Play It Again Sam She s Great Script
Play it again, Woody
Directed by Herbert Ross, "Play It Once more, Sam" (1972) is Woody Allen's film from the beginning to the final credits. Allen wrote the screenplay based on his Broadway play and he starred equally Allan, a neurotic movie buff who writes the picture reviews (what else?). Allan not just loves movies; he lives in the movies' globe and constantly takes advices on how to get the girls from the legendary hero of his all time favorite movie "Casablanca", Humphrey Bogart's Rick. I am not a fan of "Casablanca" at all but if my favorite Artist is and so much in beloved with it, maybe I should give it some other try.
When Allan'due south wife Nancy leaves him, his best friend Dick (Tony Roberts) and his lovely wife Linda (Diane Keaton) attempt to fix him up with several eligible pretty young ladies. Very typically for Woody'due south characters, he is a total failure with them. The only woman he feels comfy with, he shares the same insecurities and neuroses, the i whose Birthday he remembers and who he desperately wants is Linda, his best friend's wife. "Play It Again, Sam" is a remarkable picture for several reasons and one of them - information technology was the kickoff of a wonderful working (and not merely) human relationship betwixt Allen and Keaton that would effect in the movies "Bananas" (1971), "Sleeper" (1973), "Love and Death" (1975), "Annie Hall" (1977), "Interiors" (1978), "Manhattan" (1979), "Radio Days" (1987), and "Manhattan Murder Mystery" (1993) and will bring them both well deserved fame and Oscars. Made 34 years agone, "Play It Again, Sam" holds upward very well and I would call information technology my favorite earlier Woody's picture and the best Woody's picture that he has not directed.
8/10
xxx out of 32 found this helpful. Was this review helpful? Sign in to vote.
Permalink
One of the Best Romantic Comedies by Woody Allen
In San Francisco, the neurotic, awkward and clumsy moving-picture show critic Allan (Woody Allen) that is a fan of "Casablanca" is left by his wife Nancy (Susan Anspach) that is tired of their boring life. His friends Linda (Diane Keaton) and her husband Dick (Tony Roberts) try to help him finding available acquaintances to appointment him. Allan is brash past his alter ego Bogart (Jerry Lacy) how to deport with women, but Allan is likewise weird and the women never get in a 2nd date with him. Presently Allan finds that he is in dearest with Linda, but Dick is his best friend and he does non desire to make a motility despite Bogart advices.
"Play It Again, Sam" is ane of the best romantic comedies past Woody Allen in the beginning of his successful career. I saw this pic for the kickoff fourth dimension when I was all the same discovering Woody Allen and last time I had seen was on VHS on 12 Nov 2000 and I have simply seen it again on a DVD recently released in Brazil. The neurotic Allan is hilarious and his discussions with Linda nearly neurosis and medicines, and his jitters with his dates are very funny. It is curious also to see the typical New Yorker Woody Allen filming in San Francisco. My vote is nine.
Title (Brazil): "Sonhos de um Sedutor" ("Dreams of a Seductor")
13 out of xvi found this helpful. Was this review helpful? Sign in to vote.
Permalink
Hilarious Woody Allen romp
I'm a big fan of Woody Allen. While his films oftentimes have something wrong with them, you can always count on a good time and a express mirth while you lot're watching - and that's certainly what you get here! Woody Allen films are e'er best when Woody himself stars in them; his neurotic persona is a great base for laughs, and he certainly delivers in this film! For some reason, Woody Allen chose not to direct this moving-picture show himself and Herbert Ross has got that task. Due to the cast, and Woody'due south script, notwithstanding, this is very much another Woody Allen moving picture, no thing who is in the director's chair. This film also features the first screen pairing of Allen and Diane Keaton, who would, of course, continue to make Allen's masterpiece 'Annie Hall', along with Tony Roberts, who also co-stars here. The plot of the movie plays out similar a tribute to Casablanca, and it sees recently dumped Allen falling in beloved with his all-time friend's wife, all the while under the watchful centre of the great Humphrey Bogart, whom he sees in his daydreams.
The humour in this film is awesome and as well amazingly funny. Scenes that see Woody Allen blunder his manner through dates are hilarious, and Allen's dialogue is at its dry and witty meridian. The scene in which he tells of a fight he had with two 'hairdressers' existence an excellent case of his writing. Allen tends to play the same sort of character in all of his films, and the one here shows him doing that again. This would be a problem, if he weren't so amazingly good at it. As the man festers in his own pathos; we can really believe it, and this gives the film a great sense of believability and too offers upwardly a prime number example of Allen acting at his best. The film isn't a complete 1-man bear witness, however, every bit the underrated Tony Roberts, along with Diane Keaton also requite thousand performances. The movie tributes in the film are many, with virtually pointing to the cracking Casablanca - and this is a good affair equally far as I'm concerned. On the whole, this is an intelligent, entertaining and hilarious movie from one of movie house's all-time comedians. Highly recommended!
