Play It Again, Sam
If Play It Again, Sam looks a little more like a generic 1970s romantic comedy than the usual Woody Allen flick of the period, that’s because Allen didn’t direct it. But it was based, seemingly line-for-line, on his own popular Broadway play with the three stars (Allen, Diane Keaton & Tony Roberts) reprising their roles. Allen was still early and raw in his directing career, so the much blander Herbert Ross (The Goodbye Girl), an ex-theater choreographer, took the helm. But it still has Allen’s incredibly funny script, showing many signs of the more mature style that would explode into Annie Hall, later in the decade.
Woody plays Allan, a San Francisco film fanatic and writer. Recently dumped by his wife, he’s even more of a mess than usual and in need of constant consolation from his friends, the married couple Dick and Linda (Roberts and Keaton), though Dick always seems to be preoccupied with work. Allan is hoping to score with a chick to help mend his broken heart, but he’s more comfortable watching movies than talking to a woman. Like a classic film geek, his life and his relationship to the world are based on a pose he has seen in films (usually the classics). He’s so lonely and extreme in his film obsession that he has developed an imaginary friend, Humphrey Bogart in his full Casablanca trench coat and hat get up. Bogart imparts two-bit noir advice, "I never saw a dame yet that didn't understand a good slap in the mouth or a slug from a .45." Allan usually ignores the advice and does the opposite or when he tries to obey, it usually goes hopelessly wrong.Continue Reading
The Seven-Per-Cent Solution
The opening title card of The Seven-Per-Cent Solution reads: “In 1891, Sherlock Holmes was missing and presumed dead for three years. This is the true story of that disappearance. Only the facts are made up.”
This clever welcoming very much sums up the kitschy and revisionist way the story of literature’s greatest detective is treated. One-time dance choreographer turned director Herbert Ross created a near-brand for himself in the '70s with his theatrical adaptations, with films like Funny Lady and Play It Again, Sam, and Neil Simon scripts including The Goodbye Girl, California Suite and The Sunshine Boys. But it is with this adaptation from the popular novel by Nicholas Meyer that Ross really gets to break away from his more stagebound roots, taking advantage of actual European locations and a very exciting cast to tell this tale of Holmes being treated by Sigmund Freud. (Later he would have success going back to his dancy roots with films like The Turning Point and Footloose.)Continue Reading