Groundhog (tit. ago. Groundhog Day) is a film which dangerous talk. It seems that director (Harold Ramis ) and screenplay (with the same Ramis Danny Rubin ), insists on the concept of the story, claiming back more than a philosophical commentary film. Since my familiarity with Aristotle and Hegel is little more than school, I can not venture out on this thorny ground. Reassures me that one of the most quoted film of American cinema, I think, is not to be disclosed by this or that Weltanschauung. The story is that of a man, Phil (Bill Murray ), presenter and meteorologist d'assalto di una televisione di second'ordine, che rimane imprigionato in un 2 febbraio, giorno della marmotta, in una sperduta località di provincia. L'uomo, attratto dalla sua produttrice ( Andy MacDowell ), è costretto a rivivere senza sosta questo giorno che lui ritiene inutile, in compagnia anche del vano cameraman Larry ( Chris Elliott ) in un comunità che non ha certo bisogno di particolari miracoli per sembrare noiosa e sempre uguale a se stessa.
Incarcerato nel suo presente, Phil ha la possibilità di esplorare un giorno di lavoro come un altro. L'uomo, forse per un errore nel "sistema", si accorge di essere in cage (a bit 'the same thing is happening to Harold in Stranger Than Fiction ). But it remains alone, as the man who left the cave of Plato (Republic , the seventh book) and was not believed when he returned to say that everything was fake, and in this they were all prisoners of their cheesy deception, but out there was a future true.
Not that Phil's travel companions do not believe in the future, indeed. Only believe that to meet him, whereas only jammed on their merry circus. Phil, however, knows that the time that remains is very little: that of a day that is always repeated equal to which only his conscience to be a trap allows him to escape. From a narrative point of view, in fact, the problem arises from the fact that the character learn (and this aspect is made explicit by the fact that Phil becomes a perfect pianist and a great artist of the ice), which treasures of a thousand say today when he stumbled to treasure it. I can not say now which educational theory is based on the programmatic flow of time, but could not find as brighter and more effective. Phil is aware of the available time and therefore continues to live in a dimension slow: it can acquire information, knowledge and skills, impress his colleagues and others, while its gradual entry into the world of the province and of groundhog meteorology forces each to reveal itself quickly and to learn who the next man came from afar to live there the ritual on Feb. 2. The learning of others, however, is marked by surprise, sudden enlightenment, commitment, not from history that insinuates itself into the veins of the learner. All the assets to which they refer those who do not know their trap - if it is not a miracle that only relates to the Phil - is an experience that you can not accumulate: they do not have the time, so to speak, of sleep on it.
Characters of Groundhog have only one road to travel on their present. There is no way to fix them that ' today, so not only lacks the tomorrow, also lack the history, there is no time that can be said yesterday. This unique film Harold Ramis regards inattingibilità time than its recur, concerns the moment that escapes and that only as a gift is given to a man, a bit 'as a Christmas gift is the unforgettable Scrooge of Christmas Carol Dickens, quintessential man frozen in its present is always the same. But the paradox remains meteorological space-time-only ingredient more appealing than a pleasant comedy, well acted and well directed, who can not tell the man and his history, but only its relations. 
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