29 out of 39 found this helpful. Was this review helpful? Sign in to vote.
Permalink
one of Woody's best
Perhaps Woody's best effort in his 'neurotic schlep' persona. The script is a comic whirlwind, with too many brilliant scenes to enumerate (I can't resist mentioning the bullheaded engagement'south arrival - the drastic preparations and the pathetic introduction are funny but painful, in that we have all been in that position; his sit-in of accurate Chinese rice-eating technique is some other archetype). The device of the imaginary Bogart change ego works well, especially in the climactic scene with Diane Keaton. In my book this ranks with Sleeper, Manhattan, and Annie Hall every bit Woody's all-time films.
34 out of 43 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Riotous
Easily my favorite picture with Woody that he did not direct, 'Play information technology Once again, Sam' is a hysterically funny homage to Bogart, divorce, adultery, dating, an overactive imagination, meeting women in museums, and calling your office with all the telephone numbers you can be reached at..this is some swell stuff and Woody'southward social clumsiness and pratfalls and neuroses will have you laughing throughout.
One of my favorite scenes is Woody trying to meet an attractive woman at a museum. She turns out to be a little more unhappy than he is but is also very funny in her darkness.
The very all-time is Woody getting set up up on a blind date with Jennifer Salt. His nervousness volition stay in your mind long afterwards the movie is over.
20 out of 25 found this helpful. Was this review helpful? Sign in to vote.
Permalink
See "Casablanca" Get-go
My kickoff and foremost thought about this moving picture is that you MUST see "Casablanca" (1942) start, for two reasons:
Beginning, "Play information technology Again, Sam" contains not just archival footage from the 1942 archetype, but numerous dialogic and other references which would be lost on someone who hasn't seen "Casablanca."
2d, and more important, is that the surprise catastrophe of "Casablanca" is revealed in the *very first scene* of "Play it again, Sam."
Beyond that, "Play it once more, Sam" is probably second but to "Annie Hall" among the Woody Allen / Diane Keaton films. Woody fans will enjoy the neurotic, psychosexual ramblings of the fundamental character, which are typical of his movies, as well as the numerous elements of concrete comedy, which are not as common in Woody Allen films. And sentinel for the scene in the fine art gallery -- it's a classic!
27 out of 31 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Very practiced Woody Allen moving picture
Allen plays a flick critic who has been cruelly dumped by his married woman. He wants to meet other women but is very neurotic (no surprise at that place). He idolizes Humphrey Bogart who shows up from time to time to give him advice on dealing with woman. His best friends--couple Diane Keaton and Tony Roberts--try to help also. Naturally he ends up falling for Keaton.
Allen didn't straight this (Herbert Ross did) but he wrote information technology. So it sounds like a Woody Allen motion picture but doesn't LOOK like an Allen film. For one matter it was shot in San Francisco--non New York! It's besides somewhat dated in 1970s dialogue and manner. In that location'southward also a running joke involving Roberts and telephones that doesn't work today. Still this is a very adept picture.
It is an affectionate have-off on "Casablanca" and other old films likewise. Allen is playing has patented neurotic character only I've always found him funny and his disastrous dates are just corking. Also him, Keaton and Roberts ever worked well together and it makes their relationship seem very believable. And Jerry Lacy is VERY funny playing Bogart and giving Allen communication.
If you don't like Woody Allen movies this probably won't modify your listen. But I plant it fast, funny and very entertaining. And the dated 70s touches were actually quite funny. I give this a 8.
10 out of 13 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Woody And Bogie Play The Dating Game
What could be libation than having a screen legend hanging out with you lot, offering you dating tips? This archetype 1972 comedy written past and starring Woody Allen gives him two, 1 the specter of Humphrey Bogart, the other a young Diane Keaton simply working her way into film.
Woody plays Allan Felix, a pic critic who has but been dumped by his wife and sets off to fill the hole in his centre. "I'll get broads in here like you lot wouldn't believe," he tells himself. "Swingers, freaks, nymphomaniacs, dental hygienists." Only when even the nymphomaniac complains about his getting fresh, he realizes it won't be then piece of cake. Enter Bogart, actualization in a series of fantasy sequences, and Keaton, very much a role of his real life as one-half of the married couple that jumps in to help Allan out. Alone amongst women, she can encounter Allan as a worthwhile guy, especially with their shared love for apple juice and Darvon.
"Play It Again, Sam" is a bit of an anomaly for an Allen comedy. It's set in San Francisco, not New York, and is directed by Herbert Ross rather than Allen himself. Merely it'south very funny, kind of poignant, and a clever way of examining the foibles of hooking up, circa the 1970s. A number of comic vignettes examine the various ways seeking out the opposite sex can go incorrect, on the dance floor, in a Chinese restaurant, in a bar. My favorite has to be the museum hottie with the pneumatic voice: Merely an Allen picture would have its best punchline exist about committing suicide.
