Woody Allen’s Sleeper, is a nutty futuristic comedy, with Allen brought back to life 200 years hence to find himself a wanted man in a totally regulated society. Diane Keaton again plays his foil, and both are hilarious. The Dixieland music score [played by Allen with the Preservation Hall Jazz Band and New Orleans Funeral & Ragtime Orchestra] is just one more delightful non sequitur.
Story opens with Bartlett Robinson and Mary Gregory, two underground scientists, restoring Allen to life from a two-century deep freeze after sudden death from a minor operation. Allen is hunted as an alien. In the course of avoiding capture he becomes first a robot servant to Keaton, later her captor, then rescuer, finally her lover in a fadeout clinch.
The film is loaded with throwaway literacy and broad slapstick, and while it fumbles the end, the parade of verbal and visual amusement is pleasant as long as it lasts.
The star teaming resembles, on a much more advanced basis, the Bob Hope pix of the 1940s in which he starred with some gorgeous leading women in a series of improbable but delightful escapades.