-W5.1 (extra credit)the film Casablanca -GUO YING

 Summary

Casablanca (1942) is a cinematic classic in American film history. Set against the backdrop of World War II, it tells a powerful story of love, sacrifice, and moral choice. While it is remembered for its timeless dialogue and emotional depth, Casablanca also offers rich material for sociological analysis, especially through the lens of Erving Goffman’s dramaturgical theory, as outlined in The Presentation of Self in Everyday Life. Goffman compares social interaction to theatrical performance. In his framework, every social interaction involves a “front stage,” where individuals perform for an audience, and a “back stage,” where the true self may be revealed. This concept provides a compelling lens through which to understand the behavior and relationships in Casablanca.

1. Front Stage and Back Stage: The Two Lives of Rick

Rick Blaine, the central character, operates Rick’s Café Americain—an iconic “front stage” setting. In this space, Rick projects the image of a detached, neutral businessman who stays out of politics. His famous line, “I stick my neck out for nobody,” captures this carefully maintained persona. However, as the story unfolds, the audience is gradually introduced to Rick’s “back stage”—his past idealism in the Spanish Civil War, his heartbreak over Ilsa, and his internal moral struggle. Goffman argues that the back stage is where individuals can shed their public masks and reveal their authentic selves. For Rick, this backstage emerges in private conversations, particularly with Ilsa, where his emotional depth and vulnerability come to light.

2. Role Performance: From Cynic to Self-Sacrificing Hero

According to Goffman, individuals perform various roles depending on their social context. At the beginning of the film, Rick plays the role of a cynical observer, purposefully avoiding involvement in other people’s affairs. However, this role evolves. When Victor Laszlo seeks his help and Ilsa reappears, Rick undergoes a transformation. He redefines himself as a self-sacrificing hero who puts the greater good above personal happiness. This shift exemplifies Goffman’s concept of role redefinition—when individuals alter their roles in response to changing expectations or inner convictions.

3. Impression Management: Controlling the Narrative

Goffman emphasizes that individuals constantly engage in impression management—manipulating the perception others have of them. Rick excels at this. He hides his pain and longing behind sarcasm and stoicism, especially in interactions with Ilsa. His aloof demeanor is not genuine but a strategy to maintain control and emotional distance. More intriguingly, Rick also manages the impressions of others around him. In the film’s climax, he orchestrates events so that both Ilsa and Laszlo can escape, while also preserving his reputation. He subtly cues Renault to play along, showcasing Goffman’s idea of the performer who manages not only his own role but also the broader social script.

4. Team Performance and “Situations”: The Collective Nature of Social Acting

Goffman’s dramaturgical theory also includes the idea of team performance—people cooperating to sustain a shared front. In Casablanca, Rick and his staff, Laszlo and the resistance, and Rick and Ilsa each form performance teams. These teams rely on cooperation to maintain their collective image and social credibility. Moreover, the city of Casablanca itself functions as a complex “situation.” Under the pressure of war, fear, and bureaucracy, individuals must constantly adjust their roles. Goffman reminds us that no role exists in a vacuum; every performance is shaped by the surrounding social context.