The central point of the film, every bit brought out by another apparition only Allan sees, his ex-wife, is that the world is broken up into watchers and doers, and Allan the film critic is too much the sometime. Bogie gives him much the aforementioned advice, but Bogie and the ex-wife don't exactly get forth in Allan'southward daydreams, leading to awkward moments. "Don't mind to him!" "Don't listen to her!" "Fellas, we're in a supermarket."
Too, equally Allan notes, it's one thing for Bogie to get slapped, another thing for him: "Your glasses don't become flying across the room."
Other than "Annie Hall" and "Sleeper," this is the best of the early Woody Allen comedies, another mode of saying the best of Woody Allen. Ross'due south unpretentious style keeps the focus on the humor and the performances, and even makes Allen seem a gifted physical comedian, which he isn't. Keaton is a terrific foil for Allen, both platonically and as information technology turns out, otherwise, while Tony Roberts as her hubby (this beingness his first of many Allen films, too) makes for a wry straight man with his constant phone calls and his appearances in some fun fantasy send-ups, the all-time of them in Italian.
Yous really like the characters in this ane. Empathy can be a powerful weapon in comedy, something Woody plain forgot as he moved into his Bergman stage. The catastrophe is neat without being satisfying, the dream sequences aren't used to their full potential, and some of the rape jokes sound really bad all these years later on. But you express mirth a lot watching this film, a nice vehicle for Woody's observational humor and for seeing the game of beloved played in its nearly ineptly enjoyable form.
7 out of 8 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
My favorite Woody Allen motion-picture show
This is 1 if my favorite movies of all fourth dimension. Information technology is best seen right later Casablanca; I like to watch the ii back-to-back to get the total effect. I express mirth out loud throughout the movie, as I run across myself portrayed so well in Allen'due south character. The movie is a must for any slightly-geeky single man or anyone who enjoyed Casablanca. I call up of this as the story of a lovelorn geek on a quest for honey, guided by his faith in Bogart. The cast is astounding; along with Allen's performance, Diane Keaton added a adept corporeality of reality, sensitivity, and humour. Her grapheme is quite conceivable. Tony Roberts is hilarious; his deadpan delivery of all the phone number lines prevents the joke from getting old even on multiple viewings.
49 out of 58 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
Woody's overlooked lxx's jewel
While he did non direct it, but rather, only wrote a screen adaptation of his ain play, this disregarded slapstick film from 1972 is one of Woody Allen'south finest treasures. Back in the solar day when Woody was only every bit slapstick as he was verbal, "Play It Again, Sam" tells the story of Allen every bit a divorced film critic crushed by the failure of his marriage. A huge fan of Humphrey Bogart, Allen soon looks to an imaginary incarnation of Bogie to guide his fearful (and clumsy) voyage dorsum into the single life. He is aided by his best friend Dick and his wife Linda (Woody regulars Tony Roberts and Diane Keaton), who assist him in setting up ane disastrous date afterwards another. Soon plenty, Woody discovers that sometimes you actually observe truthful love simply it doesn't e'er work out the way you wish.
Personally, I don't intendance too much for the whole Bogart-as-mentor thing. I spend most of the picture show smashing upwardly at Woody's impuissant gestures and neurotic nay-sayings. As usual in an Allen moving-picture show, Keaton gives a sweet, self-effacing performance. Because the flick was directed by Herbert Ross, the typical rambling dialogue and back-and-forth editing is toned downward a bit, and so for an Allen vehicle, the movie feels more mannered and has more of a narrative strength than Woody'due south other wacky 70's productions. Withal, Woody has never fabricated me laugh harder - ever.
26 out of 33 found this helpful. Was this review helpful? Sign in to vote.
Permalink
I think the Pepto Bismol helped
'Play it Over again, Sam' is Woody Allen'southward tribute to 'Casablanca'. It's been ages since I've seen 'Casablanca' and it didn't appeal to me equally much. It may be advisable to watch information technology before seeing Allen's film, mainly due to the frequent references and the story itself is a homage. Evidently the managing director'south a big fan of Humphrey Bogart and perhaps he sees a lot of himself in the moviestar.
The whimsical narrative construction follows Allen'south usual fashion. The characters take also been witnessed in Allen'southward other films. Allen himself plays his signature neurotic persona rambling on about psychosexual stuff. Tony Roberts does a fine job as Linda'south fiancé who's commonly absent when Linda needs him. Diane Keaton is outstanding. She looks stunning and her performance is excellently natural. Jerry Lacy does a proficient chore of mimicking Bogart. In addition, I liked the soundtrack and enjoyed the playful cinematography.
This film is archetype Allen, a delight to watch. Fifty-fifty though I didn't similar 'Casablanca' when I last saw it, 'Play It Again, Sam' makes me want to requite it another take a chance. Perhaps I should.
v out of six found this helpful. Was this review helpful? Sign in to vote.
Permalink
Not perfect, merely enormously likable.
