Best Comedy Films of 1972
- HaHa Jokester
- Jul 21
- 10 min read
1972 was a year when comedy got even bolder, weirder, and more socially charged. As the Vietnam War dragged on and faith in political institutions crumbled, filmmakers responded with satire, surrealism, and subversion. The laughs were darker, the themes more adult, and even mainstream comedies carried a bite. Sex, death, politics, and dysfunction became the focus of many of the year’s sharpest scripts. Whether through zany farce or grim wit, 1972’s comedies offered reflections of a rapidly changing world—and plenty of unexpected hilarity along the way.
The Comedy Landscape in 1972
Comedy Grows Up
The early '70s continued the maturation of comedy. These weren’t just screwball laugh-a-minute romps—they were adult, complicated, and sometimes bleak. The jokes were aimed at big targets: the government, the media, the family, and the self.
Rise of the Auteur Comedians
Directors like Woody Allen, Elaine May, and Peter Bogdanovich asserted personal vision in their comedies. Their styles were distinct, their characters flawed, and their humor often tinged with melancholy or discomfort.
Genre-Bending Becomes Normal
Many of the standout comedies of 1972 blended drama, crime, or romance into the mix. Some veered into absurdism or tragedy, while others took cues from noir, horror, or documentary realism—all in service of humor.
Top 10 Comedy Films of 1972
What's Up, Doc?
Runtime: 1hr 34min
Peter Bogdanovich’s screwball homage brought back fast-paced, madcap comedy with a modern twist. Barbra Streisand and Ryan O’Neal’s chaotic chemistry and the film’s San Francisco car chase made it an instant classic.
What's Up, Doc? directed by Peter Bogdanovich, is a screwball comedy that pays loving homage to the fast-paced romantic comedies of the 1930s and '40s. The film stars Barbra Streisand as Judy Maxwell, a free-spirited, chaos-prone woman who collides—literally and figuratively—with a buttoned-up musicologist, Dr. Howard Bannister (played by Ryan O’Neal), during a convention in San Francisco. Through a series of increasingly absurd mix-ups involving identical plaid suitcases, government secrets, stolen jewels, and academic grants, the film builds to a hilariously over-the-top car chase and a sweetly chaotic resolution. With rapid-fire dialogue, zany physical comedy, and great chemistry between the leads, What's Up, Doc? became a standout hit and remains a beloved entry in the modern screwball canon.
Play It Again, Sam
Runtime: 1hr 25min
Written by and starring Woody Allen, this romantic comedy blends neurosis with fantasy, as Allen’s character seeks love advice from the ghost of Humphrey Bogart. It’s sweet, sad, and full of self-deprecating charm.
Play It Again, Sam is a witty romantic comedy adapted from Woody Allen’s stage play and directed by Herbert Ross. The film stars Allen as Allan Felix, a neurotic film critic struggling to move on after a divorce. Obsessed with Casablanca and idolizing Humphrey Bogart, Allan frequently imagines conversations with the legendary screen icon—who offers tough-guy advice on love and confidence. As he awkwardly navigates the dating scene, Allan finds unexpected emotional connection with his best friend’s wife, Linda (played by Diane Keaton), leading to a bittersweet romantic entanglement. Blending Allen’s signature self-deprecating humor with classic Hollywood nostalgia, the film offers a funny and poignant look at romantic idealism, insecurity, and the difficulty of living up to cinematic fantasies.
The Heartbreak Kid
Runtime: 1hr 46min
Elaine May’s acerbic romantic comedy features Charles Grodin as a self-absorbed newlywed chasing another woman during his honeymoon. Uncomfortable, hilarious, and biting—a masterclass in awkward comedy.
