NOTE:
A few weeks ago we published a review of this title released by Kino Lorber
Studio Classics. A different release from the excellent Australian label,
Imprint, has offered another edition with the American Masters 2011
piece “Woody Allen: A Documentary” that we felt was worth reviewing. Much of
the review of the film itself is repeated from Raymond’s earlier post.
Finally,
after many years of the title being available only as a DVD, the Woody Allen
classic comedy that’s not a Woody Allen film, Play It Again, Sam, is on
Blu-ray, thanks to Imprint.
What
did you say? you
ask. That’s right. Woody Allen did not direct Play It Again, Sam.
Herbert Ross, a renowned Broadway theatre dancer and choreographer who
graduated to stage directing before moving into film, helmed the movie. Ross
had previously directed the musical remake of Goodbye, Mr. Chips (1969)
and The Owl and the Pussycat (1970) prior to landing the job to direct Sam.
Ross went on to direct such notable pictures as The Sunshine Boys (1975),
The Turning Point (1977, an Oscar nominee), and The Goodbye Girl (1977,
also an Oscar nominee).
But
Woody Allen wrote it and stars in the film. It’s Allen’s sensibility all over
it. It’s co-produced by Allen’s Rollins-Jaffe managerial production company. It’s
a Woody Allen film in all but directorial credit. That’s not to say Ross didn’t
do an excellent job adapting Allen’s stage play into a successful, popular
film.
Yes,
first it was a hit Broadway play in 1969. Its stars—Woody Allen, Diane Keaton,
Tony Roberts, and Jerry Lacy—all moved over to the film’s cast. While much of
the story’s action takes place in interiors (mostly apartments), director Ross
managed to “open up” the material to include outdoor scenes and other locations
such as bars and restaurants. Interestingly, the story takes place in San
Francisco, not Allen’s familiar New York City!
The
story focuses on Allan Felix (Allen), whose wife, Nancy (Susan Anspach),
abruptly decides to leave him. Grieving and insecure, Allan leans on his
friends Dick and Linda Christie (Roberts and Keaton) for emotional and social
support. They are happy to help him, especially Linda. They try to fix him up
with blind dates that don’t go too well (the one with Sharon (Jennifer Salt) is
a particularly funny and memorable example). All Allan really wants is to
“score” again to boost his fragile, shattered ego, and maybe—just maybe—fall in
love with perhaps some reciprocity. A huge film buff, Allen gets advice from
none other than a fantasy Humphrey Bogart (Lacy), who appears at various times
to nudge him along. Bogart is one of Allan’s heroes (the movie begins with
Allan rapturously viewing Casablanca in a cinema). As time goes on, though,
(see what I did there?), Dick and Linda’s own marriage begins to show signs of
fracturing due to Dick’s busy career and his tendency to put his job before his
wife. Ultimately, Allan and Linda are drawn to each other. When they’re finally
on the couch together in his apartment, Bogart insists that Allan deliver a
corny, mushy line to her. He resists at first but finally he does… and she
reacts favorably. “She bought it!” Allan deliriously exclaims to the audience.
You can guess what happens next.
Play
It Again, Sam was
the first screen collaboration between Woody Allen and Diane Keaton, and we can
already see that this is a match made in heaven. The real life actors began
dating during the run of the Broadway play in 1969 and they were a couple in
the early 70s up to and including the making of this film. Afterwards, they
split up but remained the closest of friends for the rest of their careers. The
late Tony Roberts was also an integral part of this screen duo in these early
years, appearing in several of Allen’s other pictures. It is the chemistry
between these three actors that makes Play It Again, Sam such a
delightful—and funny—motion picture.
Allen
had directed two features prior to starring in this one, and he had already
created for himself a screen persona best described as a Jewish, nebbish
neurotic. His Allan Felix here solidifies that character, and one can argue
that the actor/director played this character for the remainder of his career.
While he delivers extremely witty and funny lines and displays priceless facial
expressions, it’s notable that Allen engages in a great deal of
slapstick—pratfalls and clumsy maneuvers that wreak havoc on his and others’
apartments. It’s easily one of Allen’s funnier performances.
Diane
Keaton, a fairly new face on the screen at the time (it was the same year she
appeared, virtually unknown, in The Godfather), is marvelous. She is so
endearing, honest, gorgeous, and luminous, that it is no wonder that she became
a star. Again, the rapport between Keaton and Allen is perfect. Of course, she
would go on to make seven more films with Allen under his direction.
Tony
Roberts is also hilarious, constantly having to phone the office to let them
know where he is at a given time. “This is Mr. Christie. I’m no longer at
752-0420. I’ll be at 731-0711 for the next half hour, and then I’ll be at…” One
might think this repetitive joke would get old, but it doesn’t. It becomes increasingly
funnier as the movie goes on.
Being
originally written as a play in 1969 and filmed in 1971 for release in 1972,
yes, there are lines that some will consider inappropriate or politically
incorrect today. But they are few and far between. For the most part, the
dialogue is rich, intelligent, and very laugh-out-loud amusing. This is Allen’s
writing at his best. And Ross’ direction isn’t bad at all.
Imprint’s
all-region HD presentation is excellent. (Whether they used a different restoration
of the film than the one by the earlier Kino Lorber release is unknown… to
these eyes they are the same or very similar).
What
elevates the Imprint edition is the inclusion of the excellent, over three-hour
2011 American Masters documentary film by Robert B. Weide, Woody
Allen: A Documentary. This is perhaps the most intimate and close-up
portrait of the writer/director/actor ever made. Presented in two parts, the
documentary includes personal interviews with Allen, revealing his working
habits and methods, interviews with key players in Allen’s life and career (his
sister Letty Aronson, Diane Keaton, Louise Lasser, Tony Roberts, and many other
actors; collaborators Gordon Willis, Juliet Taylor, Marshall Brickman, Douglas
McGrath, and more; film critics Richard Schickel, Leonard Maltin, and more; Martin
Scorsese, Dick Cavett, and other personalities. It’s a virtual treasure trove
of New York and Hollywood talking heads who weigh in on Woody’s career.
Woody
is candid about his relationship with Mia Farrow and what happened in
1992; however, the documentary was released prior to adult Dylan Farrow’s
accusations… so this is not addressed. Primarily, though, the otherwise
in-depth documentary dissects Allen’s Brooklyn upbringing, his early
gag-writing and television years, the stand-up comedy era, breaking into films,
and nearly a title-by-title retrospective discussion of Allen’s oeuvre.
Also
included are several deleted scenes/outtakes from the documentary, including
Allen amusingly answering “12 questions,” such as “What film do you like that
you always defend and what film do you defend disliking?” An interview with
director Weide is also part of the selection. Alas, there is no theatrical
trailer on the Imprint edition.
In
short, the inclusion of Woody Allen: A Documentary in this package is a
must. Play It Again, Sam is for fans of Woody Allen, Diane Keaton, Tony
Roberts, and early 1970s pictures that redefined the rom-com. Recommended.
Click here to order. Prices are in Australian dollars so use a converter for your local currency.
