Play It Again Sam How Could I Have Misread
Play it again, Woody
Directed by Herbert Ross, "Play It Over again, 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 as Allan, a neurotic movie buff who writes the pic reviews (what else?). Allan non merely loves movies; he lives in the movies' world and constantly takes advices on how to get the girls from the legendary hero of his all time favorite moving picture "Casablanca", Humphrey Bogart's Rick. I am not a fan of "Casablanca" at all but if my favorite Creative person is then much in love with information technology, maybe I should give information technology another attempt.
When Allan's married woman Nancy leaves him, his best friend Dick (Tony Roberts) and his lovely wife Linda (Diane Keaton) try to gear up him upwardly with several eligible pretty young ladies. Very typically for Woody'due south characters, he is a full failure with them. The just woman he feels comfy with, he shares the same insecurities and neuroses, the 1 whose Birthday he remembers and who he desperately wants is Linda, his all-time friend'south married woman. "Play It Again, Sam" is a remarkable movie for several reasons and ane of them - it was the beginning of a wonderful working (and non only) relationship betwixt Allen and Keaton that would result in the movies "Bananas" (1971), "Sleeper" (1973), "Dearest 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 Information technology Again, Sam" holds upwardly very well and I would call it my favorite earlier Woody'due south film and the all-time Woody's film that he has non directed.
eight/ten
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One of the All-time Romantic Comedies by Woody Allen
In San Francisco, the neurotic, awkward and impuissant film 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 aid him finding bachelor acquaintances to date him. Allan is advised by his alter ego Bogart (Jerry Lacy) how to conduct with women, but Allan is besides weird and the women never go in a second appointment with him. Presently Allan finds that he is in love with Linda, but Dick is his best friend and he does non want to make a motility despite Bogart advices.
"Play It Again, Sam" is ane of the all-time romantic comedies by Woody Allen in the beginning of his successful career. I saw this movie for the offset fourth dimension when I was still discovering Woody Allen and concluding time I had seen was on VHS on 12 November 2000 and I accept just seen information technology again on a DVD recently released in Brazil. The neurotic Allan is hilarious and his discussions with Linda about 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.
Championship (Brazil): "Sonhos de um Sedutor" ("Dreams of a Seductor")
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Hilarious Woody Allen romp
I'm a big fan of Woody Allen. While his films often take something wrong with them, you lot can e'er count on a skillful time and a laugh while you're watching - and that'southward certainly what yous become here! Woody Allen films are e'er best when Woody himself stars in them; his neurotic persona is a neat base for laughs, and he certainly delivers in this motion-picture show! For some reason, Woody Allen chose not to direct this moving picture himself and Herbert Ross has got that chore. Due to the cast, and Woody'due south script, however, this is very much another Woody Allen pic, no affair who is in the director's chair. This picture show also features the first screen pairing of Allen and Diane Keaton, who would, of form, go on to make Allen's masterpiece 'Annie Hall', along with Tony Roberts, who besides co-stars hither. The plot of the picture show plays out like a tribute to Casablanca, and information technology sees recently dumped Allen falling in love with his best friend's wife, all the while nether the watchful eye of the great Humphrey Bogart, whom he sees in his daydreams.
The humor in this motion picture is crawly and besides amazingly funny. Scenes that encounter Woody Allen blunder his style through dates are hilarious, and Allen's dialogue is at its dry and witty acme. 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 grapheme in all of his films, and the one hither shows him doing that again. This would exist a problem, if he weren't and so amazingly skillful at it. As the homo festers in his own pathos; we can really believe it, and this gives the moving picture a not bad sense of believability and also offers up a prime example of Allen acting at his best. The film isn't a complete one-human being show, however, as the underrated Tony Roberts, along with Diane Keaton besides requite grand performances. The moving picture tributes in the picture are many, with most pointing to the bang-up Casablanca - and this is a good thing as far as I'thou concerned. On the whole, this is an intelligent, entertaining and hilarious picture from one of cinema'due south best comedians. Highly recommended!
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1 of Woody's best
Perhaps Woody's all-time attempt in his 'neurotic schlep' persona. The script is a comic cyclone, with too many brilliant scenes to enumerate (I can't resist mentioning the blind date'south inflow - the desperate preparations and the pathetic introduction are funny but painful, in that nosotros have all been in that position; his demonstration of accurate Chinese rice-eating technique is another classic). The device of the imaginary Bogart alter ego works well, especially in the climactic scene with Diane Keaton. In my volume this ranks with Sleeper, Manhattan, and Annie Hall as Woody'south best films.
