1993’s “Groundhog Day”, directed by Harold Ramis.
Starring Bill Murray, Andy MacDowell, Chris Elliot, Stephen
Tobolowsky, Brian Doyle-Murray, Marita Geraghty, Robin Duke, Angela Paton, and
Rick Ducommun.
What is it about?
“GD” is about a Philadelphia weather department (Murray as
the prima donna anchor, MacDowell the cheery producer, and Elliot the homely cameraman)
from the local television station that travels to the small town of Punxsutawney.
Covering a story about the town’s annual Feb.2 custom of seeing if a
groundhog’s appearance will “predict” 6 more weeks of winter, Murray is less
than delighted at having to go. After covering the event, Murray insists that
they leave as soon as possible, but are stranded in town by a freak snowstorm. Unhappy
to be stuck in Punxsutawney but resolved to leave the next day, he goes to bed,
and wakes up with it being Feb.2 again. Agitated, Murray goes about his routine
(again), goes to bed- and again wakes up on Feb.2. Whether by sleep or suicide,
Murray finds that he has a perpetual time loop firmly in place, and his
thoughts on whom he is as a person will determine if he is able to break out of
his cycle. Will he able to break the loop, or spend the rest of his life
re-living Groundhog Day?
Why is it worth seeing?
What would you do if you re-lived the same day over and
over? Death is no longer possible, as even committing suicide results in waking
up in the same place and day. Would you rob others for riches? Help stranded
motorists with their flat tire? Learn other languages? Sleep with that attractive
person that you know is vulnerable? Equal parts omnipotent and mundane, “GD”’s
premise of unlimited actions that result in the same sum is as profound as it
is comical and sweet.
“GD”’s fantastic premise is a science fiction idea played as
straight as possible. It’s marketing was especially tricky to pull off, since
it was sold as a romantic comedy, but it’s actually a drama with huge
existential questions (or a fake thriller). While the story can look simple (director Harold
Ramis keeps things low key, in a movie featuring multiple suicides and high
speed police chases), the result is something earnest, deeply funny at times, and
endlessly re-watchable.
After realizing his predicament, “GD” at first appears to be
about Murray’s attempts to woo MacDowell, with him realizing that being merely smarmy
isn’t going to win her over, but his journey to impress her results in an
entirely different destination. Catholics have referred to aspects of the movie
as some kind of purgatory, while Buddhists have compared it to themes of
reincarnation, and Jewish people about ascending to heaven once good deeds have
been performed on earth. Some have called it the most spiritual movie ever
made.
Regardless, “GD”’s strength (after it’s premise) is how
under the radar it is. Murray is spectacular here, as the slimeball who
realizes there’s more to life than yourself. Bill Murray’s performance is
energetic and witty, but it’s his quiet moments that show the promise that very
nearly won him his Oscar in 2003’s “Lost in Translation”, and his other later
career dramatic roles (conveniently forgetting his wickedly understated work in
1982’s “Tootsie”). MacDowell is solid, perhaps better than usual, as the cheery
producer who’s more than a pretty face. The movie even coaxes a decent supporting
performance from Chris Elliot, which is rare. And watch for a delightful young Michael
Shannon cameo…
All great dramas can have moments of levity, romantic
interludes, moments of angst ridden despair, and ask great questions about the
purpose of life. “GD” has plenty of that and more (and not a single Academy Award nomination), and despite a plot that features
themes of the great above, stays nicely grounded as it loops about in
perfection. For a plot where we keep coming back to the same old place (on the
same day), it sure feels unique and fresh- a timely little sliver of timelessness.
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