"Play It Again, Sam" is not an birthday successful film: it gets kind of monotonous midway through, and it has a few dead spots and mediocre jokes forth the way. Just I still like it very much. A warmly funny, enormously likable moving-picture show, it contains some absolutely hilarious moments (watch for his offset blind date and the scene where he follows - and overdoes - the advice that Bogart'due south ghost gave him to tell Diane Keaton how beautiful she is). Keaton is really lovely and adds an actress sparkle to the pic. Wacky and emotional at the same time, the moving picture is recommended fifty-fifty to not-very-enthusiastic Allen fans.
fourteen out of 23 found this helpful. Was this review helpful? Sign in to vote.
Permalink
A Comedy Classic
I lied on Bananas, THIS is my favorite Woodman movie. It's perhaps the most accessible, mainstream early Allen film. After Woody's wife splits on him (what took her so long!?), Woody turns to best friends Keaton and Roberts to help him dorsum onto the romantic saddle. Bogie also appears - flawlessly portrayed by Lacy - and attempts to aid Woody out of his doldrums with decidedly mixed results. What eventually happens, along with the Manhattan story line, suggests the Woodman's later existent-life escapades. Of all of Allen's films this 1 for me has the most timeless moments specially involving his many dating mishaps. Woody's luckless character is role of a great comedic lineage that goes at least as far back as Bob Hope and has been seen as recently as George on Seinfeld. A comedy classic.
11 out of 17 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
Offset Allen-Keaton Pairing Retains Its Laughs and Shows Signs of Great Things to Come
I have a special fondness for this lightweight 1972 romantic comedy from the pen of Woody Allen. Directed not by Allen but by Herbert Ross, it represents the noteworthy get-go pairing of Allen and Diane Keaton, and the combination of their unerring chemistry and Allen's clever, frequently hilarious script makes for great viewing later on all these years. Allen plays his usual nebbish character, this time a movie critic named Allan Felix, whose free-spirit married woman leaves him for being a tiresome observer of life. He seeks solace from best friends Dick and Linda Christie, he a workaholic stockbroker and she a model. They set him upwards on a series of hysterically bad blind dates, which Allen plays out with physical abandon. Whether inadvertently flinging an album beyond the room or swinging spastically at a discotheque, he is a primary of slapstick, a gift he has too rarely displayed since. Eventually, the inevitable happens when Linda and Allan fall in love.
What makes the anticipated premise unique is the style Allen celebrates classic movies, mainly Warner Brothers melodramas, and has the characters reenact famous scenes to move the story along. He even the spirit of Humphrey Bogart act as his adviser when he faces romantic complications since Bogie always knew how to treat his women. It'south all deftly acted by an expert cast. Beyond Allen, Keaton shows the first signs of her unmatched comic prowess as Linda, though for the most office, she is called upon to be the conflicted leading lady. Tony Roberts, another Allen favorite, especially equally the all-time friend, plays Dick in his typically precipitous manner. Jerry Lacy does a reasonable impersonation of Bogie, and the long missing Susan Anspach plays Allen's wife with spacey vitriol.
While the film obviously lacks the emotional depth and improvisational style of Allen'south later on films (the obvious comparing beingness 1977's "Annie Hall" starring the aforementioned iii leads), it withal has a quaint charm to go with its romantic one-act conventionality. Its risk-averse nature is what makes this film an invaluable improver to the Allen filmography, as it shows how far he has come up every bit a motion-picture show auteur. Credit should besides be given to Ross for bringing Allen's movie-perfect screenplay to life and also to cinematographer Owen Roizman for capturing the picturesque San Francisco locations while evoking classic Hollywood in key scenes. The DVD has no extras.
four out of five found this helpful. Was this review helpful? Sign in to vote.
Permalink
"I wonder if she had an orgasm in the ii years we were married or did she faux it that night...?"
Woody Allen adapted his own hit play and stars in this modestly amusing comedy about a recently-divorced picture show historian in San Francisco, cartoonishly insecure around women, who is fixed up on dates by his best friends and advised on relationship matters by the spirit of Humphrey Bogart in his "Casablanca" period. Herbert Ross directed, with Librium-ho-hum changes in tempo (the movie pokes forth from low-keyed slapstick to dazed romantic one-act). In her offset picture show with Allen, Diane Keaton hasn't yet constitute her niche on-screen; her whining matches Woody's, but her overall personality is so piqued she tends to evaporate in the middle of scenes. Allen has stuffed his screenplay with i-liners and repetitive jokes that tend to run together, some making an impact and all the residual bombing out. Susan Anspach adds a slight border as Allen's ex-wife, but Tony Roberts is a hole in the screen equally the buddy who may lose his married woman to Woody, a complexity only Bogie could help iron out. ** from ****
v out of 9 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Vintage Allen
Right at the commencement of his movie-making career Allen could exist truly hilarious. His jokes and mannerism were still fresh and entertaining. Coupled this with a uncomplicated plot and references to one of the great classics of all fourth dimension and the result is this wonderful, funny movie.