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Riotous
Hands my favorite movie with Woody that he did not direct, 'Play information technology Again, Sam' is a hysterically funny homage to Bogart, divorce, adultery, dating, an overactive imagination, coming together women in museums, and calling your office with all the telephone numbers y'all tin be reached at..this is some great stuff and Woody's social clumsiness and pratfalls and neuroses volition have you laughing throughout.
One of my favorite scenes is Woody trying to run into an bonny woman at a museum. She turns out to exist a little more unhappy than he is but is also very funny in her darkness.
The very best is Woody getting set on a bullheaded date with Jennifer Common salt. His nervousness volition stay in your mind long later on the movie is over.
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Come across "Casablanca" First
My offset and foremost thought near this movie is that yous MUST see "Casablanca" (1942) get-go, for two reasons:
Showtime, "Play it Again, Sam" contains not but archival footage from the 1942 classic, simply numerous dialogic and other references which would exist lost on someone who hasn't seen "Casablanca."
2nd, and more than important, is that the surprise ending of "Casablanca" is revealed in the *very first scene* of "Play it again, Sam."
Beyond that, "Play it again, Sam" is probably 2d only to "Annie Hall" among the Woody Allen / Diane Keaton films. Woody fans will enjoy the neurotic, psychosexual ramblings of the central graphic symbol, which are typical of his movies, as well as the numerous elements of physical comedy, which are non as common in Woody Allen films. And watch for the scene in the art gallery -- it's a classic!
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Very good Woody Allen film
Allen plays a flick critic who has been cruelly dumped by his wife. He wants to meet other women but is very neurotic (no surprise there). 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--attempt to assistance as well. Naturally he ends upwardly falling for Keaton.
Allen didn't direct this (Herbert Ross did) but he wrote information technology. And then it sounds like a Woody Allen film but doesn't Look similar an Allen motion picture. For ane thing it was shot in San Francisco--not New York! It's also somewhat dated in 1970s dialogue and fashion. There's besides a running joke involving Roberts and telephones that doesn't work today. All the same this is a very good film.
It is an affectionate take-off on "Casablanca" and other onetime films besides. Allen is playing has patented neurotic character but I've always found him funny and his disastrous dates are only bully. Also him, Keaton and Roberts always worked well together and it makes their relationship seem very conceivable. And Jerry Lacy is VERY funny playing Bogart and giving Allen advice.
If you don't like Woody Allen movies this probably won't change your mind. Simply I establish it fast, funny and very entertaining. And the dated 70s touches were actually quite funny. I give this a eight.
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Woody And Bogie Play The Dating Game
What could be cooler than having a screen legend hanging out with y'all, offer you lot dating tips? This classic 1972 comedy written past and starring Woody Allen gives him 2, one the specter of Humphrey Bogart, the other a immature Diane Keaton just working her way into film.
Woody plays Allan Felix, a film critic who has simply been dumped by his married woman and sets off to fill the pigsty in his heart. "I'll get broads in here like you wouldn't believe," he tells himself. "Swingers, freaks, nymphomaniacs, dental hygienists." But when even the nymphomaniac complains about his getting fresh, he realizes information technology won't exist and so like shooting fish in a barrel. Enter Bogart, appearing in a series of fantasy sequences, and Keaton, very much a part of his real life as one-half of the married couple that jumps in to assistance Allan out. Alone among women, she tin run into Allan as a worthwhile guy, especially with their shared honey for apple juice and Darvon.
"Play Information technology Over again, Sam" is a scrap of an anomaly for an Allen comedy. It's prepare in San Francisco, non New York, and is directed past Herbert Ross rather than Allen himself. But it's very funny, kind of poignant, and a clever mode of examining the foibles of hooking upwards, circa the 1970s. A number of comic vignettes examine the various ways seeking out the contrary sexual activity can go incorrect, on the trip the light fantastic floor, in a Chinese eating place, in a bar. My favorite has to be the museum hottie with the pneumatic vocalization: Only an Allen picture show would have its best punchline exist nearly committing suicide.
