Il dormiglione

I think I am going to have to rank this as Woody Allen's second-best (and second-funniest) movie... after the unbeatable "Annie Hall". Even after having seen the movie 3 or 4 times I still find myself amused by some of Allen's shtick... and his rarely-demonstrated adeptness at physical comedy. So many classic physical bits: riding around in the wheelchair... eating the rubber glove... the future scientists trying to force his slack body into a futuristic vehicle. After this movie Woody started to get a little too cerebral... this was his last attempt at a just-plain-funny movie... and probably his most satisfying of his early comedies... only because there was a sort-of storyline. Woody is cryogenically frozen after a botched operation in the 1970s and is awoken 200 years later to find himself in a repressive Orwellian future. He meets up with a spoiled rich chick (Diane Keaton) and influences her (not really intentionally) into becoming a revolutionary activist.

Miles Monroe (director Allen), a health food store owner and jazz clarinetist, goes to a hospital for a routine operation, but something goes wrong and he is put to cryogenic sleep for over 200 years. When he is woken up in the 22nd century, the society has changed into a pleasure-addicted dictatorship. Miles is immediately pulled into revolutionary activity and soon has to flee the state police on his way to the mysterious ruler of the society. He also finds himself teaming up with an initially reluctant woman called Luna (Diane Keaton) and together they adventure through the futuristic society.

The comedic style of Sleeper is an entertaining combination of over-the-top farce and Allen's usual verbal jabs at the society of the 20th century. The silly jazz music accompanying the bumbling chase scenes evokes memories from the silent era (some scenes are even sped-up), and the old masters of slapstick have clearly been a major influence to the style. There are also many references to more modern works of science fiction, such as 2001: A Space Odyssey and Nineteen Eight-Four. Besides the funny farcical scenes, Allen gets to perform his classic neurotic worrying routine that works fine and will amuse fans of his on-screen persona.

A very notable aspect of the film is its visual style: the sets and props all look excellent. The futuristic houses, round vehicles, stiff servant robots, gigantic fruits and even an unruly pudding look hilarious and the many details of the society provide chances to comment on how things are advancing in our times. Be it an orgasm-machine or nonsensical poetry, they seem to suggest we are moving towards times where ignorance revels and empty pleasure-hunting is celebrated as the only correct form of bliss; it can be said that the underlying themes of Sleeper are not unlike those of Aldous Huxley's classic novel Brave New World.

Social commentary aside, Sleeper is also a very funny comedy that appeals not only to friends of Allen's neurotic shtick but also to slapstick fans and admirers of creative production design. Diane Keaton also deserves praise for her performance that features all the necessary comical energy and makes a good pairing for the protagonist Miles. In brief, I laughed out loud several times and would rank the film highly among the handful of Allen films I've seen so far. As far as sci-fi comedies go, Sleeper is a definite winner.

No question that Woody Allen's earliest films were the most unpretentiously humorous, and Sleeper stands out among them. The conception of a frozen Allen waking up centuries in the future allows for plenty of biting satire on America in the 70's, not that we don't have plenty of good old-fashioned slapstick to boot. The bit with the Jewish robot tailors knocks me out no matter how many times I see it ("o-KAY, ve'll take it IN").

Woody Allen's films are generally treasured among other comedies because of their wit and charm. Many critics would agree, though, that Allen's earlier films were among his best. One of those movies was a lighthearted film called `Sleeper,' which starred a younger version of Allen and a younger, but always beautiful Diane Keaton. Although `Sleeper' leaves a person in stitches from laughter, its one flaw is that it lacks an ending. But don't let that stop you from seeing this comedy classic. In the end, who cares where it goes because it's just flat out funny. `Sleeper' is the story of Miles Monroe (Allen), who is cryogenically frozen in 1973 after having a procedure in a hospital. He is awoken nearly 200 years later by a group of scientists who want Monroe to help them defeat the leader of their society, as America's future consists of a totalitarian state. While on his adventure through this futuristic world, Monroe meets a beautiful woman named Luna Schlosser (Keaton) who he begins to have a love interest in. The two team up to try to oust their tyrannical government and bring about freedom and prosperity. `Sleeper' was hysterical from beginning to end. The very opening scene shows Monroe covered in tin foil-clearly scientists in 1973 found new and amazing uses for this wonderful kitchen product. As soon as Monroe awakens, he is disoriented, smiling aimlessly into space and walking backwards and into people. Allen's comical blend of intellect and charm shows up soon after. The futuristic society is comprised of people who have no historical references for the events of the past 200 years, as their leader has undoubtedly outlawed certain forms of knowledge that could lead to rebellion. They use Monroe to fill in the historical gaps by showing him pictures of famous twentieth century individuals, such as Joseph Stalin. Monroe provides his own synopsis of their contributions to the world in his own clever way, as he does also for former President Nixon. Allen's writing, direction and performance were hilarious. Rarely do we see writing as clever and sidesplitting in today's comedies. The only other comic director today that could even compare to Allen would be Christopher Guest, whose mockumentary films such as `Best In Show,' and the recent `A Mighty Wind,' have a real source of comedy. Most present comedies are trivial, filled with rehashed jokes that depend more on toilet humor than any form of real wittiness. The film's only problem is that after an hour and a half, it doesn't seem to know what to do with itself. It ends on a clever note about love with the protagonists somehow managing to save themselves, but not really the day. They realize that perhaps the only thing worth fighting for, in the end is love. All in all, `Sleeper' was a very funny farce on science fiction stories, and it cemented Allen's ability to be an engaging and funny in his films. ***

Sleeper was a very interesting project for Allen. He had spent time doing stand up, and up until this, his movies had been written around the jokes. With the exception of Play it Again, Sam, they were a series of sketches loosely tied into a weak plot. Sleeper was the beginning of the end of this. While the plot is somewhat "sit-com-ish", it was still there, and viewers always kept it in mind. It was also loose enough that Allen could incorporate scenes paying homage to the early silent film stars (the scene with the flying suits is my personal favorite). Miles Monroe was also a rip off from Bob Hope's cowardly hero personalities, but Allen gave it his own twist, and, in my opinion, made it much better. All in all, Allen achieved the perfect blend of slapstick and substance for those in need of a simple comedy. It lacks the depth of some of his better films, but if you want to laugh, this is for you.

Oh, and if you find it somewhat intellectually devoid, try Love and Death. It was his next film, and he added less slapstick and more highbrow comedy, as well as a little more real drama and substance.