Sweet in tone and full of gentle
humor, Groundhog Day has only one
major problem. But it's a doozy.
The plot requires that Murray's
character, Pittsburgh weatherman
Phil Collins, gain self-knowledge
and become a decent, caring individual.
The problem is, though, that
Murray's undeniable comic talents
are most effective when he's being an
obnoxious son-of-a-gun.
This discrepancy between what
the star does best, and what the
movie requires of him, makes
Groundhog Day a disappointment.
It's quite a shame, too, since the
story has a really first-class gimmick as its main plot line.
Collins
is in Punxsutanwney, with his producer (MacDowell) and a camera-
man (Chris Elliot) to see the
groundhog come out of his burrow
on Feb. 2.
But he finds that when it should
be Feb. 3, it's not.
Struck with a monstrous case of deja vu, he relives
countless Groundhog Day repetitions, with only such variations as he
himself can contrive.
And he comes up with some great
variations. Most of them are presented so that, contrary to expectations, they're entertaining and not at
all boring.
But the problems come up
after the novelty of his situation
wears off, and he tires of picking up
girls, stealing from armored cars,
and the like. Bill Murray is funny
doing these things. He's not particularly funny attaining self-enlightenment.
MacDowell is appealing, if too
good to be true, as the colleague who
inspires Phil's transformation. Elliott
has several good scenes. Fans of his "Get a Life" TV show will enjoy his
contribution, although his character
here isn't nearly so weird.
But ultimately Phil's climb to
decency takes a terrible toll on the
movie's pacing. And a poorly-paced
comedy can be really hard to
watch.
We can sometimes handle a slow
build-up that delivers a brisk pay-off. But the opposite effect is disastrous.
February 24, 1993 |