The cardinal point of the movie, equally brought out by another apparition only Allan sees, his ex-wife, is that the world is cleaved up into watchers and doers, and Allan the pic critic is besides much the former. Bogie gives him much the same advice, but Bogie and the ex-wife don't exactly get along in Allan'southward daydreams, leading to awkward moments. "Don't listen to him!" "Don't listen to her!" "Fellas, we're in a supermarket."
Besides, as Allan notes, information technology'due south one affair for Bogie to become slapped, another thing for him: "Your spectacles don't go flying across the room."
Other than "Annie Hall" and "Sleeper," this is the best of the early on Woody Allen comedies, some other fashion of maxim the best of Woody Allen. Ross's 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 it turns out, otherwise, while Tony Roberts equally her hubby (this being his first of many Allen films, also) makes for a wry directly man with his abiding telephone calls and his appearances in some fun fantasy ship-ups, the best of them in Italian.
You lot actually like the characters in this one. Empathy can be a powerful weapon in comedy, something Woody manifestly forgot every bit he moved into his Bergman phase. The ending is neat without being satisfying, the dream sequences aren't used to their full potential, and some of the rape jokes audio really bad all these years later. But you laugh a lot watching this film, a nice vehicle for Woody's observational humor and for seeing the game of love played in its most ineptly enjoyable class.
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My favorite Woody Allen film
This is one if my favorite movies of all time. It is best seen right later on Casablanca; I similar to watch the ii back-to-back to go the full effect. I laugh out loud throughout the moving-picture show, every bit I come across myself portrayed and so well in Allen's character. The movie is a must for whatever slightly-geeky unmarried man or anyone who enjoyed Casablanca. I call back of this as the story of a lovelorn geek on a quest for love, guided by his faith in Bogart. The bandage is phenomenal; along with Allen'due south performance, Diane Keaton added a skilful amount of reality, sensitivity, and humor. Her character is quite believable. Tony Roberts is hilarious; his deadpan delivery of all the telephone number lines prevents the joke from getting one-time even on multiple viewings.
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Woody'southward overlooked 70's gem
While he did not directly it, but rather, only wrote a screen adaptation of his own play, this overlooked slapstick picture from 1972 is one of Woody Allen'south finest treasures. Back in the solar day when Woody was simply equally slapstick equally he was exact, "Play It Again, Sam" tells the story of Allen every bit a divorced pic critic crushed past the failure of his marriage. A huge fan of Humphrey Bogart, Allen before long looks to an imaginary incarnation of Bogie to guide his fearful (and impuissant) voyage back into the single life. He is aided past his best friend Dick and his married woman Linda (Woody regulars Tony Roberts and Diane Keaton), who assist him in setting upwards one disastrous date after another. Soon plenty, Woody discovers that sometimes you actually find true love but it doesn't e'er piece of work out the way yous wish.
Personally, I don't care too much for the whole Bogart-every bit-mentor thing. I spend most of the motion-picture show cracking up at Woody'due south clumsy gestures and neurotic nay-sayings. As usual in an Allen film, Keaton gives a sweet, cocky-effacing operation. Because the picture show was directed past Herbert Ross, the typical rambling dialogue and back-and-forth editing is toned down a scrap, so for an Allen vehicle, the moving picture feels more mannered and has more than of a narrative force than Woody's other wacky 70's productions. Still, Woody has never fabricated me laugh harder - e'er.
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I call back the Pepto Bismol helped
'Play information technology Once more, Sam' is Woody Allen's tribute to 'Casablanca'. It'south been ages since I've seen 'Casablanca' and it didn't appeal to me equally much. It may be advisable to watch it before seeing Allen'due south film, mainly due to the frequent references and the story itself is a homage. Apparently the director's a big fan of Humphrey Bogart and perhaps he sees a lot of himself in the moviestar.
The whimsical narrative structure follows Allen's usual style. The characters have too been witnessed in Allen's other films. Allen himself plays his signature neurotic persona rambling on about psychosexual stuff. Tony Roberts does a fine job as Linda'southward fiancé who'south normally absent-minded when Linda needs him. Diane Keaton is outstanding. She looks stunning and her performance is excellently natural. Jerry Lacy does a good task of mimicking Bogart. In add-on, I liked the soundtrack and enjoyed the playful cinematography.
