Play It Again Sam Sex Story

Play It Once more, Sam (1972)

Groundwork

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Play Information technology Again, Sam (1972) is manager Herbert Ross' adaptation of Woody Allen's own original, scripted 1969 Broadway play, with the four principal players reprising their roles from the stage (Woody Allen, Tony Roberts, Diane Keaton, and Jerry Lacy). Allen could have directed the film, and had already directed three films (What's Up, Tiger Lily? (1966), Accept the Money and Run (1969), and Bananas (1971)), simply had decided to move on to other original projects. He reportedly spent about 10 days adapting the play for the big screen with co-author/manager Ross. It remains every bit 1 of the most quintessential, highly-seasoned and popular 'Woody Allen' films of all-time. However, it was devoid of whatever University Honor nominations.

The film'south title has been the reason that many falsely merits that the line was actually spoken in Casablanca (1942). The film was notable as the first film pairing Allen with his on- and off-screen partner Diane Keaton (they were directly teamed together in six films). They appeared in vii more feature films together, too including:

• Sleeper (1973)
• Love and Death (1975)
• Annie Hall (1977)
• Interiors (1978)
• Manhattan (1979)
• Radio Days (1987)
• Manhattan Murder Mystery (1993)

The hilarious comedy followed the romantic trials and life of a San Francisco moving picture buff and film critic (for Film Quarterly), Allan Felix (Woody Allen). He was cocky-deprecating, neurotic, shy, fanatical about films, and obsessed over the moving picture Casablanca (1942). He tried to model his beliefs afterwards the personality of its tough guy role player Humphrey Bogart. In the pic'south resolution, a complicated love triangle with Allan's ii best friends was finally resolved during a re-enactment of the airport cheerio scene in the 1942 picture show. The tagline on film posters alleged: "It's still the same old story, a fight for dear and glory." Another stated the obsessed connection between Allen's graphic symbol and Humphrey Bogart:

"By day, he is Woody Allen...But when night falls and the moon rises, Humphrey Bogart Strikes Over again."

It came in an intermediate and more than accessible phase in Woody Allen'due south career, between his before gag-filled hits such as: Have the Money and Run (1969), Bananas (1971), and Everything Yous Always Wanted to Know About Sexual practice* (*Only Were Afraid to Inquire) (1972) (he was working on this picture during filming of PIAS), and his afterward more than polished works in the belatedly 70s including Annie Hall (1977) and Manhattan (1979).

Throughout the moving-picture show, there were many great one-liners spouted past Woody Allen's character, such as:

- (about TV dinners): "Who bothers to melt 'em? I suck 'em frozen."
- "If they're beautiful, they're crazy, you know? Great beauty drives a woman crazy."
- "I hate the beach. I don't like swimming. I don't like the sun. I'm red-headed, I'm blanched. I don't tan - I stroke!"

[Annotation: A anticipated spin-off, the romantic comedy Touch of Pink (2004) from Canadian writer/director Ian Iqbal Rashid (his debut characteristic film), portrayed the Woody Allen graphic symbol equally a young Canadian gay human being in London being advised by a ghostly Cary Grant (Kyle MacLachlan).]

The Story

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Prologue: Casablanca Viewing

During the pic'due south opening credits, 29 year-erstwhile SF film mag critic Allan Felix (Woody Allen) watched a theatrical screening of Casablanca (1942) in a movie theatre with his mouth agape during the famed aerodrome farewell conclusion sequence. He remarked (in phonation-over) as he walked out: "Who am I kidding? I'one thousand not like that. I never was, I never will be. That'south strictly the movies." Lying on his bed under a poster for Casablanca, he was introduced equally a cocky-professed, insecure, depressed "aspirin junkie" and neurotic individual: ("Next thing, I'll exist humid the cotton at the top of the canteen to go the actress").

[Note: In the play, Allan worked for Motion picture Quarterly. In the film, Allan was employed with Moving-picture show Weekly.]

Flashback - Allan'due south Marital Breakup with Nancy:

In a flashbacked scene while being very depressed and with low self-esteem, Allan recalled how he broke-upward and divorced his wife Nancy Felix (Susan Anspach) after 2 years of marriage. She mostly regarded him as sexually inadequate:

I can't stand the marriage. I don't find you any fun. I feel y'all suffocate me. I don't feel whatsoever rapport with you and I don't dig you physically. Oh, for God'south sake, Allan, don't have it personal.

