Groundhog Day

Prominent since the genesis of silent films, the comedy genre of cinema endures as a stereotypical piece of cinema leaving no true impact on an audience. While this statement is undeniable in most instances, comedic films can also dabble in providing something more than a superficial entertainment for an audience. Specifically, in Groundhog Day, a film can be analyzed and “unpacked” in order to realize themes and lessons just as intricately interwoven with the plot as dramatic films. Although not reaching the artistic caliber that dramas outwardly attempt to achieve, comedies teach viewers about their own emotional reality, just through more straightforward terms. Groundhog Day serves as a prime example. Through the transformation that the

Audiences of any kind usually do not seek out movies directly dealing with death in the forefront, but Groundhog Day harnesses its comedic atmosphere to approach uncomfortable topics. Death for Phil seems to be his only option, because he is lonely in the cyclical continuation of experiencing February the 2nd. Phil’s character, during this time, transforms from a reckless man into a desperate, primitive human being, a smaller example of his overarching character development. He doesn’t care about the people watching his demise, Rita and Larry, or the aftermath of his attempts. Phil has honed into what he believes is truly the last resort, still disregarding the feelings of others as he did in the beginning. He drives over a cliff with a stolen groundhog in his car, believing this will be the end to what seems to be eternal darkness at the end of the tunnel. Phil however doesn’t succeed, and the ways in which he tries to die become more and more innovative as well as comedic. Dropping toasters into bathtubs, running in front of cars willingly, Phil attempts every way of suicide possible, with a sarcastic choice of music playing in the background. This death sequence seems to just propel the plot at first, to entertain the audience. However, viewers see a more seriously morbid aspect of death presented in Groundhog Day. Phil states the other ways he killed himself to Rita, saying he’s been stabbed, shot, poisoned, frozen, and hung. Gilbey states the death sequence has a momentous impact in the film from such a drastic change in tone, writing, “One of the things that makes it so shocking is the breeziness with which Ramis cuts straight from the morgue to a close up of Rita in the Tip Top Café, talking to Phil.” (69). Phil needs to become his own hero after defying death, because he has no one else. He’s isolated in a forgetful