In The Twenty Ten Theme’s 2012 blog post, Arthur Edeson, the cinematographer for the film, was said to alongside Curitz use lighting and angles to depict different perspectives of the central character. I could not agree more that the distorting of the shots definitely revealed a psychological depth of Rick Blaine simply because he was made out to be mysterious and large. The non-diegetic music score as I previously mentioned was the most moving factor of the film because it compelled viewers to feel a certain way towards simple scenes such as when the film began and the cultural perspective of Casablanca was being shown. The theatric sound provoked the reader to welcome the film in a certain mood that one probably would not have felt had there been no non-diegetic sound. The diegetic musical choices were equally as moving such as the tune of ‘As Time Goes By’ that not only served as a symbol of Rick and Ilsa’s love, but wrapped the viewers with emotion towards their flame as
In The Twenty Ten Theme’s 2012 blog post, Arthur Edeson, the cinematographer for the film, was said to alongside Curitz use lighting and angles to depict different perspectives of the central character. I could not agree more that the distorting of the shots definitely revealed a psychological depth of Rick Blaine simply because he was made out to be mysterious and large. The non-diegetic music score as I previously mentioned was the most moving factor of the film because it compelled viewers to feel a certain way towards simple scenes such as when the film began and the cultural perspective of Casablanca was being shown. The theatric sound provoked the reader to welcome the film in a certain mood that one probably would not have felt had there been no non-diegetic sound. The diegetic musical choices were equally as moving such as the tune of ‘As Time Goes By’ that not only served as a symbol of Rick and Ilsa’s love, but wrapped the viewers with emotion towards their flame as