, and adjust contexts between love and politics, loyalty and betrayal. Goffman's theory reveals the structure and motivation behind these characters, turning "watching movies" into a profound social psychological analysis. One could say that Casablanca not only moved us by Rick's ultimate sacrifice and growth, but also made us realize that in any era, each of us plays some social role on the "stage," just with audiences, plots, and lights constantly changing.

1. Frontend and Backend: Rick's Dual Life

Goffman compares people's social behaviors to stage performances, believing that everyone has both a "front stage" and a "backstage." In the movie, Rick portrays a cold, selfish, and politically detached image in his bar "Rick's Café Américain," which is his "front-stage self." He treats all customers equally, impartially, and is unwilling to get involved in any political disputes, even pretending to be cold towards his old love Ilsa. All of this is part of his meticulously managed "performance."

But as the plot progresses, we see his "backstage" gradually coming to light: he had been a volunteer fighting for ideals, transporting weapons for the French resistance, deeply loved Ilsa, and was deeply hurt by her sudden departure. Rick is not cold-hearted; he is using a "role" to conceal his wounds and disappointment. The tension between his "backstage authenticity" and his "frontstage mask" propelled the emotional development of the entire film.

2. Impression Management: Ilsa's Dilemma

Goveman emphasizes that in social interactions, people consciously manage others' impressions of themselves. Ilsa is a prime example of this impression management. She was both Laszlo's steadfast partner and Rick's unforgettable old love. In front of Rick, she tried to explain her departure back then and displayed tenderness and regret; in front of Laszlo, she maintained a loyal and strong image. She adjusted her performance in front of different "audiences," sometimes gentle and fragile, and at other times resolute and decisive. This is precisely what Goffman calls "audience-oriented" performance, where she strives to balance the expectations of both worlds in order to maintain her moral integrity and interpersonal image.

3. Context Definition and Interactive Order

Casablanca is a city filled with chaos and uncertainty, a neutral zone, and a stage for various interests to clash. Rick's bar became a temporary "middle ground" where various forces could coexist, almost like a temporary "stage space." Here, German officers, exiles, black market merchants, and Vichy government officials coexist in a room that appears peaceful on the surface but is actually rife with undercurrents.

In this complex situation, everyone must continuously "define the context" to maintain the "interactive order." The interaction between Rick and Captain Renault exemplifies the subtle balance of power and roles. On the surface, Renault is a local authority, but he indulges Rick in a certain "coordinated" manner, and Rick is adept at navigating the fringes of the rules, protecting himself while occasionally stepping in to help. This mutual recognition yet maintenance of the "script" interaction is a vivid interpretation of Goffman's theory.