Allen plays Allan, a movie critic crushed past his divorce. He openly admits his ex-wife did not notice him attractive and left him looking for greener pastures. Unfortunately, throughout the years Allen denied his unattractiveness and his jokes became stale. But here he is still in top form and very honest. His grapheme is funny and vulnerable, therefore likable.
A couple of married friends try to prepare him with some dates which finish disastrously. Along the style, Linda, the Keaton character sort of fall for Allan and they have one of the most hilarious "dates". Obviously, Keaton and Allen had great chemistry and the San Francisco location added an element of openness, which is not to be establish int he more claustrophobic New York-based movies. Also noteworthy are the amazing clothes Keaton wears in the movie. She plays a model with excellent gustatory modality, wearing timeless outfits.
The Bogey-ghost friend is very entertaining, giving absurd advice to Allan. The ending is great, managing to be both original and playing homage to Casablanca. One of the best Allen always.
2 out of 2 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
Top Draw Woody
Warning: Spoilers
"I wonder if she really had an orgasm in the 2 years nosotros were married, or did she imitation it that night?" - Woody Allen
I of Woody Allen'south all-time films precisely because it is directed not by Woody, a visually inept director who thinks verbally more than than visually, but by Herbert Ross, a managing director who lends some pace, style, motility and energy to Allen'southward charming and funny screenplay, "Play It Again Sam" also marks the betoken at which Allen's films moved away from wide, Marx-brothers inspired comedy, to more introspective, supposedly "serious" territory.
The picture stars Woody Allen as Allan Fellix, a morose, neurotic, whiny, inhibited, nerdy, angsty, articulate, cynical, wormy, socially and sexually maladjusted loser. He's your classic Woody Allen schmuck, perpetually trapped between the musings of the mind ("What's the point of anything!?") and the lusts and longings of the body ("Why won't she dearest me!?").
Divorced from his wife and desperate to claw upwards with another woman, Allen spends the motion-picture show bouncing from one bungled romantic date to the next, until he realises that he's in beloved with a character played by Diane Keaton, wife of his all-time friend. Much of the film references Humphrey Bogart's "Casablanca", Allen's meek and dysfunctional brand of masculinity, compared with Bogey's suave, debonair demeanour. Poor Allen but wants to be a hero like his on screen idol, a chance which the film sets upwards in its "Casablanca" inspired climax, only to swiftly undermine. He'll ever be a loser. But this reassures us, as the all pervasive sense of failure Woody brings to almost everything he does makes fifty-fifty the smallest victory, and every morsel of hope, both a triumph and inspiration.
The motion-picture show was seen equally being fresh and unbridled in the early 70s, loosening upwards and destroying what many had previously thought of as "romantic comedies". The tone is breezy, the fashion somewhat experimental (equally about of Allen'south films are) and the script wild and devil-may-intendance, though filled with wit and observation. Much of the humour is improvised, and on several occasions Ross' camera catches the unscripted dandy-upward of characters as they express joy at Woody'southward unexpected, improvised antics.
Yes, today "Sam's" overall plot may exist regarded as formulaic, Allen's make of humour having long found its fashion into endless movies and Boob tube sitcoms, simply the jokes still concord up. Near every minute is packed with humour, wit, clever one liners and both smart and silly jokes. Like most of Allen'south films during this menstruation, he substantially mingles former school farce and physical comedy, with high brow humour, silliness, Camus/Sartre inspired existentialism and Kierkegaardian Absurdism.
This sweet spot in Woody'due south career would end with "Interiors", when he began drifting away from his stand-upwards roots and began doing rifts on fine art-business firm directors. In this regard, his "Interiors" becomes a rift on Bergman's "Cries and Whispers", his "Midsummer Dark'southward Sexual activity Comedy" becomes a farcical version of Bergman's "Smiles of a Summer Nighttime" whilst "Wild Strawberries" becomes Allen's "Another Woman". Meanwhile, Fellini'due south "viii ane/ii" becomes "Stardust Memories", "Amarcord" becomes "Radio Days" and Fellini's department in "Boccaccio 70" becomes Allen'southward brusque in "New York Stories".
Most of Allen'due south scripts have some clever, experimental meta-construction. Here every graphic symbol is an observer, looking in on Allen and sharing their observations. Allen himself plays himself looking and commenting on himself every bit Allan Fellix.
All the film'southward female characters are air-heads, except Keaton, who plays a neurotic adult female with a low self esteem; ie- easy prey for the every bit maladjusted Allen.
8.9/10 - Worth two viewings.
3 out of 4 plant this helpful. Was this review helpful? Sign in to vote.
Permalink
Y'all love movies because yous're one of life's groovy watchers ....
This is Nancy, Allan'southward ex-wife speaking, and such a fascinatingly intriguing line that information technology totally distracted me from the break-up, the belittling comments on Allan'south sexual claim, and all the pathos plunging Allan in the seminal state that forged the legend of Allen's characters, hence the merely disguised similitude betwixt the two names. Anyhow, I kept repeating in my listen "one of life's great watchers".
