PREMISE

Groundhog Day follows the life of Phil Connors

(Bill Murray), an arrogant and egocentric

Pittsburg TV weatherman as he travels to

Punxsutawney, Pennsylvania for their annual

Groundhog Day event. Suddenly, he finds

himself stuck in a time loop as he repeats the

same day over and over again and discovers

that there are no consequences for his

actions. Upon indulging in acts of hedonism

and even attempting suicide a number of

times, Phil falls into a depression. Time

passes and no matter what he does, nothing

seems to change his situation and he can’t

get the woman of his dreams (Rita, played by

Andie MacDowell). Phil endeavors to

improve himself, his attitude, and his

relationships with others, including women,

by re-evaluating his life and priorities. As a

result, he undergoes a dramatic

transformation and becomes a better human

being upon learning equality and compassion

through Rita.

WHAT IS A SIMULATION? According to our textbook, a simulation is “an experience that is

self-contained, referring mainly to itself” (Brummett, 263). Examples of simulations include video games, movies/television, spectator sports, shopping malls, and amusement/theme parks. The author points out that the self-referential nature of an experience is key to simulations (Brummett, 264).

When we play a video game, we are entering a completely different world within the one we physically inhabit. This virtual world is comprised of signs and symbols representing objects, ideas, and stories outside the simulation. When we are done playing the game, it all disappears as soon as we turn off our console. Anything that takes place after we turn the game off and walk away stays within that little world as it exists only there. If we decide to hit the reset button on the game, it will give us a copy, if not of the same events, then of the same little world. We can repeat this over and over again as often as we wish.

Brummett argues that, “a key characteristic of industrialized cultures, including that of the United States, is that they are becoming increasingly simulational” (Brummett, 264). Simulational cultures are defined as being “industrialized cultures with capitalist economies that have a heavy dependence on electronic media for entertainment” (Brummett, 263). He continues to mention how a simulational culture is built upon and builds the simulational self and that until we can break free of that self-referential loop, “we are doomed to the same old, same old every day” (Brummett, 265).

TECHNIQUES OF RHETORICAL ANALYSIS

Groundhog Day is a film that rhetorically critiques the simulational nature of culture in society today. The film is also a metaphor for a life of social disconnection and self-absorption. Brummett contends that the film “depicts and critiques the never-ending loop of a life into which a self-centered denizen of postmodern culture has magically fallen. The film suggests that many of us are the Narcissus and in danger of falling into that pool” (Brummett, 265). The chapter utilizes two techniques of rhetorical analysis to study the messages of this film. They are:

1. Culture-centered – To study the messages this film presents us about the simulational world in which we live. For example, what are the consequences of this kind of simulational environment? In what ways does it affect our culture?

2. Feminist – To study how women are regarded within a simulational culture and how the film offers female empowerment as an “antidote” to an obsession with simulation.

1. Repetition

Repetition is one of the key characteristics of simulation. The film is abundant with scenes in which Phil experiences instances of repetition aside from waking up to February 2nd every day. For example, in his own everyday life, Phil is a weatherman – repeating the same ironic dialogue and gestures every single day as he reports the weather. Additionally, repetition is illustrated in Phil’s yearly pilgrimage to Puxsutawney’s Groundhog Day ceremony. On the way to the event, Phil mutters, “Someday somebody will see me interviewing the groundhog and think I don’t have a future,” and that is precisely what happens. Phil’s confrontation with the groundhog bends time “from a straight march into the future to a circle turning back upon itself” (Brummett, 266).

2. Phil Connors as a metaphor for Punxsutawney Phil

Just as Phil Connors makes an appearance at the Punxsutawney Groundhog Day ceremony every year on assignment, so does its star attraction, Punxsutawney Phil the groundhog, who surfaces once a year to give the weather (either an early spring or six more weeks of winter). Phil becomes stuck within the simulational world of Punxsutawney – repeating the same day for years and years just like Phil the groundhog. They also both share the same name, Phil, further adding to the intent that they are meant to represent one another.

3. Fun

Another dominant value of simulation is fun, or how fun things are. Phil’s entire attitude is gauged based on how fun things are to him. If something doesn’t seem fun enough to him, the more rude he becomes. Phil doesn’t seem to enjoy anything unless it benefits him directly in some way, shape, or form – tying into the concept of self-absorption, another trait that Phil frequently exhibits. An example of this occurs during the second day of Groundhog Day. Rita asks Phil if he’s drunk and he responds to her by saying, “Drunk’s more fun.” Phil’s need for self-gratification and fun as well as his self-absorption is a catalyst for his reckless behavior that ensues.

