It’s All About Me

Did you see the 1993 movie Groundhog Day? In this film, we meet Phil Connors, an arrogant and self-obsessed weatherman on a local TV station who is sent to Punxsutawney, Pennsylvania, to report on the events surrounding Groundhog Day. Phil, played by Bill Murray, is rude to his co-workers—Rita the producer (played by Andie MacDowell) and Larry the cameraman (played by Chris Elliott). He has a condescending attitude toward the people of Punxsutawney who he calls “hicks.” Phil is very taken with himself. He tells his coworkers that a major network is interested in him, and at one point calls himself “the talent.” But now Phil is stuck in this awful assignment (too insignificant for someone of his stature) and only wants to finish up and get back to Pittsburgh. Unfortunately (or perhaps fortunately as things turn out), the team is trapped by a blizzard and forced to stay in Punxsutawney. The next day, however, something bizarre happens: Phil awakens to the same music on the radio and the DJs saying the same things as the morning before. It’s February 2nd, Groundhog Day, all over again.

And thus begins Phil Connor’s nightmare. Every morning Phil awakens to February the second again . . . and again and again. We aren’t told how many times this happens, but it happens often enough that he’s able to go from not being able to play the piano at all to being an excellent jazz pianist. What does Phil do with this strange situation?

Phil’s responses to his circumstances illustrate some modern ways of thinking and one distinctly unmodern way. I’d like to use this film to focus on these philosophies. This won’t be a film review or an exercise in film criticism. Groundhog Day will simply serve as a mirror to hold up to modern thought.

In Phil Connors we see what Michael Foley, professor of early Christian thought at Baylor, calls a “typical modern.”{1} He is self-centered, materialistic, egotistical, and career-driven. He exemplifies what sociologist Craig Gay calls modern man’s “desire for autonomy and . . . what might be called the will-to-self-definition.”{2} Gay quotes Daniel Bell who says that “self-realization and even self-gratification have become the master principles of modern culture.”{3}

This describes Phil, but not only Phil. What is more obviously “true” to moderns than the idea that one must “look out for number one”? Modernists want to define themselves. We’re the captains of our own lives, and we’re our own number one concern.

But with this strange turn of events, Phil, the one who likes to think of himself as on the rise, finds himself stuck in one place.Every day he faces the same routine. Nothing he does seems to matter, for time is no longer progressing. The past doesn’t matter, for yesterday was like today. And as far as he knows, tomorrow will be the same.

What Goes Around . . . Goes Around

When Phil finally accepts his predicament, he asks his new drinking pals, Gus and Ralph, a question: “What would you do,” he asks, “if you were stuck in one place, and every day was exactly the same, and nothing that you did mattered?” This question sets the stage for what follows in the film as Phil discovers over and over that nothing he did “yesterday” matters; nothing carries over.

But one can see something deeper going on here than simply an illustration of a boring, repetitive life. Perhaps not incidentally it also serves on the larger scale to describe the situation many people face. The situation of Phil going nowhere is a subtle illustration of a major philosophical shift in modern times, namely, the abandonment of a teleological view of the world.

What do I mean by that? Teleology is “the theory of purpose, ends, goals, final causes.”{4} Before Christ, Greek philosophers like Plato and Aristotle taught that there was design behind the universe; its forming wasn’t just an accidental occurrence. In the West, with the rise of Christian theology, there came the understanding of the universe as made by God for a purpose. That is what teleology is: the idea of design with a goal in mind.

In modern times, however, that understanding is gone. We’re taught that the universe is an accident of nature, and hence that we are, too. We weren’t put here for a purpose; there is no goal to life beyond what we choose. Any meaning we have in life is meaning we supply ourselves. When this idea really sinks in, the ramifications are truly alarming. We want to have purpose; people with no sense of purpose have nothing to move toward. This idea was the root of the despair of existential philosophy. It drove thinkers such as Jean Paul Sartre to teach that the burden is on us to form our own lives, that to not do so is to live inauthentic lives. Although the existentialists tried to transcend this sense of meaninglessness, they weren’t successful. The sense of loss that comes with thinking we have no purpose reflects what we know deep down because of being made in God’s image: we were made by Someone for some purpose. To not have purpose necessarily diminishes our lives.

Phil Connor’s life no longer has purpose. He is stuck in one place going nowhere, and it isn’t a happy situation.

