Love and Death
/In the 1993 movie “Groundhog Day,” Bill Murray plays Phil Connors, a reporter who, confronted with living the same day over and over again, matures from an arrogant, self-serving professional climber to someone capable of loving and appreciating others and his world. Murray convincingly portrays the transformation from someone whose self-importance is difficult to abide into a person imbued with kindness.
But there is another story line at work in the film, one we can see if we examine Murray’s character not in the early arrogant stage, nor in the post-epiphany stage, where the calendar is once again set in motion, but in the film’s middle, where he is knowingly stuck in the repetition of days. In this part of the narrative, Murray’s character has come to terms with his situation. He alone knows what is going to happen, over and over again. He has no expectations for anything different. In this period, his period of reconciliation, he becomes a model citizen of Punxsutawney. He radiates warmth and kindness, but also a certain distance.
The early and final moments of “Groundhog Day” offer something that is missing during this period of peace: passion. Granted, Phil Connors’s early ambitious passion for advancement is a far less attractive thing than the later passion of his love for Rita (played by Andie MacDowell). But there is passion in both cases. It seems that the eternal return of the same may bring peace and reconciliation, but at least in this case not intensity.
And here is where a lesson about love may lie. One would not want to deny that Connors comes to love Rita during the period of the eternal Groundhog Day. But his love lacks the passion, the abandon, of the love he feels when he is released into a real future with her. There is something different in those final moments of the film. A future has opened for their relationship, and with it new avenues for the intensity of his feelings for her. Without a future for growth and development, romantic love can extend only so far. Its distinction from, say, a friendship with benefits begins to become effaced.
There is, of course, in all romantic love the initial infatuation, which rarely lasts. But if the love is to remain romantic, that infatuation must evolve into a longer-term intensity, even if a quiet one, that nourishes and is nourished by the common engagements and projects undertaken over time.
The future is open. Unlike the future in “Groundhog Day,” it is not already decided. We do not have our next days framed for us by the day just passed. We can make something different of our relationships. There is always more to do and more to create of ourselves with the ones with whom we are in love.
This is not true, however, and romantic love itself shows us why. Love is between two particular people in their particularity. We cannot love just anyone, even others with much the same qualities. If we did, then when we met someone like the beloved but who possessed a little more of a quality to which we were drawn, we would, in the phrase philosophers of love use, “trade up.” But we don’t trade up, or at least most of us don’t. This is because we love that particular person in his or her specificity. And what we create together, our common projects and shared emotions, are grounded in those specificities. Romantic love is not capable of everything. It is capable only of what the unfolding of a future between two specific people can meaningfully allow.
Todd May writing in the New York Times