KEY THEMES EXPLORED

KEY THEMES EXPLORED (CONTINUED) 4. Self-absorption

Self-absorption is a simulational closed loop, and it’s no secret that Phil Connors is self-absorbed. When Phil is first approached by old classmate Ned Ryerson, Phil fails to recognize him and immediately assumes that he must know him from seeing him on TV. He is so self-absorbed that he simply cannot grasp the fact that someone may know him on a personal level because he is so detached from others – refusing to make any social or personal connections with anyone. In contrast to ice-cold Phil, Ned, an insurance salesman, has a much more happy-go-lucky, go-getter attitude who clearly goes out of his way to establish contact with others. Another way in which Phil’s self-absorption is apparent is through his expectation of special treatment because he’s a celebrity. Later in the film when Phil tries to seduce Rita in his room, she immediately shuts him down by telling him that she could never love anyone like him because he’ll never love anyone but himself.

5. Women as the “antidote” to a simulational obsession

Over the course of the film, Phil isn’t only dependent on women for fun and his own self-gratification, but also wisdom and understanding. It is impossible for him to attain those two things, however, as long as he continues to exploit women with the main goal of trying to control and conquer them. He accomplishes this by learning their information one day and then using it the next to make it seem like they have things in common or to impress them. For example, Phil takes Rita to a bar and discovers her favorite drink. The next day, he surprises her by ordering her favorite drink, but he still fails miserably at seducing her. While he turns to a few female companions to make him feel as though he’s having a good time, the only woman he can turn to for advice and support is Rita. Rita is the empowered female who comes to teach Phil equality and compassion, two things which ultimately save him and free him from loop of time, simulation, and self-absorption. The author states that the film places “authentic relationships with women as an antidote to a simulational obsession” (Brummett, 270). In addition, not only does the film question our culture’s obsession with simulation, but it also offers a re-examination of attitudes toward women as a means of overcoming that obsession.

PHIL’S TRANSFORMATION: PART 1

Before his transformation, Phil is depicted as:

• Bad Tempered

• Lost

• Ironic

• Partaking in bad/insulting humor

• Cruel, especially toward women

• Self-absorbed

• Detached from others

• Exploitative of women

• Opportunistic

• Frustrated

• Desperate

• Incapable of true companionship

• Reckless

The turning point: Recklessness to compassion

PHIL’S TRANSFORMATION: PART 2

Because fun is the only value by which Phil judges life, as soon as he realizes that tomorrow doesn’t exist and that he is free to do whatever he wants without any consequences, he begins to take part in selfish and hedonistic acts such as eating poorly, stealing money, using and seducing women, driving drunk, and even kidnapping Punxsutawney Phil to name a few. Suddenly, however, this gets old and life appears to have no meaning anymore. Phil falls into a depression and attempts to kill himself several times, only to wake up the next day at the same time, 6:00 AM, to the same tune (Sonny & Cher’s I Got You Babe), in the same bed, at the same bed and breakfast, on the same day: Groundhog Day.

In addition, there is something and someone in particular he really wants, but can’t have – a relationship with Rita. After many failed attempts at seducing her, Phil tries a different approach to build a relationship with Rita by not trying to have sex with her and simply respecting her. It works, and it is through Rita that Phil learns equality and compassion. When Phil explains his predicament to Rita, she spends the day with him and into the early morning hours. They innocently fall asleep together, but he awakens once more stuck in the same time loop. Something, however, has changed – Phil himself. Inspired by Rita’s positive outlook and with a newfound sense of purpose and motivation to better himself, Phil becomes more appreciative of life. He begins living selflessly by helping and befriending others around town as well as using his time to learn new things like musical instruments, arts, and languages. He also crafts a Groundhog Day report so amazing that all the other stations turn their mics to him. Later on, Phil and Rita end up sharing a kiss for the first time and snow begins to fall. They retire to his room, and when he wakes up in the morning on February 3rd and Rita is still with him, Phil realizes that the time loop has been broken.

CONCLUSION For much of the film’s duration, Phil is an individual

stuck in not only a loop of time, but also a loop of simulation and self-absorption. If you think about it, Phil Connors’s life of simulation and routine mirrors a life similar to many of our own. We live in such a media saturated society that is heavily engaged with aspects of the self, entertainment, and technology on a day to day basis – much more so than we did back in 1993 when this film was made. The messages of the film, however, still hold true today and illustrate the importance of maintaining human connection. Brummett puts the following very well, “Groundhog Day is this predicament carried to its logical conclusion, a simulational paradise with no consequences in which total selfish piggishness is possible. But the film uses the most negative meanings of simulation to advise its audience that such a life, if possible, is not desirable. Nor is selfish exploitation of women by men desirable” (Brummett, 274). Groundhog Day serves as a reminder of the consequences of becoming lost in a world of simulation and patriarchy, which threaten human connection through inauthenticity of being, refusal to love, and ironic detachment.

Thank you so much for reading!

WORKS CITED

Groundhog Day. Dir. Harold Ramis. Columbia Pictures, 1993.

Brummett, Barry. Rhetoric in Popular Culture. 4th ed. Thousand Oaks: Sage

Publications, 2015. 263-274. Print.