So what does he do? He looks to Rita for help. “You're a producer,” he says. “Think of something.” Rita advises him to see a doctor. In modern times we typically look to science for the answer, in this case medical science. First, a medical doctor is unable to find anything wrong with Phil. Then a psychiatrist finds Phil’s problem to be beyond his abilities. Science is supposed to be modern man’s savior, but here medical science fails. Technology fails Phil, too. The highways are closed because Phil’s own weather forecast is wrong —he predicted the blizzard wouldn’t hit Punxsutawney—so he can’t drive back to Pittsburgh. Long distance phone service is down so he is unable to call home. So Phil is stuck. This modern man cannot be rescued by modern means.

What is Phil’s next move? He simply takes his hedonistic self-preoccupation to new levels. It’s Feb. 2nd yet again, and Phil is out drinking with Gus and Ralph and reflecting on his predicament. After imbibing quite a bit, they get in a car to leave. As they drive away, Phil asks Gus and Ralph, “What if there were no tomorrow?” Gus responds that there would be no consequences—no hangovers! They could do anything they wanted! Phil’s eyes brighten. He can do whatever he wants! “It's the same things your whole life,” he says. “‘Clean up your room.’ ‘Stand up straight.’ ‘Pick up your feet.’ ‘Take it like a man.’ ‘Be nice to your sister.’ . . . I’m not going to live by their rules anymore!” 

And thus begins Phil’s hedonistic binge.

It’s All About Me . . . With a Vengeance

What does he do with this newfound freedom? When Phil realizes that there are no consequences to his actions—since there is no tomorrow—he indulges his every whim in a sort of hedonistic binge. He eats like a glutton, seduces a woman, robs an armored car and buys a fancy car with the money.

Then he sets his eyes on the real prize: Rita, the producer. Day after day (or Feb. 2nd after Feb. 2nd!) he collects tidbits of information from Rita about herself and about what her ideal man would be like. He then tries to fit the image himself in order to ingratiate himself to her with the hope of seducing her.

Michael Foley says that in this Phil becomes Machiavelli’s prince.{5} In his book on political philosophy called The Prince, Machiavelli said a prince should always appear to be virtuous because that is what people expect. However, he said, the prince shouldn’t actually concern himself with being virtuous, for that would often work against his own interests.

A prince should not necessarily avoid vices such as cruelty or dishonesty if employing them will benefit the state. Cruelty and other vices should not be pursued for their own sake, just as virtue should not be pursued for its own sake: virtues and vices should be conceived as means to an end. Every action the prince takes must be considered in light of its effect on the state, not in terms of its intrinsic moral value.{6}

This is Phil’s attitude. He wants Rita, so he pretends to be the good man she desires. The end justifies the means, right?

As a society we have lost any sense of going somewhere. In the West, we’ve been taught to live for the moment, to savor the experiences of today. Yesterday is gone, and there is no ultimate “tomorrow” before us which will draw together the pieces of our lives into a meaningful conclusion. The world came about by accident and is going nowhere. In fact, we’re told it’s winding down to some cosmic death. The utopian vision of the late nineteenth and early twentieth centuries was crushed by World War I. Following the devastation of the next World War, existentialist philosophers said we should create our own sets of values. Increasing or at least maintaining our personal peace and prosperity now seems to be our highest ambition because, quite frankly, we have nothing else to hope for. What is left to do but enjoy ourselves as much as we can while here? Our national moral consensus goes little further than “don’t hurt other people unnecessarily,” and we are left to our own ideas about what constitutes necessity. If there is nothing to hope for, today is all we have, so we pad our own nest and enjoy what we can out of life. I am the center of my universe, and it’s your duty to not interfere.

To be honest, there is nothing wrong with enjoying the experiences life offers (given the limits of biblical morality and wisdom, of course). I recently read Francis Meyes’ book Under the Tuscan Sun made into a movie starring Diane Lane. The movie barely scratches the surface of the pleasures of life in Tuscany described in the book: preparing and enjoying wonderful food; preparing the olive trees for next year’s harvest, and at harvest time discerning when and how quickly to pick to avoid mildew; picking herbs like sage and rosemary from plants growing in front of the house for seasoning the evening’s dinner; choosing the best local wine for the main course at dinner; taking in the smells and sights of a small Italian town; discovering a portion of an ancient Roman road or a wall built by the Etruscans; enjoying the company of friends and loved ones outdoors in warm weather, or gathered around the hearth in winter—the riches of such experiences have been lost to many in modern times.

