Groundhog Day Character Analysis – screenplay and film You know, I think that two other characters may have known about . . . . But we’ll get to that in just a moment. I remember the first time I saw Groundhog Day (1993). My wife and I were in a theater in Washington, D.C., and we thought the film was a very funny comedy. We laughed as Protagonist Phil Conners (Bill Murray) was doomed to repeat February 2nd – Groundhog Day – over and over; and as Murray’s narcissistic, cynical character Phil showed striking similarities to the groundhog named Phil (also an important character – note the film’s title). For example, both Phil’s were weathermen (for those scoring at home). Both also appeared to be bad drivers – the human Phil liked to drive drunk along the railroad tracks; the rodent Phil (played by Scooter, per the credits) had his little paws on the wheel as the pickup truck drove over the edge of a cliff into the quarry. The final scene in Thelma & Louise (1991) may have inspired the escape scene, but Groundhog Day pulled theirs off with humor. The human Phil also conveyed his sarcasm and lack of appreciation for “mid-market Pittsburgh” in a quiet, understated way. That was important. Unhappy – yes; toxic – no. He didn’t shout and throw things, nor did he throw a tantrum (for example – he could have refused the assignment, or ordered his second-in-command, the weekend guy, to go instead). This way the audience could begin to like this cranky character. Of course, Murray was also very funny in the TV station. That helped. We also appreciated the other characters in the film, such as the gorgeous Andie MacDowell (Rita), whose star was the brightest at that time in her career (Sex, Lies, and Videotape (1989); Four Weddings and a Funeral (1994)). Her character Rita is consistently patient and upbeat, and it becomes obvious that she and “decent Joe” cameraman Larry (Chris Elliott) have become resigned to the station’s “talent” treating them, the “non-talent”, like second class citizens. Larry even jokes about that point – but waits until Phil is out of earshot to do it. Both of these characters are grounded in reality and have believable character arcs, as well. But the character I actually remember best from that long-ago screening was “Needle Nose Ned Ryerson” (Stephen Tobolowsky), the annoying insurance agent in Punxsutawney, PA. Why? Okay. All right – I’ll confess. When I was in my teens, growing up in suburban Boston, my parents bought me the EXACT same fake-fur twin lapelled 4-leather-button winter coat that Ned wore in the film. “Bing!” Mine was 42 Long, I think. It came from Anderson-Little, where our family often shopped. Americans once wore clothing like that. But I hated that coat with a passion then, and seeing Ned wearing it, day after day after day up on the screen, brought back some major geek memories that I thought I had checked at the door. Apparently not. But audiences often see themselves, or project themselves, onto the screen, and when I realized that Ned Ryerson and I bought our winter wear from the same men’s shop . . . I’ll save my other confession for next month’s Script Reading & Analysis class. But here’s a hint: it involves taking piano and accordion lessons for 5 years as a kid. The music lessons did provide an eventual payoff, however. Whenever Phil Conners strode across Gobbler’s Knob, right in front of the bandstand, I immediately recognized the polka that the band was playing and the locals were dancing to – and even knew the words! (My Dad always insisted that one day these lessons would pay off. He would be proud). My new bride and I watched Groundhog Day at the Uptown Theater on Connecticut Ave, NW, back then, which is really a great way to experience a comedy. A wonderfully large screen. The bonding with the audience, everyone laughing out loud together as Bill Murray’s character endlessly tries to pick up Andie MacDowell’s character through his erudite recital of French poetry; his jazz piano expertise; or his artistic ice sculpture carving skills. Wow! Really funny stuff. Plus – the film provided great fodder for coffee room conversation at work, namely, “the concept of Time”: Exactly how long was this character Phil trapped in Punxsutawney? So I popped the DVD in this past week, and re-watched the film after a 20-year absence. And you know what? While I still loved it as a “Bill Murray comedy”, I see it a little differently now. There’s more of a love story than I remember. More of a Hero’s Journey in