These words powerfully echo the opening scene when Allan is watching the legendary ending of "Casablanca". His mouth agape makes yous wonder whether he's mesmerized past the film or envious of the manly confidence Bogie exudes, towering a weepy Bergman. When the lights of the theater are turned on and Allan gets back to the biting reality, his apartment gives the answer. It'south a motion-picture show-geek'southward paradise, full of Bogart's film posters; all about Bogart, the screen star and macho icon, everything Allan/Allen is non.
And this is the cadre of Allan'south existential torments, he loves movies because they vehicle the very emotions, and feelings he wants to awaken in women. The constant hallucination of a Bogie with his legendary trench coat walking along Allan (great impression by Jerry Lacy) shows how predominant the Bogart-figure is in his life. The expression in Allan's face in the theater is of a young delicate picayune boy who fantasizes near beingness the blonde stud getting the girl. The process works in reverse when he imagines Nancy (Susan Anspach) going in a motorcycle with a blonde and muscular biker, the 'Nazi-type' as he says.
The core of Allan's insecurity is his full disillusion, he knows, a Bogie, he's not ... or maybe he can attempt by watching films, to grab some trivial bits of Bogie's aura, play it like Bogart (could have worked as another title) and see if it works. Naturally, the film is mostly funny when it doesn't.
If not women, Allan has two friends, Dick (Tony Roberts), a plumbing fixtures name for the workaholic real estate agent whose only running (sometimes irritating) gag consists on giving the phone number on each place he's in, and Linda (Diane Keaton), a gentle and sensitive soul, driven past a sort of maternal care toward Allan. Both try to connect Allan with their female acquaintances only the dates turn out to be totally disastrous. From an excessive use of Canoe perfume, a nervous grunt meaning 'Hi', his lamentable attempts to impress by showing a sports medal he bought 20$, or the unforgettable tape thrown in the furniture, the date is probably one of the funniest scenes from any Allen's films.
Indeed, Allen is never equally hilarious as when he tries to impersonate what he's not, and the more than he tries to 'play it like Bogie', the funnier information technology gets. The film is pure Woody Allen in his most delightful cocky-loathing humor. And there's more than that, if "Play it Again, Sam" provides some good moments to laugh at Woody Allen, it also vehicles the thought that he'southward never as 'bonny' as when he'south natural, granted he tries to observe the correct daughter. And the story leaves some sweetness hints of a genuine chemical science between Allan and Linda, conceivable for the simple reason that with Linda, he'south being himself, never tries to seduce her, and therefore reaches the level of quiet and tacit appeal to brand jealous whatsoever wannabe Bogie.
Every bit a romance and a comedy, "Play information technology Again, Sam" is a existent gem. All the $.25 are unequally hilarious and we kind of see the ending (and some other plot devices) coming just they're continuously punctuated with hilarious one-liners. "I reject earlier beingness rejected. It's a manner to save time and coin" is one of these quotes that would make yous laugh harder if they didn't affect a real sensitive chord. Information technology's all almost the quest of our ain equilibrium, on seduction without compromising ourselves, on hiding our weaknesses while remaining true to our souls. When Allan finally gets to play the role of his all-time idol Bogie, replaying the climax of "Casablanca", he precisely achieved his dream because he wasn't trying to be Bogie, the arc was airtight.
"Play information technology Again, Sam" is adjusted on a Woody Allen's play, and appropriately features all the Allenian trademarks: self-derision, ethnic references, a cute and tender romance that foreshadows the best coming betwixt Allen and Keaton (in a style, "Play it Once more, Sam" is like the ancestor of "Annie Hall"). And the more I watch Allen and Keaton'south pairing, the more I realize that the couple has cypher to green-eyed from Bogart and Bergman, Keaton has this incredible intellectual entreatment that makes conceivable such a beautiful adult female would be insecure. She doesn't overexpose her beauty, and instead exudes the feeling of a fragile bloom waiting to flower on a man's middle, the stuff that inspires Allan'southward own sensitivity.
Herbert Ross, who directed the motion picture, diluted his style into Allen's spirit, using the boondocks of San Francisco equally the just un-Allenian element of the film, providing its rich and unique atmosphere. And equally usual, across the gags, there's the eternal dedication of Allen to Cinema. I mentioned in "Take the Coin and Run" that Cinema was the ultimate geek escapism. Past playing it like Bogie, Allan finally reconciles with his own self-esteem, the indicate is that he learned that Bogart isn't a character, it's a state of mind, a readiness for having the guts to follow heart and instinct and sometimes even gratify them for the correct reasons.
When he impersonated Bogie, Allan was pathetic, when he embraced his state of mind, he was no more a loser. Peradventure that's the greatest souvenir of Cinema, providing some models, not to impersonate, but to inspire ourselves. I too believe that Movie house is the stuff dreams are made off and as one of 'life'south bang-up watchers' I sometimes wish I could accept the same hallucinatory relationship with Michael Corleone.
