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Bill Murray

Space Jam 4K HD

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spacejam3Remember that time that Michael Jordan and Bugs Bunny lead the most ridiculous rag-tag team of basketball players in a game for the fate of the world? It’s hard to believe it’s been twenty-five years since Jordan and the Looney Tunes joined forces to defeat the  Nerdlucks-turned-Monstars in a game of basketball for the fate of the world.

Back in 1996, Leo Benvenuti and Steve Rudnick (the Santa Clause franchise) wrote a script that riffed on Jordan’s ill-fated retirement to baseball’s minor leagues with a collision that gave a Who Killed Roger Rabbit? -type vibe to basketball, aliens, and Jordan. Directed by Joe Pytka (whose real claim to fame is critically-recognized commercials for athletes like Tiger Woods and Jordan, sending over eighty commercials to Super Bowl weekend), the film allowed the world to see Jordan, Charles Barkley, Larry Bird, and other NBA stars in a different light.

The film has the greatest soundtrack one could possibly imagine for a film from 1996, with Coolio, Steve Miller Band, and many more – including R. Kelly’s “I Believe I Can Fly” – on the record. (The year the film came out, I was volunteering at a summer camp for homeless children – they demanded I play the song on repeat which meant fast forwarding the ‘B’ side song thanks to those things called cassette tapes!) In fact, the special features of this 4K HD release include the music videos of Seal’s “Fly Like an Eagle” and the cast’s “Monstars’ Anthem Hit ‘Em High.”

spacejamWayne Knight (Seinfeld) provides some laughs as Jordan’s bumbling publicist, but this mostly Jordan and Bugs Bunny working together. For this release, the commentary is by Bugs himself, with Daffy Duck and Pytka. The other special features include the featurette “Jammin’ with Bugs Bunny and Michael Jordan.”

If you’re a fan of ’90s music, Looney Tunes, or Jordan, this is one you’ll want to own. If you haven’t seen it, I don’t know I can sell it any more — it’s a classic! Now we’ll just have to sit back and wait to see how Lebron does with Space Jam: A New Legacy – and if we’re celebrating it twenty-five years from now.

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Comfort Films #8: Meet the [Caddyshack]

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When times are tough, what stories do you turn to? Our new series, Comfort Films, is designed to look at the stories that are important to us and why they help bring us up with everything feels down. This week, author Troy Kinney and Screamfish’s Jason Norton return to chat about family humour in Meet the Parents, community through quotability in Caddyshack and being able to change the past in Back to the Future.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Comfort Films #1 – WHAT ABOUT BOB?

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When times are tough, what stories do you turn to? Our new series, Comfort Films, is designed to look at the films that are important to us and why they help bring us up with everything feels down. In our first episode of this series, Ben Dower stops by to chat about one of his favourites, Frank Oz’s What About Bob?.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Self-Isolation Film Festival: Groundhog Day

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“What would you do if you were stuck in a place and every day was exactly the same?”

Here in California we’ve been instructed to stay at home except for essential reasons. Kids are out of school. Some have online classes, some don’t. Churches are happening by online video. It doesn’t take long for Tuesday to be just like Monday which is just like Thursday…. So perhaps this is a good time to see what lessons can be found in a film about a man who relives a single day over and over: Groundhog Day.

When Phil (Bill Murray), a Pittsburgh TV weatherman is sent to Punxsutawney to cover the Groundhog Day activities there, he is less than thrilled. This is the 4th time he’s done this. He hates the small town. He hates the whole Groundhog seeing its shadow concept. And he generally has contempt for everyone, including his enthusiastic and bubbly producer Rita (Andie MacDowell) and cameraman Larry (Chris Elliott). After covering the story with a great deal of sarcasm, the three get stranded in town by a blizzard. When he wakes up the next morning, it’s not the next morning. Everything begins happening just like it did yesterday (which is really today—again). This happens over and over.