search of Compassion. And today, the #1 most interesting character to me was . . . . are you ready for this . . . . the bartender at The Berghof Restaurant. Yes, that was not a misprint. It was the bartender. And Mary, the music teacher. She was pretty important, too. Here is my theory on this. The psychologists watch this film and identify the stages of grief from Elisabeth K?bler-Ross, spelled out in classical order. The philosophers read Nietzsche’s emptiness in reliving the same day over and over. Ethics? Why, Machiavelli had codified the concept of action-without-consequences some 500 years ago. Religion? Catholics claim that the film belongs to them, and, they note, theirs is the only religion mentioned in the screenplay (Rita: “This is 12 years of Catholic school talking” – p. 85). Is Punxsutawney not a metaphor for Limbo? And what about major Eastern philosophies? It’s been called “the best Buddhist film ever”. There are many prisms through which to thematically view Groundhog Day and its characters. The script is tight, funny, and loaded with conflict and surprises. And upon further analysis it reveals and suggests layer after layer of interpretation. But there was one major script-to-screen change made: one important character who got cut out entirely: Stephanie Decastro. Described in the script as “not quite FATAL ATTRACTION but still a little scary” (p. 6), the ex-lover gets dumped by Phil. Then, on pages 24-25 of the script she exacts her revenge in an occult-like setting with incantations, tarot cards, and a flaming sacrifice. Voilà! Stephanie casts a spell, or a curse, on Phil, and as she drops a broken watch into the fire, the hands are frozen at 5:59 am. But unlike the script, the film never touches upon “the how” and “the why” of Phil Conners being trapped in his personal Feb. 2nd time-loop. And that changes everything. It opens the door to the audience to speculate on the origins of Phil’s dilemma. Hollywood films occasionally offer the conceit of interaction or communication between humans and heavenly spirits. There was Patrick Swayze & Whoopi Goldberg in “Ghost” (1990). After Swayze’s character dies, he finds it necessary to contact his widow from the afterlife to warn her that she is in great physical danger. Or consider Tom Hanks’s despondent character talking to – and reimagining – his recently deceased wife Maggie sitting next to him on the sofa in “Sleepless in Seattle” (1993). In the film “It’s A Wonderful Life”, the 1946 Frank Capra holiday classic, Protagonist George Bailey (Jimmy Stewart) received this information directly from his guardian angel: “You’ve been given a great gift, George. A chance to see what the world would be like without you”. But two people were in on that deal – George Bailey and Clarence, the “guardian angel”, who was trying to earn his wings. Clarence clearly informed George that he was about to see some strange and shocking events. (If they filmed it today, George would simply receive a Twitter message on his smartphone, or maybe a Google Map of “Pottersville” for his tour). Or what about “Defending Your Life”, the 1991 comedy-drama from Albert Brooks (with Meryl Streep as the young lover Julia), where more than one person knew the score in “Judgement City”? Speaking of scoring, this film received a 96% on Rotten Tomatoes. Not too shabby. This film shares some of the same thematic threads with Groundhog Day. For example, evenings were times of wild pleasure, such as pigging out - without getting fat. This mirrors Phil Connors in the Tip Top diner, stuffing his face with sugar, nicotine, carbs, and cholesterol. Drinking coffee straight from the pitcher was precious. I contend that there were 3 characters in Groundhog Day who knew what was going on. The first was Phil Conners (Bill Murray), of course. The second was the bartender at the Berghof Restaurant (played by John Watson Sr.). The third was Mary, the neighbor and music teacher (played by Peggy Roeder). Let me explain. Whenever weatherman Phil Connors strides back into the Gobbler’s Knob town square to file his Channel 9 news story, his arrival each morning is greeted as a fresh experience by his producer Rita (Andie MacDowell) and cameraman Larry (Chris Elliott). They’re obviously out of the loop. But whenever the bartender appears, if you watch closely, there is a slight difference. And I think that may be intentional. For example, when Phil tries out his lame pick-up lines (“I always drink to world peace”) in the bar, the bartender watches, listens, and shakes his head amusedly at Phil (or, is he disappointed at Phil’s lack of progress on seeking Compassion?)