3 out of iv constitute this helpful. Was this review helpful? Sign in to vote.
Permalink
Woody Aims High
This story of unrequited honey is quite precious. Woody has had a serial of disastrous encounters with women and has always been emasculated. He is visited by the ghost of Humphrey Bogart who gives him advice. Of course, Woody is not Bogart and at that place's the rub. Tony Roberts is married to Diane Keaton and because she is forbidden, Allen begins a real relationship with her. Every time he tries to exist something he is non, things fall apart. He lets Casablanca and Rick Blaine run his life. When push button comes to shove, Woody knows that things are going to be difficult to reconcile. There are many hilarious moments and some swell lines. Allen can play the sensitive fool better than merely nearly anyone. I retrieve his charm is that he is aware and smart, but he never quite can overcome his basic nature. This is certainly a fine comedy, one of Allen's amend films.
2 out of 3 establish this helpful. Was this review helpful? Sign in to vote.
Permalink
full of the Woody Allen angst but still very funny
Alarm: Spoilers
This is an former fashioned Woody Allen film (in other words it'south funny). It's got a much more coherent plot than whatever of his era--with a much more conventional format. While I like the extreme silliness of these earlier starring films, I besides encounter this equally a welcome change and his almost personally engaging film--it really has a lot of heart.
Woody plays a nerdy guy (what else?) who is obsessed with Humphrey Bogart films. He loves them and then much that Bogie himself ofttimes stops by to give him advice! These moments are wonderful and the actor imitating Bogart is spot on! Well, for some odd reason, his wife doesn't like Woody and leaves (gee, he sounds similar the perfect guy, huh?). His married friends, Diane Keaton and Tony Roberts come to give him support and try to set him up with various ladies (none of which comes even shut to working out). Nonetheless, over time, it becomes obvious to everyone except Woody and Diane that THEY would brand a great couple. Even Bogie comes to tell Woody to make the moves on his friend's wife! Well, here is where the plot begins to wait more and more like CASABLANCA--a natural considering Bogie'due south in this film, as well! Well, I'll stop my review here because I DON'T want to spoil the picture. Information technology's cute, coherent and well worth seeing.
PS--a dandy scene involves Bogie having a showdown with Woody's ex-wife. It's a riot, though in general this movie has more subtlety and less express mirth out loud laughs than his previous films but it all works together and so well, it'south not a problem.
3 out of 6 found this helpful. Was this review helpful? Sign in to vote.
Permalink
Play It Again, Woody
Poor Allan. Rejected by his wife, he's got certain over-agile glands, but also the sex activity appeal of a charm school turn down. And so his luck with women is nada. It doesn't help that his dexterity is on par with a wrecking ball. Or that he has all the self-confidence of me talking physics with Einstein. Expert thing that cutie Linda pities his plight, trying endlessly to fix him up with blind dates. These misfires are both funny and poignant, and as well the moving-picture show'southward comedic core. Besides bad the sensitive Linda is married to best friend Dick. Problem is Dick'due south as well married to his big-fourth dimension chore to appreciate his sterling wife. In fact, he's more than interested in telephone connections than her. So, volition things always piece of work out for Woody'southward movie-struck nebbish, specially when he'due south got ghostly tough guy Bogart giving him advice.
It's a really funny motion picture. Allen fits the function perfectly, as does the winning Keaton. Between them the barrack is both lively and engaging. Also, reality is cleverly blended with Allan'southward imagination and a surreal Bogart. All in all, the 85-minutes amounts to a seamlessly woven Allen batter, and I'm notwithstanding chuckling at this, ane of the actor'due south best movies. (In passing-- Sad to note that actress Anspach, the ex-wife here, passed away earlier this month. She was an indelible presence and will exist missed. RIP, Susan.)
1 out of 1 institute this helpful. Was this review helpful? Sign in to vote.
Permalink
Casablanca by the bay
First this was a successful Broadway play. Then came the adaptation under the direction of Herbert Ross. Woody Allen had only directed a few pictures before, but it's curious he decided to let Mr. Ross direct this one, at all. Woody Allen was still in his first phase as a director, non having gone into his Igmar Bergmann period yet.
"Play it Again, Sam" shows a restrained Woody Allen acting on his ain textile. He presents united states of america an Allan Felix, a man so neurotic, he could probably pass equally the real Woody Alen whatever time. Allan is a nerdy motion picture fan who doesn't know how to keep a woman. It'southward clear his first marriage to Nancy has been a failure.
As in other Woody Allen films, we accept the well intentioned couple that wants to run into Allan happy. In this motion picture they are Dick and Linda Christie, successful people that regard this friend as capable of being reformed by letting him meet interesting and sexy women. The film is dominated by the mystical figure of Humphrey Bogart, who wants Allan to go "dames" with a technique that he tries to teach him throughout the moving picture. Those scenes between the fictitious Bogart, and Allan are one of the the highlights of the movie.
