Play it Again, Sam: A Romantic Comedy in Three Acts

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Samuel French, Inc., 1969 - Drama - 64 pages
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Comedy

Characters: 3 male, 8 female

Interior Set

Allan Felix has this thing about Humphrey Bogart. If only he had some of Bogart's technique... Bookish and insecure with women, Allan's hero, Bogey comes to the rescue, with a fantastic bevy of beauties played out in hilarious fantasy sequences. Fixed up by friends with gorgeous women, he's so awkward that even Bogey's patience is tried. Allan mostly resembles a disheveled, friendly dog and this is what ultimately charms his best friend's wife, Linda into bed. It's a tough life, making it in the world of beautiful people but if you can't be a hero it helps to have one...

"Hilarious...a cheerful romp. Not only are Mr. Allen's jokes and their follow ups, asides and twists audaciously brilliant, but he has a great sense of character."-The New York Times

"A funny, likeable comedy that has a surprising amount of wistful appeal."-New York Post

 

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Contents

Section 1
3
Section 2
4
Section 3
5
Section 4
27
Section 5
47
Section 6
62
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About the author (1969)

Allen's favorite personality-the bemused neurotic, the perpetual worrywart, the born loser-dominates his plays, his movies, and his essays. A native New Yorker, Allen attended local schools and despised them, turning early to essay writing as a way to cope with his Since his apprenticeship, writing gags for comedians such as Sid Caesar and Garry Moore, the image he projects-of a "nebbish from Brooklyn"-has developed into a personal metaphor of life as a concentration camp from which no one escapes alive. Allen wants to be funny, but isn't afraid to be serious either-even at the same time. His film Annie Hall, co-written with Marshall Brickman and winner of four Academy Awards, was a subtle, dramatic development of the contemporary fears and insecurities of American life. In her review of Love and Death, Judith Christ wrote that Allen was more interested in the character rather than the cartoon, the situation rather than the set-up, and the underlying madness rather than the surface craziness. Later Allen films, such as Crimes and Misdemeanors or Husbands and Wives, take on a far more somber and philosophic tone, which has delighted some critics and appalled others. In Allen's essays and fiction reprinted from the New Yorker, Getting Even New Yorker, (1971), Without Feathers (1975), and Side Effects (1980), the situations and characters don't just speak to us, they are us.

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