Play It Again, Sam

`Play It Again, Sam', based on a stage play by Woody Alan is high among those movies one cites when you tick off the Woodman's `early, funny' movies. It should probably be noted that this is not a typical Allen movie in that he did not direct, although it is an excellent bridge, with the performances of Diane Keaton and Tony Roberts to his most famous movie, `Annie Hall' and others he did with Keaton around this time.Just before viewing the DVD of this movie, I watched `Meet the Fockers' and found this very recent film with its stellar cast, to be less funny and more contrived than the little classic `Play It Again, Sam'. Even hours of extras on the Fockers' DVD cannot make up for the almost total lack of rewatchability in the film.I have not watched `Play It Again, Sam' for some time, although I believe I have probably seen it at least three times before, yet I was still surprised at discovering new things about the movie. For starters, I found at least two pieces of business that I swear were copied directly into scenes of `Animal House'. Since `Animal House' is a great comedy that easily stands on its own merits, I don't begrudge the borrowing. Another observation I had with this movie was how much visual comedy there was going on. None of it was the kind of over the top long scenes done by W. C. Fields, but it definitely contributed a lot to the interest of the movie. A third new observation was the fact that `Play It Again, Sam' begins with a clip from the final scene of `Casablanca' and ends with the characters of `Play It Again, Sam' reenacting that same `Casablanca' scene. This fact stood out so strongly for me this time around since I just got finished seeing exactly the same device used in Allen's `Stardust Memories'. This is yet another case where `Stardust Memories' is quoting from Allen's other pictures. This really makes me wonder how many of Allen's films begin with a clip from some other movie.The best things about really great movies is that you can find problems with them without that activity's spoiling your appreciation of the movie. In fact, richly produced films simply add to your pleasure by offering an object of analysis and comparison with other movies. I feel absolutely no urge to analyze `Meet the Fockers' other than appreciate the performances of Hoffman and Streisand and wish DeNiro would go back to doing Marty Scorsese gangster movies.The name of this movie, `Play It Again, Sam', has probably contributed its share to the myth that this is a direct quote from `Casablanca'. As most know, Rick never actually says these four words together in the `Casablanca' script. This is only fitting, because the Bogart character dreamed up by the Allen character behaves like neither Humphrey Bogart nor Rick Blaine, his character in `Casablanca'. Allen's fictional Bogart is a construct of Allen's imagination, possibly based on Bogart in `The Maltese Falcon', but even Sam Spade would probably have more respect for women than the spectral trenchcoat with Bogart's name in `Play It Again, Sam'. My biggest question is whether this skewing of the Bogart persona was intentional and part of the interest of the film, or was he just molding things to fit his premise.While the movie is not pure Woody, it is a very important part of his body of work and an important early demonstration of how good he was with visual humor.Now all I have to do is figure out the reason for the business of the Allen character's sliding the two fried eggs from a plate back into a skillet. Seems to be connected in some way to his total inability to cook.

There are few comedian/actors who command the intelligent and physical comedic talent of Woody Allen. His own written and directed movies are classics, however Play it Again Sam is something special specifically because he did not direct. The transitions are smooth. You don't get the feeling that the ensemble are free-wheeling any improv in this. Here the arcs, story, timing, and acting are compellingly sweet and accessible perhaps because Allen's ego, as undetectable as it might be in his own films, is minus the responsibility of direction. As such, Diane Keaton is at her innocent and lovely best with beats that have a completely different rhythm than her work in Allen's directorial efforts. The entire cast is exceptional, but Woody Allen channels his neurotic energies into a character that is everyman - more than any of his other films except maybe Deconstructing Henry which is his artistic pinnacle in my opinion due to its blatant personal honesty. Play it Again, Sam is just pure film lover joy. I can't wait to watch it again, but first, because Bogart plays such a pivotal role in the screenplay, I'm going to have to watch Casablanca for the fourth time in preparation. For Woody Allen lovers, although Allen wrote it, the dialog is not nearly as psychologically intelligent and deep as his own films, instead we are treated with something more accessible, entertaining, endearing, and relatable. It's kind of the perfect marriage and transition from his Bananas-type work and his more introspective films later on.

Good movie.

Early Woody is rather awesome and this is one of his early best, brilliant!

Nice parody except for Mia's acting.

In "Stardust Memories", Woody Allen's response to Fellini's "8 & 1/2", his character is confronted by visitors from outer space who quiz him as to why he doesn't make funny movies anymore. This funny but formulaic exercise would be Allen's retort to the intergalactic inquisitors. What's lacking in this film is the artistry that is omnipresent in both his serious and comedic efforts. Though Allen stars and scripted from his stage play the film is helmed by Herbert Ross who in his day was a competent director but not one you would call an auteur. The nebbish at the center of this film would have more depth under the assured hand of Allen. Regardless Allen shows himself here as a dexterous physical comedian as well as a brilliant verbal one. A young Diane Keaton shines in her first pairing with Allen demonstrating the sweet neuroticism that charged her later films. I love the conceit of the spirit of Humphrey Bogart (Jerry Lacy) coaching Allen on the mechanics of courting women. My criticisms don't indicate a dislike for "Play It Again, Sam" just a statement of where it stands in the Allen canon.