Although Allan was entirely disoriented by the divorce, he clung to hopes of a better future with other women and fantasized 'stepping out' or inviting 'broads' up to his apartment: "Why should a divorce bother me so? Oh hell, maybe I'g ameliorate off without her. Why not? I'one thousand young, I'm healthy, I've got a good job. This could exist my gamble to pace out a little fleck. If she tin swing, so can 50. I could turn this place into a nightclub. I'll get broads up here similar you wouldn't believe. Swingers, freaks, nymphomaniacs, dental hygienists." However, he was yet hung-up most the specific day that they separated, when she described how she was an active 'doer' and he was just a passive 'watcher':

I want a new life. I desire to go skiing, I want to go dancing, I want to become to the beach, I want to ride through Europe on a motorcycle. All we e'er do is see movies....You're one of life's dandy watchers...I'k not like that, I'm a doer. I want to participate. Nosotros never express joy together.

When she proposed contacting his lawyer, he responded: "I don't have a lawyer. Have him call my physician."

The recently-divorced, shy, insecure and neurotic loser Allan sat in his room, where he was counseled by the trench-coated, fantasy ghost of his film idol Humphrey Bogart (flawlessly interpreted by Jerry Lacy). He was given hard-boiled, cheesy romantic advice well-nigh being a tough, self-confident, desirable and virile man, and nigh how to care for dames.

Dames are simple. I never met one that didn't sympathize a slap in the mouth or a slug from a xl-five....Have my advice, kid, and forget all this fancy relationship stuff. The world is fulla dames. All yous gotta practice is whistle.

Allan'due south Supportive Married Friends - Dick and Linda:

His married friends, hard-driven, workaholic Dick Christie (Tony Roberts) and pretty neurotic model-wife Linda (Diane Keaton) arrived and agreed to help Allan observe another adult female to share his life. They both wanted Allan to succeed in dating women.

[Annotation: A running joke was that harried, overworked businessman Dick oftentimes called his role banana George and left messages and phone number to study his whereabouts, i.e., "This is Mr. Christie, I'm at The Hong Fatty Noodle Company..."]

Dick brash that Allan had much to look frontward to now that he was single:

Await at the vivid side. You're free. You lot'll go out, there'll be girls. Y'all'll go to parties. You'll have diplomacy with married women. Sexual relations with girls of every race, creed and colour.

Only when Dick and Linda asked specifically what Allan preferred, he answered: "I like blondes. Little blondes with long hair and short skirts and boots and big chests and brilliant, witty and perceptive," but Linda advised that women with large breasts "usually don't have great minds." As he discussed his dilemma with them, Allan had a fearful daydream of Nancy riding on the back of a motorbike with a "alpine, stiff, handsome, blue-eyed blonde human being" before they laid downwardly outdoors to brand beloved.

Disastrous Arranged Dates for Allan:

The nerdy Allan was most to experience many disastrous and fumbling blind date scenes and rejections. Dick and Linda arranged an 8 pm double-dinner-appointment for him with Linda's photographer'southward assistant Sharon Lake (Jennifer Table salt), who had starred in a "very arty" sixteen mm underground motion-picture show - that was titled "Gang Blindside."

• the excitedly-worried Allan delivered Bogart-like words to himself to bolster his confidence, as he stood in front of a mirror earlier his bullheaded date with Sharon and imagined himself as a macho-human: ("They say that dames are simple. I never met one who didn't understand a slap in the mouth or a slug from a .45. Come here, Sharon")
• when in the bathroom preparing for his double-date, he doused himself with besides much Canoe after-shave lotion and wrestled with his hair dryer, as he remembered how he had been rejected on previous dates
• Bogart appeared to coach Allan to be more confident: "You're startin' off on the wrong human foot, child...You're lettin' her get the best of ya before the game fifty-fifty starts"; Allan imagined conquering his fears and sexually-satisfying a Fantasy Sharon (Mari Fletcher) in his chamber with his masculine amuse: (Sharon: "Oh, Allan, yous are fantastic! Up until this evening, the doctors had told me that I was frigid. Oh, I want to thank yous for proving them wrong")
• to print the real-life Sharon before she arrived at his identify, he had conspicuously placed books half-open up in his living room, and displayed his purchased $20 dollar 100-g rail medal; when Allan actually met Sharon, he was and then anxious that he nervously greeted her with a grunt and a wave; he so failed to impress her by attempting to be "absurd" and by making pretentious statements: ("I love the rain. Information technology washes memories off the sidewalk of life"); he ended upward swinging his arm wildly - gesturing and sending an Oscar Peterson record out of its album comprehend to crash against the wall, and every bit he leaned over a chair, he clumsily tipped it over
• later in the evening during their Chinese restaurant (Hong Fat Noodle Co.) double-appointment, the over-broken-hearted Allan made an embarrassing attempt to exist excessively macho to impress Sharon, only ended upwardly appearing bizarre when he demonstrated how to shovel rice into his mouth with chopsticks - he and so idea to himself, simply seemed to completely misread his date: "She likes me...I can read women. She wants me to come up on with her. She digs me. She's playing it very cool. I'thou gonna come on with her later"; notwithstanding, she soon excused herself from the engagement due to a sinus headache, and shut her apartment door on him