The Heartbreak Kid, directed by Elaine May and written by Neil Simon, is a sharp, darkly funny satire of romantic delusion and male entitlement. Charles Grodin stars as Lenny Cantrow, a self-absorbed New Yorker who impulsively marries Lila (Jeannie Berlin), only to fall for a beautiful college student, Kelly (Cybill Shepherd), while on their honeymoon in Miami. Convinced that Kelly is his true soulmate, Lenny clumsily attempts to abandon his new wife and win over Kelly and her disapproving father. With biting humor and uncomfortable realism, the film skewers the selfishness and immaturity hiding behind romantic pursuit, and Elaine May’s direction deftly balances cringe comedy with psychological insight, making The Heartbreak Kid one of the most nuanced and enduring comedies of the era.
The Ruling Class
Runtime: 2hr 34min
Peter O’Toole stars in this surreal British black comedy about an insane aristocrat who believes he's Jesus—and then Jack the Ripper. A savage satire of British class and politics.
The Ruling Class, directed by Peter Medak and based on the play by Peter Barnes, is a surreal, biting black comedy that satirizes British aristocracy, class privilege, and institutional madness. Peter O’Toole delivers a brilliant, manic performance as Jack Gurney, a paranoid schizophrenic who inherits a seat in the House of Lords after the bizarre death of his father. Believing himself to be Jesus Christ, Jack's eccentricities are initially tolerated—until his relatives conspire to “cure” him, which transforms his delusions from benevolent messiah to vengeful, homicidal aristocrat. The film sharply critiques the hypocrisies of the British elite, using absurdist humor and theatrical flourishes to blur the line between madness and respectability. O'Toole’s performance is both tragic and hilarious, anchoring a film that remains a fierce and fearless satire.
Avanti!
Runtime: 2hr 20min
Billy Wilder’s later-career rom-com is charming and European in sensibility. Jack Lemmon shines as a straight-laced businessman who loosens up in Italy while dealing with family scandal.
Avanti!, directed by Billy Wilder, is a romantic comedy with a European flair that blends gentle farce with unexpected emotional depth. Jack Lemmon stars as Wendell Armbruster Jr., a tightly wound American executive who travels to Italy to retrieve the body of his recently deceased father—only to discover that his father had been carrying on a long-term love affair. As Wendell navigates a maze of cultural misunderstandings and bureaucratic obstacles, he forms a bond with Pamela (Juliet Mills), the daughter of his father’s mistress. Set against the lush backdrop of the Italian countryside, Avanti! explores themes of love, legacy, and letting go of rigidity, with Wilder’s trademark wit and Lemmon’s impeccable comic timing. It’s a slower, more mature Wilder film—equal parts satire and sweet melancholy.
Up the Sandbox
Runtime: 1hr 37min
Barbra Streisand stars in this oddball feminist fantasy comedy, drifting between suburban life and wild daydreams involving terrorists, revolutions, and jungle adventures. A flawed but fascinating entry in early '70s female-led comedies.
Up the Sandbox, directed by Irvin Kershner, is a surreal and introspective comedy-drama starring Barbra Streisand as Margaret Reynolds, a bored and disillusioned New York housewife struggling with the monotony of domestic life and a distant marriage. As she navigates the pressures of motherhood and societal expectations, Margaret begins to retreat into a vivid fantasy world filled with wild escapades—including revolutionary uprisings, jungle adventures, and bizarre sexual liberation scenarios. These daydreams, often absurd and anarchic, serve as a counterpoint to her stifling reality. The film blends satire with psychological exploration, offering a feminist critique of early '70s gender roles. Streisand delivers a fearless and layered performance in one of her most underrated roles, and Up the Sandbox stands out as a bold, genre-blurring work of its time.
Pink Flamingos
Runtime: 1hr 30min
John Waters’ infamous midnight movie defies categorization. Part gross-out shocker, part comedy of rebellion, its gleeful offensiveness and trash-camp aesthetic make it one of the boldest "comedies" of the decade.
