Kristin Thompson on 'Groundhog Day'

    In her exploration of the film Groundhog Day (1993) author Kristin Thompson asserts that the film, despite the originality of its premise and narrative method, adheres to numerous classical Hollywood filmmaking standards. Though high concept films are generally viewed as the antithesis of auteurism, films such as Groundhog Day fill a particular niche that proves that while a film may be fantastical it is, by no means, devoid of artistic value. Indeed, the simplicity of explanation of a high concept film grants the filmmaker the potential to be complex and poignant in their storytelling, showing audiences a new cinematic experience that otherwise traditional Hollywood filmmaking otherwise denies them.

Groundhog Day features a single protagonist, Phil Connors, trapped within an endless loop of the eponymous holiday. In a departure from traditional Hollywood storytelling, which would insist upon spelling things out, plainly, for an audience, the reason for this mysterious phenomenon is never overtly explained (132). Crass, rude and egotistical, Phil presents a character that is not typical of your average Hollywood leading man.  However, thanks to the star power of Bill Murray, whose filmography includes an assortment of characters that appeal to this archetype, fits easily into the most of the sarcastic yet charming smooth-talker that audiences have been primed to expect from him (134).  The opposing forces within this film are present both within the character flaws of our protagonist and the obstacle of being endlessly trapped within the same day, seemingly doomed to forever experience the same actions and mistakes. Yet the conflict within Groundhog Day is demonstrably an internal one.  Phil must combat his own ego and character traits, learning to become a better, more caring and understanding person (132).

The temporal setting of the film, being that of an endlessly repeated day, strips the protagonist of any consequences. As such, Phil is able to sow his wild oats, act out in violent or otherwise outrageous behavior, and awaken the next day within his Bed and Breakfast -- though this would apparently contradict the usual Hollywood formula of “cause” leading to “effect,” Phil remembers all of his actions from the previous attempt, and thus is able to internally grow and develop as a character (140). Unlike other similar films such as It’s a Wonderful Life, Phil has no Clarence present to serve as his conscious, and therefore, must be his own moral compass, learning through trial-and-error, until eventually satisfying all of the unknown requirements in order to free himself from the apparent time-loop (132). Using the creative premise of the film, Groundhog Day further experiments with the boundaries of traditional Hollywood cinema by (barely) bringing attention to itself as a fabricated movie. Actions and scenes are repeated, sometimes in a series, that are subconsciously reminiscent of various takes of a shot (141).

Though Groundhog Day is a creative departure from standard Hollywood fare, its high concept story nevertheless delivers a timeless Hollywood story of redemption and romance.  Setting such a simple story within a fantastic setting has thus primed audiences for similar films, such as Pleasantville or the most recent Downsizing, where a fantastical, comedic film is still presented as something sincere, and poignant (154).

 

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