In Michael Curtiz’s 1942 film Casablanca, a heavy emphasis is placed on the emotions of interaction between characters, especially Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman). This is carried out largely through the shot/reverse-shot pattern, wherein the shot is cut back and forth in tandem with the flow of dialogue to show the characters as they speak. In his article “For the Sake of Conversation: On shot reverse shot,” (http://www.aotg.com/index.php?page=shotreverseshot) Mott emphasizes the significance a character’s reaction to their counterpart’s words can have in producing a desired emotional response. Rather than simply shifting directly between the faces of the speakers, a shot can linger on one character to show the audience how they react to what they hear and see. This can be seen in the final moments of the film (clip shown below), as shots follow Ilsa’s speaking and listening to Rick.
As their goodbye builds to its iconic finale, the shot transitions from a close-up showing the temporary lovers in the frame together to a shot/reverse-shot sequence (1:07). The scene is meant to emphasize Ilsa’s response to Rick’s goodbye, and this transition allows the shot to remain heavily focused on her face as she comes to realize the finality of his words. Interestingly, the transition also has the effect of isolating them from one another as a visual representation of their approaching reality. Through this and other such stylistic decisions, the dialogue editing in Casablanca effectively emphasizes the words spoken between its characters and the emotions that motivate them, which may help explain its position as one of the most referenced screenplays in American cinema.