Okay. This is a classic movie, so I’m going to guess you’ve seen it. But now that COVID-19 has pushed us all into our homes, separated from the day to day routines that structure our lives, I suggest that Groundhog Day can allow us to look at these times, and especially how we react to them. As the story unfolds, we watch as Phil moves through different stages, and in the process grows to the point that he can move on in his life as a new person—which brings a new day.

At the onset, Phil is cynical and rude. He makes no attempt to hide his animosity from the people around him. When he wakes up on February 2 for the second time, he is confused. He reacts with disbelief and denial. He knows this can’t be happening, but it is. As he relives the day the first few times, he begins to learn little bits and make some subtle changes.

There comes a point where he knows he’s stuck in this day. He moves into a feeling of freedom and anarchy. He can do whatever he wants because in the morning it will all start over. There are no consequences, so why bother with morality? This quickly shifts to a time of anger and resentment. Which in turn evolves into despair. Even killing himself is no escape, because the yesterday morning keeps happening.

It is when he sees how empty his life is that he begins a new approach—one of altruism, caring for other people, and celebrating the joys of the day. He saves a life and saves a child from falling out of a tree. He learns French and how to play the piano. (Both of those are to impress Rita.) He becomes connected (over reliving this day so many times) with everyone in the town. They all like him, and he likes them. His life and his attitude have totally changed from what they were in that first February 2. What a difference a day makes (when you live it several thousand times).

This story clearly has a bit of Hindu and Buddhist thought involved in it. The whole idea of regeneration and living live many times is very tied to those Eastern religions. The film also seems to find humor in karma catching up with Phil from time to time. One of the key messages for the film is that we reap what we sow. When Phil treats people like trash, he gets no love in return, but when he shows love to others, his life is filled with their joy.

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So, as we sit at home day after day, week after week doing the same thing, how will we react? How about the others in your house? I expect that, like Phil, most people will go through a whole range of emotions. There will be times of elation, of anger, of fear, of despair, of confusion. We can make our lives and the lives of those around us miserable. That was what Phil does for most of the movie. But we can also, if we open ourselves up to the needs of others, and open ourselves up to learning new things, discover that this time might be filled with joy.

A line from the hymn “Great is Thy Faithfulness” came to mind as I thought about Phil’s final attitude: “Morning by morning new mercies I see.” Even in times such as these when we are all self-isolating trying to slow the spread of a dangerous disease, we can still find new mercies if we set our minds and hearts to that task.

Groundhog Day is currently streaming on Netflix. It is also available for rent on Amazon Prime.

Isle of Dogs – It’s Cute, but It Has a Bite

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If you’re looking for a movie to go to for the fun of it, let me share what my wife’s comment was when we came out of Wes Anderson’s Isle of Dogs: “It made me smile all the way through.” If you want a movie that allows us to consider some important issues in our world, Isle of Dogs fulfills that desire as well. This is one of the great examples of having a film that entertains well and at the same time goads our minds into active thought. It is very much like a cross-cultural extended parable.

(From L-R): Bryan Cranston as “Chief,” Bob Balaban as “King,” Koyu Rankin as “Atari Kobayashi,” Bill Murray as “Boss,” Edward Norton as “Rex” and Jeff Goldblum as “Duke” in the film ISLE OF DOGS.

Set in the near future in the Japanese city of Megasaki, there is disease spreading among the dog population. Fearing that the disease could spread to humans, Mayor Kobayashi decrees that all dogs will be deported to Trash Island, starting with his own family dog, Spots. Six months later, a small plane crashes on the island. As a small pack of dogs check this out, they discover a 12 year old boy as the pilot. Atari Kobayashi, the mayor’s nephew and ward, has come to look find his dog. The group sets off across the island to seek Spots.

It turns out the Mayor’s family has a history of animosity towards dogs and may have engineered the entire “crisis” as an excuse to finally eliminate all the dogs from Megasaki. As Atari and the dogs begin to discover the truth, it becomes a mission to bring down the government and restore the rights and lives of the doomed dogs.

