Review of Play It Again, Sam (1972) by Megan D — 08 Apr 2008

The way people talk about Woody Allen's earlier more broadly funny work, you'd think the jump in comic style was the equivalent of Jim Carrey in Ace Ventura to Eternal Sunshine of the Spotless Mind, but having watched a few of his pre-Annie Hall entries, it has become clear that these earlier films were no less intelligent than his best work and filled with the kind of pathos that made me a fan of Allen in the first place.

While directed by Herbert Ross, Play it Again Sam is by and large a Woody Allen film, being based on Allen's hit play, and starring an early incarnation of the neurotic Allen character. For those who criticise Allen for basically playing the same character in all his films, Allen plays his character Allan with a restraint that is surprising for this period and is suitably (though subtlely) different from his appearance in Annie Hall. Speaking of Annie Hall, the film introduces Diane Keaton into Allen's work, and though she's less impressive than in later films its clear even here how well the two work together.

The writing here is excellent, funny and so very clever; playing a loving homage to the Golden Age romanticism of Casablanca, Allen represents his typically neurotic relationship issues Allan's constant discussion with a more 'cool' him personified as Humphrey Bogart. While having Bogart standing next to you giving you advice is highly unrealistic, the sentiment of Allan's uncertainty was poignant and very real, and so true of life when you overanalyze a situation or let uncertainty get the better of you. The film's ending brilliantly ties everything together, and rehashes the final scene from Casablanca without seeming corny or sophomoric. In a lot of ways, of all the early Allen films Play it Again, Sam illustrates most clearly the elements that would come to fruition in Annie Hall, and is recommended viewing to fans of this most talented and prolific filmmaker.