Michael P. Foley on the Lessons of Groundhog Day
Last December the New York Times ran an intriguing article about a Museum of Modern Art movie series on film and faith. What attracted the Times to the series was not its pageant of grave Swedish cinema but its opening feature, the 1993 romantic comedy Groundhog Day. The curators, polling “critics in the literary, religious and film worlds,” found that the movie “came up so many times that there was actually a squabble over who would write about it in the retrospective’s catalog.”
The movie, the article went on to observe, “has become a curious favo . . .
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