This film is classic Allen, a delight to sentry. Even though I didn't like 'Casablanca' when I last saw it, 'Play It Once more, Sam' makes me want to give it some other chance. Perhaps I should.
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Not perfect, but enormously likable.
"Play Information technology 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 mode. But I nevertheless similar it very much. A warmly funny, enormously likable film, it contains some admittedly hilarious moments (picket for his first bullheaded date and the scene where he follows - and overdoes - the advice that Bogart's ghost gave him to tell Diane Keaton how beautiful she is). Keaton is really lovely and adds an extra sparkle to the moving picture. Wacky and emotional at the same time, the pic is recommended even to not-very-enthusiastic Allen fans.
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A Comedy Archetype
I lied on Bananas, THIS is my favorite Woodman motion-picture show. It'south perhaps the near accessible, mainstream early Allen film. Subsequently Woody's wife splits on him (what took her so long!?), Woody turns to best friends Keaton and Roberts to help him back onto the romantic saddle. Bogie also appears - flawlessly portrayed past Lacy - and attempts to assist Woody out of his doldrums with decidedly mixed results. What somewhen happens, along with the Manhattan story line, suggests the Woodman's later real-life escapades. Of all of Allen's films this one for me has the most timeless moments particularly involving his many dating mishaps. Woody'south luckless character is part of a great comedic lineage that goes at least every bit far back equally Bob Hope and has been seen as recently as George on Seinfeld. A comedy classic.
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First 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 just by Herbert Ross, it represents the noteworthy showtime pairing of Allen and Diane Keaton, and the combination of their unerring chemistry and Allen'south clever, often hilarious script makes for neat viewing after all these years. Allen plays his usual nebbish character, this time a film critic named Allan Felix, whose costless-spirit wife leaves him for beingness a boring observer of life. He seeks solace from best friends Dick and Linda Christie, he a workaholic stockbroker and she a model. They set up him upwardly on a series of hysterically bad blind dates, which Allen plays out with physical abandon. Whether inadvertently flinging an album across 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 predictable premise unique is the manner Allen celebrates classic movies, mainly Warner Brothers melodramas, and has the characters reenact famous scenes to movement the story along. He even the spirit of Humphrey Bogart act every bit his adviser when he faces romantic complications since Bogie always knew how to treat his women. It's all deftly acted by an expert bandage. Beyond Allen, Keaton shows the first signs of her unmatched comic prowess equally Linda, though for the nearly part, she is chosen upon to exist the conflicted leading lady. Tony Roberts, another Allen favorite, especially as the best friend, plays Dick in his typically abrupt way. Jerry Lacy does a reasonable impersonation of Bogie, and the long missing Susan Anspach plays Allen's married woman with spacey vitriol.
While the moving picture obviously lacks the emotional depth and improvisational manner of Allen'south after films (the obvious comparison being 1977's "Annie Hall" starring the same 3 leads), information technology withal has a quaint charm to become 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 as a motion picture auteur. Credit should besides be given to Ross for bringing Allen's moving picture-perfect screenplay to life and also to cinematographer Owen Roizman for capturing the picturesque San Francisco locations while evoking classic Hollywood in fundamental scenes. The DVD has no extras.
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"I wonder if she had an orgasm in the two years we were married or did she false it that night...?"
Woody Allen adjusted his own hitting play and stars in this modestly agreeable comedy about a recently-divorced film historian in San Francisco, cartoonishly insecure around women, who is fixed upward on dates by his best friends and advised on human relationship matters by the spirit of Humphrey Bogart in his "Casablanca" flow. Herbert Ross directed, with Librium-slow changes in tempo (the picture show pokes along from low-keyed slapstick to dazed romantic comedy). In her first pic with Allen, Diane Keaton hasn't all the same institute 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 blimp his screenplay with one-liners and repetitive jokes that tend to run together, some making an impact and all the rest bombing out. Susan Anspach adds a slight edge as Allen's ex-wife, but Tony Roberts is a hole in the screen as the buddy who may lose his wife to Woody, a complication only Bogie could assistance iron out. ** from ****
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Vintage Allen
Correct at the start of his picture-making career Allen could exist truly hilarious. His jokes and mannerism were still fresh and entertaining. Coupled this with a simple plot and references to one of the bang-up classics of all time and the effect is this wonderful, funny pic.
