![]() In this brief moment, however, beyond Phil’s soul-devouring sarcasm, we are presented with one of the film’s central themes. Fields), a weatherman with Channel 9 Pittsburgh, acerbic and detached from his fellow humans to the point of nervosa. The illusionist in this case is Phil Connors (Bill Murray, wonderfully channeling W.C. That it’s intertwined with an otherworldly smalltown marching band track only adds to the positively Lynchian feel.Įventually, the sky cuts to a blue screen as an outstretched palm invades the frame from the right, looking like it belongs to an illusionist-a flick of the wrist, a legerdemain, and an Ace of Spades might suddenly appear, dangling precariously from the tip of the fingers. It’s a visual metaphor that permeates the rest of the film. The sky is blue, the clouds as pearly as before and still in their hazy dance, even though they’re not the same as the ones from the previous shot. Every few seconds the shot changes-yet it remains the same. Life might very well lack purpose, and it might very well be a struggle, but that doesn’t mean you have to be an asshole about it.Ī shot of a blue sky, cotton-white clouds lazily floating across the screen, opens Groundhog Day. A true absurdist triumph, it cares not what the destination might be, for it knows that the pursuit of meaning is itself meaningful whether or not that pursuit is eventually rewarded. ![]() ![]() This story of a man doomed to relive the same day over and over again is not concerned about tomorrow. But to pigeonhole it into one overarching theme would be an insult to the layered precision of a film that ventures into the heart of darkness and despair to ultimately emerge unharmed, but not unmarked. Harold Ramis’s Groundhog Day has been hailed as a meditation on self-redemption. ![]()
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