Tombe les filles et tais-toi

Allen plays a film 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--try to help also. Naturally he ends up falling for Keaton.

Allen didn't direct this (Herbert Ross did) but he wrote it. So it sounds like a Woody Allen film but doesn't LOOK like an Allen film. For one thing it was shot in San Francisco--not New York! It's also somewhat dated in 1970s dialogue and fashion. There's also a running joke involving Roberts and telephones that doesn't work today. Still this is a very good film.

It is an affectionate take-off on "Casablanca" and other old films also. Allen is playing has patented neurotic character but I've always found him funny and his disastrous dates are just great. Also him, Keaton and Roberts always worked well together and it makes their relationship seem very believable. 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. But I found it fast, funny and very entertaining. And the dated 70s touches were actually quite funny. I give this a 8.

My first and foremost thought about this movie is that you MUST see "Casablanca" (1942) first, for two reasons:

First, "Play it Again, Sam" contains not only archival footage from the 1942 classic, but numerous dialogic and other references which would be lost on someone who hasn't seen "Casablanca."

Second, and more 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 second only to "Annie Hall" among the Woody Allen / Diane Keaton films. Woody fans will enjoy the neurotic, psychosexual ramblings of the central character, which are typical of his movies, as well as the numerous elements of physical comedy, which are not as common in Woody Allen films. And watch for the scene in the art gallery -- it's a classic!

I'm a big fan of Woody Allen. While his films often have something wrong with them, you can always count on a good time and a laugh while you're watching - and that's certainly what you get here! Woody Allen films are always 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 film himself and Herbert Ross has got that job. Due to the cast, and Woody's script, however, this is very much another Woody Allen flick, no matter who is in the director's chair. This film also features the first screen pairing of Allen and Diane Keaton, who would, of course, go on to make Allen's masterpiece 'Annie Hall', along with Tony Roberts, who also co-stars here. The plot of the movie plays out like a tribute to Casablanca, and it sees recently dumped Allen falling in love with his best friend's wife, all the while under the watchful eye of the great Humphrey Bogart, whom he sees in his daydreams.

The humour in this film is awesome and also amazingly funny. Scenes that see Woody Allen blunder his way through dates are hilarious, and Allen's dialogue is at its dry and witty peak. The scene in which he tells of a fight he had with two 'hairdressers' being an excellent example 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 also offers up a prime example of Allen acting at his best. The film isn't a complete one-man show, however, as the underrated Tony Roberts, along with Diane Keaton also give grand performances. The movie tributes in the film are many, with most pointing to the great Casablanca - and this is a good thing as far as I'm concerned. On the whole, this is an intelligent, entertaining and hilarious movie from one of cinema's best comedians. Highly recommended!

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 blind date's arrival - the desperate preparations and the pathetic introduction are funny but painful, in that we have all been in that position; his demonstration of authentic 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 book this ranks with Sleeper, Manhattan, and Annie Hall as Woody's best films.

In San Francisco, the neurotic, awkward and clumsy 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 help him finding available acquaintances to date him. Allan is advised by his alter ego Bogart (Jerry Lacy) how to behave with women, but Allan is too weird and the women never go in a second date with him. Soon Allan finds that he is in love with Linda, but Dick is his best friend and he does not want to make a move despite Bogart advices.

"Play It Again, Sam" is one of the best romantic comedies by Woody Allen in the beginning of his successful career. I saw this movie for the first time when I was still discovering Woody Allen and last time I had seen was on VHS on 12 November 2000 and I have just seen it 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.

Title (Brazil): "Sonhos de um Sedutor" ("Dreams of a Seductor")