In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

RogerEbert.com

Thumb_f8f20egntzlhnjjletts89sx5lt

Magic in the Moonlight

While Allen’s new picture, "Magic In The Moonlight," isn’t even close to being a disaster (for that, see, well, "Scoop"), I don’t think it’s unreasonable…

Thumb_hercules

Hercules

Dwayne Johnson tries, but he’s surrounded by poor CGI and a terrible adaptation of yet another comic book. Ian McShane steals what little movie there…

Other Reviews
Review Archives
Thumb_xbepftvyieurxopaxyzgtgtkwgw

Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

Thumb_jrluxpegcv11ostmz1fqha1bkxq

Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

Other Reviews
Great Movie Archives
Other Articles
Channel Archives

Groundhog Day is here, and here, and here...

ghd.jpg

"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."

So writes Ali Arikan in his thoroughly illuminating (and not at all repetitious) "Imagining Sisyphus Happy: A 'Groundhog Day' Retrospective" at The House Next Door. This is one of those appreciations that lights up the movie from within, and makes you happy reading just it, as the writer weaves together detailed observations of the film itself and parallels to "It's a Wonderful Life," "The Sopranos," Schopenhauer and Camus. And it's funny!

A shot of a blue sky (cotton-white clouds floating, lazily, across the screen) opens the film. Every few seconds the shot changes--yet it remains the same. The sky is blue, the clouds as pearly as before and still in their hazy dance, even though they are not the same as the ones from the previous shot. It is a visual metaphor that permeates the rest of the film. That it is intertwined with an otherworldly small town marching band track only adds to the positively Lynchian feel.

Eventually, 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. The illusionist in this case is Phil Connors (Bill Murray, wonderfully channeling W.C. Fields), a weatherman with Channel 9 Pittsburgh, acerbic and detached from his fellow humans to the point of nervosa. In this brief moment, however, beyond Phil's soul-devouring sarcasm, we are presented with one of the film's central themes. That our lives as we live them are illusions--not in a New Age/Philosophy 101 sense, but in the way that we reflect into them the meaning that we want them to have. The blue screen is, in fact, Phil's tapestry, and he is, in fact, its creator.

After reading this, you know what's going to happen. You're going to have to watch it again...

Popular Blog Posts

Exploring Israel-Palestine through Movies: Part 1

The first part in a four-part series on what film can teach us about the relationship between Israel and Palestine.

Able-Bodied Actors and Disability Drag: Why Disabled Roles are Only for Disabled Performers

Scott Jordan Harris argues that disabled characters should not be played by able-bodied actors.

Who do you read? Good Roger, or Bad Roger?

This message came to me from a reader named Peter Svensland. He and a fr...

Simply Do it: Talking with Woody Allen About Directorial Style

An interview with Woody Allen about his new film, "Magic in the Moonlight."

Reveal Comments
comments powered by Disqus