Allen plays Allan, a movie critic crushed by his divorce. He openly admits his ex-wife did not detect him bonny 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 height form and very honest. His graphic symbol is funny and vulnerable, therefore likable.
A couple of married friends try to gear up him with some dates which end disastrously. Along the way, Linda, the Keaton character sort of fall for Allan and they have one of the well-nigh hilarious "dates". Obviously, Keaton and Allen had slap-up chemical science and the San Francisco location added an element of openness, which is non to exist constitute int he more than claustrophobic New York-based movies. Also noteworthy are the amazing dress Keaton wears in the movie. She plays a model with excellent taste, wearing timeless outfits.
The Bogey-ghost friend is very entertaining, giving cool advice to Allan. The ending is groovy, managing to exist both original and playing homage to Casablanca. One of the best Allen ever.
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Top Draw Woody
Alarm: Spoilers
"I wonder if she actually had an orgasm in the two years we were married, or did she fake it that nighttime?" - Woody Allen
One of Woody Allen'due south all-time films precisely because it is directed not by Woody, a visually inept director who thinks verbally more visually, just by Herbert Ross, a director who lends some pace, style, movement and energy to Allen's charming and funny screenplay, "Play It Again Sam" too marks the point at which Allen'south films moved away from broad, Marx-brothers inspired comedy, to more than introspective, supposedly "serious" territory.
The motion-picture show stars Woody Allen every bit Allan Fellix, a morose, neurotic, whiny, inhibited, nerdy, angsty, articulate, cynical, wormy, socially and sexually maladjusted loser. He'south your classic Woody Allen schmuck, perpetually trapped betwixt the musings of the mind ("What's the signal of annihilation!?") and the lusts and longings of the body ("Why won't she love me!?").
Divorced from his married woman and drastic to hook up with another woman, Allen spends the film bouncing from 1 bungled romantic date to the adjacent, until he realises that he's in honey with a character played by Diane Keaton, wife of his best 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 only wants to be a hero like his on screen idol, a chance which the film sets up in its "Casablanca" inspired climax, only to swiftly undermine. He'll always be a loser. But this reassures united states, as the all pervasive sense of failure Woody brings to well-nigh everything he does makes fifty-fifty the smallest victory, and every morsel of hope, both a triumph and inspiration.
The picture was seen as existence fresh and unbridled in the early 70s, loosening up and destroying what many had previously idea of as "romantic comedies". The tone is breezy, the way somewhat experimental (as most of Allen'southward films are) and the script wild and devil-may-care, though filled with wit and observation. Much of the humour is improvised, and on several occasions Ross' camera catches the unscripted nifty-upwards of characters as they laugh at Woody'due south unexpected, improvised antics.
Yes, today "Sam's" overall plot may be regarded as formulaic, Allen'southward brand of humour having long found its way into countless movies and TV sitcoms, but the jokes still concord up. Virtually every minute is packed with humour, wit, clever one liners and both smart and silly jokes. Like most of Allen's films during this menses, he essentially mingles old schoolhouse farce and physical comedy, with loftier 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 abroad from his stand up-upward roots and began doing rifts on art-house directors. In this regard, his "Interiors" becomes a rift on Bergman's "Cries and Whispers", his "Midsummer Nighttime's Sex activity Comedy" becomes a farcical version of Bergman's "Smiles of a Summer Dark" whilst "Wild Strawberries" becomes Allen's "Another Woman". Meanwhile, Fellini'southward "8 i/2" becomes "Stardust Memories", "Amarcord" becomes "Radio Days" and Fellini's section in "Boccaccio 70" becomes Allen's brusque in "New York Stories".
Most of Allen's scripts have some clever, experimental meta-construction. Here every character is an observer, looking in on Allen and sharing their observations. Allen himself plays himself looking and commenting on himself equally Allan Fellix.
All the movie'southward female person characters are air-heads, except Keaton, who plays a neurotic woman with a low self esteem; ie- like shooting fish in a barrel prey for the every bit maladjusted Allen.
8.nine/x - Worth two viewings.
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You love movies because you're one of life's dandy watchers ....
This is Nancy, Allan's ex-wife speaking, and such a fascinatingly intriguing line that it totally distracted me from the break-up, the belittling comments on Allan'due south sexual merits, and all the pathos plunging Allan in the seminal state that forged the legend of Allen's characters, hence the merely disguised similitude between the 2 names. Anyway, I kept repeating in my heed "one of life'south bang-up watchers".