Woody Allen wrote the screenplay for his 1972 film Play It Again, Sam (based on his stage play), but, unusually for one of Allen's films, he did not direct, the film being directed by Hollywood journeyman director Herbert Ross. The film fits very much into Allen's early 'straight comedy ouevre', which also contained films such as Take The Money And Run, Bananas and Sleeper. It is notable, however, for being the first Allen film to introduce his quasi-autobiographical neurotic New Yorker character, in this film in the guise of cinema-obsessed Allan Felix, a character which essentially featured in many later Allen films (normally played by Allen, but, in some cases by other actors e.g. Owen Wilson in Midnight In Paris).Whilst the film does not quite reach the comedy highpoints, or indeed levels of cinematic sophistication, as his later classics Manhattan, Broadway Danny Rose, Crimes and Misdemeanours and The Purple Rose of Cairo, it is nevertheless an hilarious film. Importantly, it also pitches Allen with his most prolific co-star, Diane Keaton, for the first time - Keaton went on to co-star with Allen in Sleeper, Love and Death, Annie Hall (for which she won the Best Actress Oscar), Interiors, Manhattan, Radio Days (cameo) and Manhattan Murder Mystery.The (admittedly rather sparse) narrative of the film features Allen's character Allan Felix as the perennial love/sex-obsessed and hypochondriac loser, recently divorced, whose search for the ideal partner is assisted by best friends, and married couple, Linda and Dick (played by Keaton and other Allen regular Tony Roberts). Felix also receives ongoing advice ('I never met a dame who didn't understand a slap in the mouth or a slug from a 45') from his ultimate cinema hero Humphrey Bogart, who Allen conjures up (visible only to Felix and played by Jerry Lacy) to appear at various points in the film. Felix goes through a number of hilarious blind date sequences in his quest, only to find he eventually (and perhaps rather predictably) falls for Linda.The film features a number of extremely funny running gags and set pieces. Tony Roberts is outstanding as the work-obsessed Dick, who is constantly calling his office (in the days before mobiles) to update them on the best number on which to call him, and who equates Felix's love life predicament to that of a poorly performing investment on the stock market (prompting Felix at one point to quip 'Who're you going to fix me up with, General Motors?). Also, the first blind date sequence, when Linda and Dick pair Felix with Jennifer Salt's Sharon, is as funny a film sequence as anything Allen has done (before or since) - as Felix discovers that Sharon has starred in a porn movie, before engaging in an hilarious slapstick routine.The film is also impressively topped and tailed by the Bogart/Bergman airport parting scene from Casablanca, as Felix initially watches this in the cinema at the beginning of the film, and then Allen re-creates the scene with Linda and Dick playing the Bogart and Bergman roles at the close.Not absolutely top-notch Allen, then, but a must-see comedy nevertheless.

This is my favourite Woody Allen film, with all the maturity of 'Annie Hall', while just remaining funnier. Too many of his earlier films begin well but peak too early, leaving themselves with nowhere to go except over the line from commedy to silliness (eg.: 'Sleeper', 'Bananas' and 'Take the Money and Run'). Latterly, the poor fellow seems to have embarked upon a guilt-trip that being funny 'just isn't good enough', and his more 'serious' films trip over themselves and the messages they intend to convey. This, however, remains right on the money all the way through. Allen finds the neurosese in all of us, laying them out in front of us, and showing us, with the aide of his alter-ego 'Bogart', that really there's nothing to fear. He does this with the effortlesness of a great master, and surely there's justification enough in that? Diane Keaton and Tony Roberts manage the supporting roles beautifully, delivering their one-liners with the expertise of Allen himself, while Jerry Lacy slouches wonderfully into the 'Bogart' role, handing out advice like 'I never noo a dame that did'n unnerstand a slap in the mouth or a slug from a .45'. Advice, which, on this occasion, I'm glad to say Allen doesn't take. All round, this is excellent, thought-provoking fun.

What can you say about Woody Allen? This is a man who has scooped 16 major awards, (AA’s, BAFTA’s& GG’s), and been nominated for a further 59! I find it surprising that after all of his wonderful films he has never won a ‘best actor’ award, though he has been nominated a handful of times! This flick catches him at his peak, with razor sharp wit, a script to die for and a lot of classical slapstick, which I have to say, he clearly enjoys doing and is brilliant at doing, even if it is now rather out of vogue and from a bygone age.This is not a long film at 80 minutes but you can’t take your eyes off of it as you’re sure to miss something funny if you do! All the actors are just great and this is a little gem and 5 star package all the way.

One of my favourite Allen films: the unattractive, inept film critic whose efforts to impress girls with his "coolness" go horribly and hilariously wrong. Unable to take the advice of his mentor, a ghostly Humphrey Bogart, Alan Felix (Allen) messes up one seduction attempt after another. But there's an uplifting ending, with a worthwhile message: Be yourself! The leading lady is flawlessly played, as in so many Allen films, by stalwart Diane Keaton. This film is always engrossing, and at times side-splittingly funny. Any male with even a tiny percentage of nerd in his DNA will be encouraged, as well as entertained.

An early Woody Allen and one of his best. Celebrating his love of movies, Casablanca in particular, this is one of his geeky romantic comedies he does so well. What makes this laugh out loud is the nervous slapstick which he moves away from in later films.