Pink Flamingos, directed by John Waters, is a transgressive, no-holds-barred cult comedy that proudly wallows in shock, filth, and outsider rebellion. The film stars the iconic drag performer Divine as Babs Johnson, who lives in a trailer with her oddball family and is determined to maintain her title as “the filthiest person alive.” When a rival couple attempts to steal her crown through increasingly depraved acts, a grotesque and hilarious battle of one-upmanship ensues. Infamous for its outrageous content and confrontational style, Pink Flamingos gleefully breaks every taboo imaginable, pushing the limits of taste and decency to their extremes. Shot on a shoestring budget in Baltimore, the film became a midnight movie sensation and a cornerstone of underground cinema, cementing Waters’ reputation as the Pope of Trash and turning Divine into a punk icon.
1776
Runtime: 2hr 22min
A musical comedy about the signing of the Declaration of Independence might sound dry, but this adaptation of the Broadway play mixes history, wit, and catchy tunes to surprising effect.
1776, directed by Peter H. Hunt and based on the hit Broadway musical, is a historical comedy-drama that brings the founding of the United States to life with song, wit, and theatrical flair. Set during the turbulent summer of—you guessed it—1776, the film focuses on the heated debates among the Continental Congress as they wrestle with the decision to declare independence from Britain. William Daniels stars as a fiery, fast-talking John Adams, joined by a colorful cast of historical figures including Benjamin Franklin (Howard Da Silva) and Thomas Jefferson (Ken Howard). Blending clever dialogue, catchy musical numbers, and a surprising dose of humor, 1776 manages to humanize the Founding Fathers, portraying them not as marble statues but as flawed, passionate, and often very funny men. It’s an unconventional but endearing blend of patriotism and satire.
Sleuth
Runtime: 2hr 18min
Though often considered a mystery thriller, the twisting mind games and performative one-upmanship between Michael Caine and Laurence Olivier give Sleuth a layer of sly, wicked comedy.
Sleuth, directed by Joseph L. Mankiewicz and based on the Tony Award-winning play by Anthony Shaffer, is a razor-sharp psychological thriller laced with dark comedy. The film stars Laurence Olivier as Andrew Wyke, a wealthy and eccentric crime novelist, and Michael Caine as Milo Tindle, the younger man having an affair with Wyke’s wife. Inviting Milo to his opulent country estate, Wyke proposes a bizarre plan that quickly spirals into a deadly game of deception, manipulation, and role-playing. What begins as a seemingly civilized encounter turns into a tense, twisting battle of wits, with both men engaging in elaborate psychological warfare. Sleuth is a masterclass in dialogue-driven tension, theatrical bravado, and narrative misdirection, featuring powerhouse performances from its two stars and a script filled with cunning turns and theatrical flourish.
The Tall Blond Man with One Black Shoe
Runtime: 1hr 30min
This French spy spoof plays like a Gallic version of The Pink Panther—full of mistaken identity, deadpan absurdity, and visual gags. A cult favorite with international flair.
The Tall Blond Man with One Black Shoe (Le Grand Blond avec une chaussure noire), directed by Yves Robert, is a sly, stylish French comedy that blends espionage parody with slapstick absurdity. Pierre Richard stars as François Perrin, a hapless, oblivious violinist who is randomly chosen by a French intelligence officer to serve as a decoy in a high-stakes internal power struggle. Mistaken for a top-secret agent, Perrin becomes the target of surveillance, assassination attempts, and seduction—all while remaining hilariously unaware of the chaos swirling around him. With its blend of deadpan humor, clever visual gags, and sharp satire of Cold War spy games, the film became a major hit in France and internationally, cementing Richard’s status as a comedic icon and inspiring a Hollywood remake.
Underrated Picks Worth Your Time
Now You See Him, Now You Don’t
Runtime: 1hr 28min
A Disney sci-fi campus comedy starring Kurt Russell as a student who invents invisibility. Silly, fun, and inventive.