These words powerfully echo the opening scene when Allan is watching the legendary ending of "Casablanca". His oral cavity agape makes you lot wonder whether he'due south mesmerized by the picture 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 flat gives the reply. Information technology's a motion-picture show-geek's paradise, total of Bogart's moving-picture show posters; all nigh Bogart, the screen star and macho icon, everything Allan/Allen is not.
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 frail picayune boy who fantasizes well-nigh being the blonde stud getting the girl. The process works in reverse when he imagines Nancy (Susan Anspach) going in a motorbike with a blonde and muscular biker, the 'Nazi-type' as he says.
The cadre of Allan'southward insecurity is his total disillusion, he knows, a Bogie, he's not ... or maybe he can try by watching films, to grab some piffling bits of Bogie's aura, play it like Bogart (could take worked every bit some other 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 existent manor agent whose only running (sometimes irritating) gag consists on giving the phone number on each identify he'south in, and Linda (Diane Keaton), a gentle and sensitive soul, driven by a sort of maternal care toward Allan. Both try to connect Allan with their female acquaintances but the dates turn out to exist totally disastrous. From an excessive employ of Canoe perfume, a nervous grunt pregnant 'Howdy', his lamentable attempts to impress by showing a sports medal he bought xx$, or the unforgettable record thrown in the article of furniture, the engagement is probably one of the funniest scenes from whatever Allen's films.
Indeed, Allen is never as hilarious as when he tries to impersonate what he's not, and the more he tries to 'play it similar Bogie', the funnier information technology gets. The film is pure Woody Allen in his most delightful self-loathing humor. And there's more that, if "Play it Once more, Sam" provides some skillful moments to laugh at Woody Allen, it as well vehicles the idea that he'south never as 'attractive' equally when he'south natural, granted he tries to find the right girl. And the story leaves some sweet hints of a genuine chemical science betwixt Allan and Linda, believable for the uncomplicated reason that with Linda, he's existence himself, never tries to seduce her, and therefore reaches the level of quiet and tacit appeal to make jealous whatever wannabe Bogie.
Every bit a romance and a comedy, "Play it Again, Sam" is a real gem. All the bits are unequally hilarious and nosotros kind of see the ending (and some other plot devices) coming but they're continuously punctuated with hilarious one-liners. "I reject earlier being rejected. It's a mode to relieve fourth dimension and coin" is one of these quotes that would brand you laugh harder if they didn't bear on a existent sensitive chord. It's all near the quest of our own 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-fourth dimension idol Bogie, replaying the climax of "Casablanca", he precisely achieved his dream considering he wasn't trying to exist Bogie, the arc was closed.
"Play it Again, Sam" is adapted 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 fashion, "Play information technology Again, Sam" is similar the ancestor of "Annie Hall"). And the more than I lookout Allen and Keaton's pairing, the more than I realize that the couple has nothing to green-eyed from Bogart and Bergman, Keaton has this incredible intellectual appeal that makes believable such a beautiful woman would be insecure. She doesn't overexpose her beauty, and instead exudes the feeling of a frail flower waiting to bloom on a man'south heart, the stuff that inspires Allan's own sensitivity.
Herbert Ross, who directed the picture show, diluted his style into Allen's spirit, using the town of San Francisco as the but un-Allenian element of the film, providing its rich and unique atmosphere. And every bit usual, across the gags, in that location'southward the eternal dedication of Allen to Cinema. I mentioned in "Take the Coin and Run" that Cinema was the ultimate geek escapism. By playing it like Bogie, Allan finally reconciles with his own self-esteem, the point is that he learned that Bogart isn't a character, it's a state of listen, a readiness for having the guts to follow heart and instinct and sometimes even gratify them for the right reasons.
When he impersonated Bogie, Allan was pathetic, when he embraced his state of heed, he was no more a loser. Maybe that's the greatest gift of Cinema, providing some models, non to impersonate, simply to inspire ourselves. I likewise believe that Movie house is the stuff dreams are made off and as one of 'life's great watchers' I sometimes wish I could have the aforementioned hallucinatory relationship with Michael Corleone.