Problems come, however, when I become the center of my ultimately purposeless world, when other people become objects to enjoy or reject as I might a certain food. It’s bad enough when we become the centers of our own worlds. We go further than that and expect to be the centers of others’ worlds as well! For some reason, we expect the lives of others to revolve around ours. But while we are crafting our own worlds, others are crafting theirs. What if my plans don’t fit theirs or vice versa?

Phil tried repeatedly to win Rita’s affection to satisfy his own desires. Night after night Phil tries to woo her, and night after night she slaps him in the face when she realizes what he’s up to. Phil can’t manipulate Rita the way he wants to.

Phil is so much the center of his world that, at one point in the film, Phil the weatherman said he creates the weather! But of course he doesn’t. He can’t even predict it perfectly. If Phil can’t control the weather which has no will of its own, how can he possibly control Rita who does? He could have learned something from Jim Carey’s character, Bruce Arnold, in Bruce Almighty who could not manipulate the free will of his girlfriend Grace to regain her love.

It Has to Stop

So Phil cannot have what he really wants. What happens when one realizes that there is nothing lasting to hold onto? That is, if one can get hold of it at all? In the mid-twentieth century, beginning with the despair that comes from believing that there are no fixed and eternal values, existentialists tried to infuse individual lives with value by saying we create values ourselves. Other people, however, simply fell into despair and stayed there. That’s what happened to Phil Connors. First he tried to solve his problem through medical science. Then he accepted the situation and tried to find fulfillment in the pursuit of pleasure. When that failed, he was lost.

A life with no tomorrow, and where yesterday and today don’t matter, has no meaning because it has no explanation. But an explanation is what we crave. The discovery that there is no explanation is at the heart of what the existentialists called the absurd. Albert Camus said that a world that has no reason leaves a person feeling like a stranger. “His exile is without remedy,” wrote Camus, “since he is deprived of the memory of a lost home or the hope of a promised land. This divorce between man and his life, the actor and his setting, is properly the feeling of absurdity.”{7} As a result, for some people—or perhaps for many—the question that arises is, Why live at all? “There is but one truly serious philosophical problem,” said Camus, “and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy.”{8}

Even before Feb. 2nd, Phil’s life was absurd; he just didn’t know it. His past wasn’t forming his future, and he had no sure promised land before him anyway. He would be what he made of himself (a very modern idea), but he didn’t seem to be doing a very good job. One of the key characteristics of the modern mind is the idea that the past is to be discarded in favor of the future because things just have to get better over time. There were such high hopes in modernity! But while Phil had hopes for tomorrow, he really was going nowhere. The repetition of Feb. 2nd only mirrored his real life.

The absurdity of Phil’s situation descended upon him on one of his many Feb. 2nds. Having tried to enjoy a life of no consequences, and having been rejected by Rita, Phil falls into despair. In his umpteenth report on Groundhog Day festivities he expresses his despair clearly. “You want a prediction about the weather, you're asking the wrong Phil,” he says referring to the groundhog. “I'll give you a winter prediction: It's gonna be cold, it's gonna be grey, and it's gonna last you for the rest of your life.”

Phil could only think of one thing to do. Remember that if the groundhog, Punxsutawney Phil, sees its shadow, winter will last another forty days. Phil reasons that, if winter is to end, the groundhog can’t be allowed see its shadow again. So Phil the weatherman decides that Phil the groundhog must die. “There is no way this winter is ever going to end,” Phil tells Rita, “as long as that groundhog keeps seeing his shadow. I don't see any way out of it. He's got to be stopped. And I have to stop him.” Here the parallel between the two Phils is made clear. To bring an end to winter, both the season and his own personal “winter,” Phil kidnaps the groundhog and drives off a cliff, killing them both. Neither Phil will now awaken to see his shadow again.

Or so he thought. The next morning, promptly at 6 AM, Phil awakens yet again to another Groundhog Day. A look of despair crosses his face. He gets out of bed, climbs into the bathtub with an electric toaster and electrocutes himself. But Feb. 2nd comes yet again. Phil tries many different ways to end it all. Later he tells Rita “I've been stabbed, shocked, poisoned, frozen, hung, electrocuted, and burned.” He keep trying to end his winter but he can’t.

Although Camus raised the question of suicide, he didn’t argue for it. He tried to persuade readers that there can be good reasons for living even though life as a whole has no meaning. But Phil, and many people in real life, have decided there is no reason to go on. Some don’t go as far as suicide, but their nihilistic lives reflect the same idea: there is no meaning, nothing matters, nothing is of any value.