The coaction with the movie "Casablanca" makes an interesting dissimilarity with what nosotros sentinel at the start of the moving picture, which is the crucial decision of the Michael Curtiz'south picture. The concluding sequence of "Play it Over again Sam" mirrors the classic model in more than means than one.
Woody Allen is perfect for playing his own cloth. He was at the tiptop of his comic genius in this film. His sense of humour has a nervous edge that translated in one liners that come up too fast, at times, for us to savor and relish. In fact, equally directed past Mr. Ross, Woody Allen responds well and makes a great appearance and contributes tremendously to the success of this moving picture.
Diane Keaton, who plays Linda Christie, shows an analogousness for what would follow later every bit she became an invaluable collaborator of Mr. Allen. Her portrayal of this character shows as well the same neurotic qualities we run into in Allan. Tony Roberts plays Dick Christie, a role that parallels that of Victor Lazlo in Casablanca. Susan Anspach is seen briefly as the woman who leaves Allan at the beginning of the film. Jerry Lacy equally Humphrey Bogart with raincoat, fedora and cigarettes, is the perfect pal anyone could ask for.
"Play it Once more Sam", is a film that surprisingly, has aged well every bit it doesn't take a dated feeling to it. The motion-picture show will not disappoint, but the viewer must stay alert for those witty Allen's one liners.
1 out of one found this helpful. Was this review helpful? Sign in to vote.
Permalink
Great one-act-drama
Great comedy-drama. A typical Woody Allen moving picture, except that it is non directed by Woody Allen (he did write the screenplay, and stars in it. 2 outta three ain't bad!).
Like most of Woody Allen's early movies, plot is fairly basic. However, like all of Woody Allen's movies, it is the dialogue that makes the moving-picture show. Sharp, witty, all with the signature Woody Allen self-deprecation and neurosis.
Acting-wise, Woody Allen does what he does all-time - play himself. Diane Keaton is great also.
This was Allen and Keaton'south outset movie together and the chemical science was conspicuously there. Five years' later on they would star together in ane of the greatest movies of all time, Annie Hall.
2 out of three found this helpful. Was this review helpful? Sign in to vote.
Permalink
Masterpiece
Play Information technology Once more Sam (1972)
**** (out of 4)
Hilarious film has Woody Allen struggling in the dating scene, getting advice from Humphrey Bogart and and then falling in honey with his all-time friends married woman (Diane Keaton). This is ane of my all time favorite comedies, which I could probably lookout monthly and non grow tired of. I've talked about how much I loved this pic in previous years then I'll merely mention that I've never bought into Herbert Ross directing this. There are but a scattering of Allen films that I oasis't watched and to me this film has the same way, same pace and aforementioned tone as every pic directed by Allen. I've always been curious if Allen had more of a office than just an player and screenwriter here because to me this is Allen 100%.
2 out of 4 found this helpful. Was this review helpful? Sign in to vote.
Permalink
No humphs on this Bogart
I much prefer Woody Allen'south early films for the simple reason that they make. Seriously, before he seriously became serious, this guy wrote corking jokes, a gift I sometimes recall he took for granted before he started imitating Bergman and strove for integrity. This one'southward a hoot, even if it is adapted from his own play and was directed by Herbert Ross and not himself.
The idea that Woody's gormless Alan grapheme escapes his emotional crises by consulting his screen hero Bogart is brilliant and is expanded still farther when he also dreams up his absent ex-wife to contradict Bogey'south positive stroking. The plot naturally evokes the triangle at the middle of "Casablanca" with the move cleverly ending up by recreating the same cede also at a misty airdrome with Woody quoting Bogey's immortal words in exelcis.
Along the way, Allen crams in loads of largely self-deprecating jokes and comedic situations, like his "one-ii-3-4" chat-up line on the trip the light fantastic-floor, his description of his roughing upwardly by 2 hoods chasing his girl and his imaginings of love-rival Tony Roberts' diverse reactions to the news of the affair between him Allen and his married woman, Diane Keaton.
The playing is delightful, Roberts, whose grapheme would have been rendered redundant if mobile phones had been around and Keaton at her kooky best (and you should see some of her outfits likewise!) provide great background support to Woody's monologue. Herbert Ross' management I found swung from betwixt conventional romantic-one-act to quirky flights of fancy sometimes too incongruously at times but nonetheless he keeps things light and fast- moving. And a special word besides for Alan Lacy in the thankless job of recreating Bogart, a job he handles with savour and the necessary attention to detail.
While some of the attitudes displayed to women are somewhat Neanderthal, plus there is 1 distastefully unfunny commutation betwixt Allen and Keaton on the "hilarious" subject of rape, this funny Woody Allen has many other memorable one-liners and plenty of express joy- out-loud funny scenes. How I wish he still made them similar that!
one out of one found this helpful. Was this review helpful? Sign in to vote.
Permalink
tomlinsondurs1989.blogspot.com
Source: https://www.imdb.com/title/tt0069097/reviews
0 Response to "Play It Again Sam She s Great Script"
Post a Comment