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Woody Aims Loftier
This story of unrequited love 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 in that location's the rub. Tony Roberts is married to Diane Keaton and because she is forbidden, Allen begins a existent human relationship with her. Every time he tries to be something he is not, things fall autonomously. He lets Casablanca and Rick Blaine run his life. When push comes to shove, Woody knows that things are going to be hard to reconcile. There are many hilarious moments and some bang-up lines. Allen can play the sensitive fool meliorate than just about anyone. I think his charm is that he is enlightened and smart, but he never quite can overcome his basic nature. This is certainly a fine comedy, one of Allen'south improve films.
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total of the Woody Allen angst but still very funny
Warning: Spoilers
This is an old fashioned Woody Allen motion-picture show (in other words it'south funny). Information technology'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 also come across this as a welcome change and his most personally engaging picture--it really has a lot of heart.
Woody plays a nerdy guy (what else?) who is obsessed with Humphrey Bogart films. He loves them so much that Bogie himself oftentimes stops past 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 like the perfect guy, huh?). His married friends, Diane Keaton and Tony Roberts come to give him support and try to fix him up with various ladies (none of which comes fifty-fifty close to working out). Nevertheless, over time, it becomes obvious to anybody except Woody and Diane that THEY would make a great couple. Even Bogie comes to tell Woody to brand the moves on his friend's wife! Well, here is where the plot begins to wait more than and more like CASABLANCA--a natural considering Bogie's in this film, too! Well, I'll terminate my review here because I DON'T want to spoil the picture. Information technology's cute, coherent and well worth seeing.
PS--a peachy scene involves Bogie having a showdown with Woody'due south ex-wife. It's a riot, though in full general this flick has more subtlety and less express joy out loud laughs than his previous films but it all works together so well, it'due south not a trouble.
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Play It Once again, Woody
Poor Allan. Rejected by his wife, he's got sure over-agile glands, only also the sex appeal of a charm schoolhouse refuse. So his luck with women is zilch. It doesn't help that his dexterity is on par with a wrecking ball. Or that he has all the self-conviction of me talking physics with Einstein. Skillful thing that cutie Linda pities his plight, trying incessantly to fix him upwardly with blind dates. These misfires are both funny and poignant, and also the motion picture'due south comedic core. As well bad the sensitive Linda is married to best friend Dick. Trouble is Dick'southward too married to his big-fourth dimension job to appreciate his sterling wife. In fact, he'southward more interested in phone connections than her. So, volition things ever work out for Woody's movie-struck nebbish, specially when he'due south got ghostly tough guy Bogart giving him communication.
It's a really funny flick. Allen fits the part perfectly, as does the winning Keaton. Between them the banter is both lively and engaging. Also, reality is cleverly composite with Allan's imagination and a surreal Bogart. All in all, the 85-minutes amounts to a seamlessly woven Allen concoction, and I'm notwithstanding chuckling at this, one of the actor'southward best movies. (In passing-- Sad to note that actress Anspach, the ex-married woman here, passed away before this calendar month. She was an indelible presence and will be missed. RIP, Susan.)
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Casablanca by the bay
First this was a successful Broadway play. Then came the adaptation under the direction of Herbert Ross. Woody Allen had merely directed a few pictures earlier, but it's curious he decided to let Mr. Ross direct this i, at all. Woody Allen was still in his first phase as a managing director, not having gone into his Igmar Bergmann catamenia even so.
"Play it Again, Sam" shows a restrained Woody Allen acting on his own fabric. He presents the states an Allan Felix, a human being and so neurotic, he could probably pass every bit the real Woody Alen whatever time. Allan is a nerdy pic fan who doesn't know how to go on a woman. It'southward clear his start wedlock to Nancy has been a failure.
Equally in other Woody Allen films, nosotros have the well intentioned couple that wants to encounter Allan happy. In this film they are Dick and Linda Christie, successful people that regard this friend as capable of being reformed past letting him meet interesting and sexy women. The film is dominated past the mystical figure of Humphrey Bogart, who wants Allan to go "dames" with a technique that he tries to teach him throughout the film. Those scenes between the fictitious Bogart, and Allan are ane of the the highlights of the movie.
The interplay with the movie "Casablanca" makes an interesting contrast with what nosotros scout at the outset of the pic, which is the crucial decision of the Michael Curtiz's movie. The final sequence of "Play it Once more Sam" mirrors the archetype model in more ways than one.