(@ 46:17 in the film). Then, when Larry tries the same shtick at the bar (@ 81:30) with Nancy Taylor, the bartender does it again. Coincidence? Or was the subtext that of someone with a vested interest witnessing zero emotional growth in the two men that he might be sent down to oversee? Remember, Clarence always watched George Bailey from just a few steps away, too. As for Mary, the music teacher, I believe she knew more than she revealed. Watch the very first day of piano practice. Phil was terrible. The teacher winces. Then suddenly, at the Groundhog Festival Banquet, Phil plays at the level of Ray Charles? That’s rapid progress! Now, I could accept the performance transformation for Phil (he got proficient at French over time; and became quite artistic at ice sculpting), because Phil’s daily learning experiences would accumulate, and he apparently had the potential for growth. But the teacher? Remember – for everyone in town he interacts with, it’s February 2nd again. A clean slate. Mary couldn’t possibly accept that level of improvement in one day, unless, of course . . . . Starting @ 1:23:19 she beams; claps and sways; kisses Phil and exclaims: “I’m so proud”. (After only one day as her pupil?). Then she conveniently steps onto the stage, takes over the piano, and breaks into a slow song for our happy couple to get cheeky with. Watch her smile. Mary, unlike the bartender, is witnessing progress in Phil’s Hero’s Journey. She knows. And she’s delighted that Phil is growing up. Of course, if you agree with this theory, then inevitably you must ask: who did the bartender or the music teacher represent? Is this the timeless battle of good vs. evil? Was he/she a helper to Phil (an angel)? Or rather working against Phil (the devil), to thwart him, keeping him in that time warp forever? Maybe I’m over-thinking this. But maybe not. A lot of people believe strongly that angels are watching over them (Whoopi Goldberg’s movie “Ghost” certainly resonated with audiences, pulling in $ 507 M in worldwide box office. You don't think that people were talking about that movie on Sunday, after church?). And someone had to acknowledge that Phil had changed, and that he had found gratitude, compassion, and happiness, by the end of the film. Because someone had to turn the time loop off! Something to consider. Happy February 3rd, everyone! Have a great day! John Agerholm

I appreciate how well the story uses supporting characters. Ned, the insurance salesman, provides the most comic relief. The mayor is set up as an antagonist who pursues Phil to rescue the kidnapped Groundhog and later --reversal-- Phil saves his life. Nice touch. The Bum has his own relationship arc with Phil that has a reversal and a poignant payoff. At least 2 of them are critical catalysts in Phil's character arc. When Phil asks the blue collar workers, Gus and Ralph what they would do if there was no tomorrow, it's Ralph who answers: "That would mean there would be no consequences...we could to whatever we wanted". Phil: "That's true. We could do whatever we want." And thus is triggered Phil's acting out his character flaw in the worst possible ways. All 3 having been drinking. The two locals are drunk, henc euninhibited enough to come up with that conclusion. Phil is at least uninhibited enough -- and desparate enough -- to act on it. (This decisive turn into the 2nd Act occurs the 32 minute of the film -- it's not in the either the 2nd or 3rd rough drafts of the scripts.) And there is the piano teacher, of course, who is a catalytic character for positive growth. These supporting characters aren't people props, one-scene disposables. They have important roles to play in Phil's character arc.

As for the piano teacher knowing more than what was going in one particular day: Maybe. And maybe it's just a minor plot hole, a dramatic cheat the movie gets away with because it comes so late in the story. Because it pays off so well at the dance. Because by this time the audience is so focused on Phil's trajectory -- not Mary's --that they overlook or fail to catch the inconsistency. As for the bartender: I re-viewed the movie over the weekend with another writer who's day job is as a bartender. He interpreted the bartender's knowing nod as that of some one who -- like him -- has heard every social con, every pick up line and can spot it by the second syllable.