Alienation In Casablanca

In Lost in translation, critics (Haslem; Allsop; Paik; Klawans 34) agreed that the two main protagonists are both foreigners abroad and their present marriage and relationship problems adto their feeling of alienation from the present location and surrounding culture. This is an aspect Shanghai Story shares with Coppola’s films as well as with Curtiz’ Casablanca. In Lost in Translation, the couple’s alienation is amplified by their problematic family and marriage situations, causing them to sympathize with each other and develop a close personal relationship. In Casablanca, their shared history and the state the World is in at the moment (World War II) that bring the couple together and allows them to share a romantic desire. In both instances, the luxury of romantic encounters and friendly relationships are allowed and granted to them only because of the exotic locations and the situation they find themselves in. The main character in Shanghai Story also falls into that category, struggling with his place in the World, his professional life leading nowhere and far away from home in an alien environment, he is feeling detached and alone. We can assume the female lead is also looking for an escape by initiating the encounter, or simply looking for a comfort and familiarity of home. Perhaps she has other intentions, but these are no doubt ignited or altered by her present

In these movies, these issues are resolved by placing the main character into a foreign country. Negra specifically applies this to American families, as she has a clear understanding of how these should function, but it can be implemented for other nationalities and individuals with strong family relations as well. Lost in Translation, Casablanca and Shanghai Story follow this formula, where all main characters are Americans abroad, albeit in different ways and for different reasons. Both Shanghai Story and Casablanca deal with Americans living the expatriate life, settled in a foreign land, whereas main character in Lost in Translation, American actor Bob Harris, is merely an observer on a business trip. Man in Shanghai Story and Rick Blaine in Casablanca are cynical, hard drinking types, dealing with otherness and alienation on a much deeper level than Bob Harris. He is a tourist and although his problems touch upon the subject of detachment and alienation to his surroundings, Bill Murrays character’s Tokyo-problems are quite shallow. He can’t sleep because of his jet lag, so he drinks in a bar. He is experiencing his alienation and cultural differences in a more obvious and light-hearted matter. His razor is too small, his shower too low. He simply doesn’t have the time to experience the surroundings on a more emotional and deeper level. In