Now You See Him, Now You Don’t is a lighthearted sci-fi comedy from Disney, directed by Robert Butler and starring Kurt Russell as college student Dexter Riley. A sequel to The Computer Wore Tennis Shoes, the film follows Dexter’s accidental discovery of an invisibility formula in a college lab experiment gone awry. When a greedy businessman tries to take over the financially struggling Medfield College, Dexter and his invisible antics become the school’s unlikely line of defense. Packed with goofy sight gags, cartoonish chase scenes, and wholesome humor, the film showcases Russell’s easygoing charm and Disney’s signature brand of family-friendly fun. While not as widely remembered as some Disney classics, it remains a nostalgic favorite for fans of early ‘70s live-action comedies.
Every Little Crook and Nanny
Runtime: 1hr 32min
A mobster comedy about a kidnapping gone wrong. It’s no Godfather, but has its low-budget charm.
Every Little Crook and Nanny, directed by Cy Howard, is a madcap crime comedy that plays like a farcical blend of mob antics and screwball hijinks. The film stars Lynn Redgrave as a prim and proper nanny who becomes an unlikely ally—and eventual foil—to a bumbling gangster (played by Victor Mature, in a rare comedic role) plotting a kidnapping. When a scheme to abduct a wealthy child goes hilariously off-course, chaos ensues, with mistaken identities, slapstick scenarios, and plenty of tongue-in-cheek humor. Drawing inspiration from classic comedies of errors, the film offers a breezy mix of satire and silliness, poking fun at both upper-crust society and organized crime. Though not a major hit, Every Little Crook and Nanny has charm, thanks to its eccentric characters and old-school comedic spirit.
A New Leaf
Runtime: 1hr 42min
Technically released at the end of 1971, Elaine May’s directorial debut continued gaining attention in '72 and remains a sharp, blackly comic gem.
A New Leaf, written and directed by Elaine May in her directorial debut, is a sharp, dark romantic comedy with a unique blend of cynicism and charm. Walter Matthau stars as Henry Graham, a spoiled, financially ruined bachelor who hatches a plan to marry a wealthy woman and murder her to restore his lavish lifestyle. Enter Elaine May as Henrietta Lowell, a painfully shy, awkward, and endearingly klutzy heiress who becomes Henry’s unsuspecting target. As Henry sets his plan in motion, he unexpectedly finds himself developing genuine affection for Henrietta, leading to a transformation that’s both funny and oddly touching. With its deadpan tone, offbeat pacing, and subversive wit, A New Leaf stands out as a cult classic and a bold early example of May’s singular comedic voice.
Comedy Highlights & Trivia
Screwball Revival: What’s Up, Doc? successfully brought 1930s screwball comedy energy into the modern era, proving fast-paced physical comedy still had legs.
Elaine May’s Breakout: With The Heartbreak Kid, May cemented her reputation as a sharp director of complex, uncomfortable relationships.
Camp Becomes Cult: Pink Flamingos broke taboos and shocked audiences, helping define the midnight movie scene and turning Divine into an icon.
Barbra Streisand Doubles Down: Starring in both a zany throwback (What’s Up, Doc?) and an experimental feminist daydream (Up the Sandbox), Streisand showed impressive comedic range in 1972.
Where to Watch These Today
What’s Up, Doc? – Available on Prime Video and Blu-ray
The Heartbreak Kid – Difficult to find due to rights issues, but worth seeking out in physical format
Play It Again, Sam – Streaming on Apple TV or rentable on digital platforms
Pink Flamingos – Restored and streaming on The Criterion Channel and physical media
The Tall Blond Man with One Black Shoe – Available on select international streaming platforms and Blu-ray
Closing Thoughts
1972’s comedies were not about easy laughs—they were about daring ones. Whether mocking the elite, unpacking romantic dysfunction, or gleefully shredding social taboos, the best comedies of the year reflected a world in flux. From refined satire to cult insanity, these films expanded the limits of what comedy could do—and what it could say. They were fearless, personal, and often delightfully strange, offering humor that still resonates over 50 years later.