Linda reassured Allan by proposing some other possible date with Jennifer (Viva, i of Andy Warhol's 10-rated screen actresses), one of her therapy group members, although cautioned by labeling her as "crazy" and "too weird for a relationship." During their date, Jennifer admitted that she was a sex-obsessed nymphomaniac: "Allan, I won't deny information technology. I'm a nymphomaniac. I discovered sex very early on. I slept with everybody. My schoolteacher, my sis's hubby, the string section of the New York Philharmonic. I want to have sex all the fourth dimension, play all the time. Otherwise you lot're merely down, and why be downwardly? The best style to become up is sexual practice. I'yard not similar my sisters. They're so inhibited, they never want to do anything. I believe in having sexual activity equally often, as freely and equally intensely every bit possible." When Allan voraciously grabbed at her to osculation her, she unexpectedly retorted: "What exercise you lot take me for?"

There was some other failed pickup for Allan at an art gallery when he asked Museum Girl (Diana Davila) (in the San Francisco Museum of Modern Art) most her interpretation of Jackson Pollock'due south 1943 painting, 'Guardians of the Clandestine': ("It restates the negativeness of the universe. The hideous lonely emptiness of existence. Pettiness. The predicament of Human forced to alive in a barren, Godless eternity like a tiny flame flickering in an immense void with cipher but waste, horror and degradation, forming a useless bleak straitjacket in a blackness absurd cosmos"), then when he asked what she was doing on Saturday nighttime, she responded: "Committing suicide" - then undeterred, he asked about Friday nighttime instead!

During a visit to Dick's and Linda'south beach house, the threesome visited a discotheque, where on the trip the light fantastic toe floor, Allan ogled a big-breasted blonde Discotheque Daughter (Susanne Zenor) and imagined propositioning her: "I love you, miss, whoever you are. I desire to have your child," but she soundly rejected him when he finally courageously asked her to dance - with harsh words: "Get lost, creep!"

The Growing Close Relationship Between Allan and Linda:

Allan realized that through his many conversations with Linda that she was slowly becoming the girl of his dreams. She was sensible and supportive of his qualities ("Y'all've got a lot going for y'all. You're brilliant, and y'all're funny and I think yous're even romantic, if you lot'd only believe it. I don't come across why you put on a false mask every fourth dimension you lot run into a daughter"), and he e'er felt free and comfortable to speak to her openly. Allan realized that Linda, who oftentimes craved attending (and fawning over) from Dick, also often felt neglected and ignored. She treasured Allan's altogether gift of a plastic skunk more Dick's present.

His next date was with a young, curt-haired, "bawdy" and sexy blonde named Julie (Joy Bang), one of Dick's office workers who had just cleaved upwards with her fellow. Allan asked her to join him for a Fri evening dinner, and later on, she suggested that they cruise inside a biker bar: "Hey, allow's go in there and get stoned and spotter the freaks." Allan was overtaken by two long-haired, leather-clad tough Hoods (Michael Greene and Ted Markland) when he vainly attempted to protect Julie from their crude advances at their table. (Linda learned of Allan's appointment during the evening and appeared jealously concerned that he might like his date.) After when he returned to the embankment business firm, Allan revealed how he had been bruised and beaten up during a fight, and Linda laughed hysterically at his description of his disastrous evening: ("I snapped my chin down onto some guy'south fist and hit the other one in the knee with my nose...I could use a iii-foot Band-Assistance until the pain subsides. (toward Linda) She's laughing and my sex life is turning into the Petrified Wood").

Upon their return to the metropolis, both Linda and Allan returned to their respective, ordinarily-lonely lives. Allan bemused to himself: "Ten meg women in the land and I can't wind upwards with one." He realized that his relationship with Linda worked so well considering they were familiar with each other as friends and weren't dating: "There'due south no pressure with Linda, I'1000 not trying to make her....It'southward the girls that I try to score with that I can't go to first base with. I'm turning into the strike-out king of San Francisco."

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Source: https://www.filmsite.org/playi.html

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