Woody Allen is perfect for playing his own material. He was at the acme of his comic genius in this film. His humor has a nervous edge that translated in 1 liners that come besides fast, at times, for u.s. to savor and relish. In fact, every bit directed by Mr. Ross, Woody Allen responds well and makes a nifty appearance and contributes tremendously to the success of this film.
Diane Keaton, who plays Linda Christie, shows an affinity for what would follow later equally she became an invaluable collaborator of Mr. Allen. Her portrayal of this character shows also the aforementioned neurotic qualities we see in Allan. Tony Roberts plays Dick Christie, a office that parallels that of Victor Lazlo in Casablanca. Susan Anspach is seen briefly as the adult female who leaves Allan at the kickoff of the flick. Jerry Lacy equally Humphrey Bogart with raincoat, fedora and cigarettes, is the perfect pal anyone could ask for.
"Play information technology Again Sam", is a film that surprisingly, has anile well as it doesn't have a dated feeling to information technology. The movie will not disappoint, but the viewer must stay alert for those witty Allen'south ane liners.
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Bang-up comedy-drama
Great comedy-drama. A typical Woody Allen motion-picture show, except that it is non directed by Woody Allen (he did write the screenplay, and stars in it. Two outta 3 ain't bad!).
Like most of Woody Allen's early on movies, plot is fairly basic. However, like all of Woody Allen'southward movies, information technology is the dialogue that makes the movie. Sharp, witty, all with the signature Woody Allen self-deprecation and neurosis.
Acting-wise, Woody Allen does what he does best - play himself. Diane Keaton is great too.
This was Allen and Keaton'southward first movie together and the chemistry was clearly there. V years' after they would star together in one of the greatest movies of all time, Annie Hall.
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Masterpiece
Play It Once more Sam (1972)
**** (out of 4)
Hilarious film has Woody Allen struggling in the dating scene, getting advice from Humphrey Bogart and so falling in love with his best friends married woman (Diane Keaton). This is i of my all time favorite comedies, which I could probably lookout man monthly and not grow tired of. I've talked about how much I loved this film in previous years so I'll just mention that I've never bought into Herbert Ross directing this. In that location are only a handful of Allen films that I oasis't watched and to me this film has the aforementioned manner, same pace and aforementioned tone as every picture show directed by Allen. I've always been curious if Allen had more of a role than merely an player and screenwriter here because to me this is Allen 100%.
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No humphs on this Bogart
I much prefer Woody Allen'southward early on films for the simple reason that they brand. Seriously, before he seriously became serious, this guy wrote great jokes, a souvenir I sometimes think he took for granted before he started imitating Bergman and strove for integrity. This one'south a hoot, even if it is adjusted from his own play and was directed by Herbert Ross and not himself.
The idea that Woody's gormless Alan graphic symbol escapes his emotional crises by consulting his screen hero Bogart is bright and is expanded still farther when he as well dreams up his absent-minded ex-wife to contradict Bogey's positive stroking. The plot naturally evokes the triangle at the center of "Casablanca" with the move cleverly ending up by recreating the aforementioned sacrifice also at a misty airport with Woody quoting Bogey's immortal words in exelcis.
Along the way, Allen crams in loads of largely self-deprecating jokes and comedic situations, similar his "1-2-3-4" chat-up line on the dance-floor, his description of his roughing up past two hoods chasing his girl and his imaginings of love-rival Tony Roberts' various reactions to the news of the affair between him Allen and his wife, Diane Keaton.
The playing is delightful, Roberts, whose graphic symbol would accept been rendered redundant if mobile phones had been effectually and Keaton at her kooky best (and you should encounter some of her outfits also!) provide great background support to Woody's monologue. Herbert Ross' management I establish swung from between conventional romantic-comedy to quirky flights of fancy sometimes besides incongruously at times but nonetheless he keeps things light and fast- moving. And a special discussion too for Alan Lacy in the thankless chore of recreating Bogart, a job he handles with relish and the necessary attending to detail.
While some of the attitudes displayed to women are somewhat Neanderthal, plus in that location is one distastefully unfunny substitution between Allen and Keaton on the "hilarious" subject field of rape, this funny Woody Allen has many other memorable ane-liners and plenty of laugh- out-loud funny scenes. How I wish he still made them similar that!
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Source: https://www.imdb.com/title/tt0069097/reviews
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