Is there any way out of this mess?

Phil’s Redemption

Phil Connor’s first two responses to his predicament—hedonism and despair—were failures. Once more he turns to Rita for help. He tries to prove to her he really is repeating the same day over and over. After seeing several convincing evidences that something strange really is going on, she offers to spend a day with him just to observe. Near the end of an enjoyable day, Rita takes a positive view and tells Phil that maybe what he’s experiencing isn’t a curse at all. “It depends on how you look at it,” she says.

With that little bit of encouragement, Phil’s whole attitude changes. He now sees Rita not as an object to possess, but as a person of intrinsic value. Before, he wanted to use her; now he appreciates her. As she sleeps he whispers to her that he doesn’t deserve someone like her. Now Phil has a purpose. Before he bettered himself to fool Rita; now his ambition is to be worthy of her.

So Phil sets about improving himself. He betters himself morally; Michael Foley sees here a turn toward an ethics of virtue. Phil begins doing good things for other people such as giving money and food to an old man who lives on the streets, changing a tire for a woman, saving a man’s life, giving tickets to Wrestlemania to a pair of young newlyweds, catching a boy who falls out of the tree (who never thanks him, Phil notes!). Because he keeps repeating Feb. 2nd, Phil performs these good acts again and again. He also betters himself intellectually and artistically. And in the end, Phil wins Rita’s affections.

Conclusion

In this simple film about a weatherman from Pittsburgh, we can see illustrated a few modernistic approaches to life. Having found himself in a purposeless existence, Phil looked for his salvation in science and in hedonistic pleasure seeking. Not finding it there, he fell into despair. With the encouragement of an “upbeat lady” as he called Rita, Phil decided to make himself a better man.

Several different religions have tried to claim the message of Groundhog Day as their own. Buddhists see Phil as the bodhisattva who must return to help others better themselves so they may all escape the cycle of birth, death, and rebirth. Jews see Phil as being returned to earth to do good works to help bring the world to perfection.

For evangelical Protestants this might sound suspiciously like works salvation. But Groundhog Day isn’t a Christian film; we shouldn’t look for more in it than it offers. As I said at the beginning, it holds up a mirror to modern thought, and shows the failure of some contemporary beliefs.

Nonetheless, the film still offers us a reminder. In our zeal to proclaim salvation by faith alone, it’s possible that we relegate the biblical admonitions to live good lives to too low a level. Our tickets are punched; we have our seats in heaven. As for now . . . well, you know how some say “It’s easier to receive forgiveness than permission.” Maybe we just don’t concern ourselves enough with living virtuous lives.

Groundhog Day illustrates the vacuousness of some modern ideas. But it also reminds us that living a good life does have its rewards: we are better people for the effort, and we become more attractive to people around us.

Notes

1. Michael P. Foley, "Phil's Shadow," Touchstone 17, no. 2 (April, 2004): 12.
2. Craig M. Gay, The Way of the (Modern) World: Or, Why It's Tempting to Live As If God Doesn't Exist (Grand Rapids: Eerdmans, 1998), 184.
3. Daniel Bell "The Return of the Sacred: The Argument on the Future of Religion," in British Journal of Sociology 28, no. 4 (1977): 424, quoted in Gay, 192.
4. Dagobert D. Runes, ed., Dictionary of Philosophy (New York: Philosophical Library, 1983), s.v. "Teleology," by Wilbur Long.
5. Foley, 13.
6. Sparknotes, "The Prince," www.sparknotes.com/philosophy/prince/themes.html.
7. Albert Camus, The Myth of Sisyphus (New York: Vintage Books, 1955), 5.
8. Ibid., 3.

© 2005 Probe Ministries

About the Author

Rick Wade graduated from Moody Bible Institute with a B.A. in communications (radio broadcasting) in 1986. He graduated cum laude in 1990 from Trinity Evangelical Divinity School with an M.A. in Christian thought (theology/philosophy of religion) where his studies culminated in a thesis on the apologetics of Carl F.H. Henry. He is currently nearing completion of a Master of Humanities degree at the University of Dallas. Rick's interests focus on apologetics and Christianity and culture with a special interest in issues of special concern in these 'postmodern" days (such as religious pluralism and the matter of truth). Before joining Probe Ministries in February 1997, Rick worked in the ship repair industry in Norfolk, VA. Rick and his family make their home in Garland, Texas.

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