You know that feeling when you're so socially awkward you wish a movie star would just pop out of the screen and tell you what to do? That’s basically the entire premise of the Play It Again Sam film. It’s a 1972 classic that somehow feels more relevant in our era of parasocial relationships and "main character syndrome" than it did fifty years ago.
Most people think it’s a Woody Allen movie because he wrote it and stars in it. He didn't direct it, though. Herbert Ross took the reins for this one. It's actually a bit of a weird anomaly in cinema history because it’s one of the rare times Allen let someone else direct his script. Why does that matter? Well, it gives the movie a different visual energy—a bit more "Hollywood" and a bit less like a filmed stage play, even though it literally started as a Broadway hit.
The Humphrey Bogart Delusion
The plot centers on Allan Felix. He's a film critic—naturally—whose wife just walked out on him because he’s "not sexy enough" and a bit of a bore. To cope, he starts hallucinating Humphrey Bogart. Not the real guy, obviously, but the Rick Blaine version from Casablanca.
Jerry Lacy plays the ghost of Bogart, stepping out of the shadows in a trench coat to give Allan dating advice. It’s hilariously bad advice. Bogart tells him to treat women like "dames" and maybe give 'em a "slug in the mouth" if they get hysterical. It's 1970s toxic masculinity played for laughs, mostly because it looks so ridiculous coming from a guy who looks like a nervous bird.
A Strike That Changed the Vibe
Here is a bit of trivia most people miss: the Play It Again Sam film wasn't supposed to be set in San Francisco. The original play was a New York story through and through. But a film workers' strike in NYC forced the production to move West.
Honestly, the movie is better for it. Seeing the foggy hills of San Francisco and that iconic Sausalito waterfront gives the film a dreamier, more detached quality. It separates Allan from the usual Manhattan neurosis and puts him in a city that feels just as lonely as he is.
The First Time Keaton and Allen "Clicked"
This was the first time Diane Keaton and Woody Allen worked together on screen. They’d already done the play, but the camera captures something different. You can see the blueprint for Annie Hall being drawn right here. Keaton plays Linda, the wife of Allan's best friend Dick (played by Tony Roberts).
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Linda is just as neurotic as Allan. She’s taking Quaaludes to deal with her own boredom. Their chemistry isn't about grand romance; it’s about two people who are both kind of "broken" in the same way. It's messy. It’s relatable.
Why the title is a lie
Let’s get the elephant in the room out of the way. Nobody ever says "Play it again, Sam" in Casablanca. Ilsa says, "Play it, Sam. Play 'As Time Goes By'." Rick says, "You played it for her, you can play it for me! If she can stand it, I can! Play it!"
The title of the Play It Again Sam film is a nod to a collective false memory. It’s a movie about movies, built on a quote that doesn't actually exist. It’s meta before meta was even a thing.
The Museum Scene and Existential Dread
One of the funniest moments—and the one that usually ends up in highlight reels—is the art gallery scene. Allan tries to pick up a girl looking at a Jackson Pollock painting.
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- Allan: "What does it say to you?"
- Museum Girl: "It restates the negativeness of the universe. The hideous lonely emptiness of existence."
- Allan: "What are you doing Saturday night?"
- Museum Girl: "Committing suicide."
- Allan: "What about Friday night?"
It’s a two-line joke that perfectly encapsulates the "intellectual" dating scene of the early 70s. It also shows why the Play It Again Sam film works. It’s not afraid to be dark while being silly.
Is it still worth watching?
Some of the physical comedy is a bit much. There’s a scene where Allan tries to prepare for a date and ends up destroying his bathroom with a hairdryer. It’s very "silent movie slapstick" and feels a little dated compared to the sharp dialogue.
But the ending? The ending is gold. Allan finally gets to say the big Casablanca goodbye speech to Linda at the airport. He admits he’s been waiting his whole life to say it. And then, he realizes he doesn't need the Bogart ghost anymore. He’s found his own voice, even if that voice is still a bit shaky.
Key takeaways for film fans:
- Watch the background: Jerry Lacy’s Bogart is often just standing in the corner of the frame while other characters are talking. It's a great piece of direction.
- The "Dick" character: Tony Roberts is fantastic as the friend who is constantly calling his office to give them a list of phone numbers where he can be reached. It's a hilarious pre-cellphone era gag about being "too busy."
- The Score: Billy Goldenberg’s music, mixed with the classic As Time Goes By, sets the perfect nostalgic tone.
If you’re looking to dive deeper into this era of cinema, your best bet is to watch the Play It Again Sam film back-to-back with Casablanca. It transforms from a simple comedy into a really interesting study on how we use media to construct our own identities. You can find the film on most major VOD platforms like Amazon or Apple TV, and it’s a must-watch if you want to understand where the modern "nerdy protagonist" archetype actually started.
Next time you're feeling like you need a life coach, just remember Allan Felix. You probably don't need a ghost in a trench coat; you probably just need to stop trying to be someone else.
Check your local library or streaming service for the 1972 Paramount release. It’s a slim 85 minutes—perfect for a rainy Friday night when you’re feeling a little bit neurotic.