The enjoyment of the film is very much like most of Anderson’s film. It is an inventive story that was developed by Anderson, Roman Coppola, Jason Schwartzman, and Kunichi Nomura. Part of the quirkiness of the film is that the dogs speak in English, but all the human characters speak in their native language (although the Japanese is nearly always translated to English). The voices are supplied by a long list of well-known actors including Bryan Cranston, Edward Norton, Jeff Goldbloom, Greta Gerwig, Scarlett Johansson, Liev Schreiber, F. Murray Abraham, Tilda Swinton, and Ken Watanabi.

But for all the canine enjoyment the film offers, it also has a bite. In a world filled with the politics of fear, Isle of Dogs reflects the reality of life in many places. Mayor Kobayashi uses dogs as a scapegoat, and in the process promotes his own power. This is not a new strategy—it is probably nearly as old as humanity itself. (We need to keep those Neanderthals away from our good people.) Watching not only the dogs and Atari, but the developing political situation in Megasaki makes it very clear that we are seeing the kind of things that go on around the world every day. Most importantly though, we should be reflecting on the ways these dynamics are taking place within our own society.

Every time the President speaks of the rapists and drug dealers that come from Mexico, he is attempting to stoke fear. The fears do not have to be legitimate—only believed. Islamophobia, homophobia, xenophobia, and racial prejudice are all attempts to create fear so that someone else can gain a bit more power. When we allow those fears to rule the day, it means we will likely cede more power to those who claim we need protection. But, as we also see in the film, the truth and determination can eventually defeat the lies that are spread.

Photos Courtesy of Fox Searchlight Pictures. © 2018 Twentieth Century Fox Film Corporation All Rights Reserved

Vice Principals: Educators with No Filters

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When the principal (Bill Murray) of North Jackson High retires to take care of his ailing wife, his two vice principals attempt to fill the power vacuum. But for the students of NJHS, this could be an absolute disaster because these two men are train wrecks.

On one side, the rule-oriented Neil Gamby (Danny McBride) dictates behavior with his loud, profane barking at students, faculty, and staff; on the other, Lee Russell (Walton Goggins) shallowly covers his ambitious scheming with schmoozing. These two foul-mouthed administrators each believe that they will be the next principal – until the School Board sends in college professor (and actual educator) Dr. Belinda Brown (Kimberly Herbert Gregory) into the the school. Suddenly, rather than vying for different elements of the school to like them better than the other, they are united against this common threat.

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While the show has its funny moments, the overall trajectory is a downward spiral of self-destruction and brokenness. Vice Principals is like a school-based sitcom with Married with Children mixed in: we watch this kind of comedy to feel better about ourselves. Frankly, McBride and Goggins are spot-on as absolutely ridiculous and over-the-top creeps, even when they’re not burning down Brown’s house. Their inability to appropriately interact with other people is even worse.

 

One of the saddest (and sometimes funny) side stories is Gamby’s ‘family’ life. He has no friends at school and can’t seem to connect with Amanda Snodgrass (Georgia King), the new English teacher he has his eyes on. But he tries to stay involved in the life of his daughter, which draws him into the circle of his ex-wife, Gale (Busy Philippe), and her new husband, Ray (Shea Whigham). The thing is that Ray might be the most wholesome person on the show, and Gamby can’t see it because his whole vibe is so messed up!

HBO’s new comedy hits on dysfunction, and thrives on brokenness. I doubt it’ll be used in an educational snippets in schools, but some educators may find that the uncensored take on school is really what their inner monologue wants to say. Vice Principals proves that sometimes, what we don’t say could be as important as what we do say.

The Jungle Book – Updating a Classic of a Classic

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“Now this is the Law of the Jungle — as old and as true as the sky;
And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die.

As the creeper that girdles the tree-trunk the Law runneth forward and back —
For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.”

The Jungle Book is Disney’s new high-tech, live-action (sort of) remake of their 1967 animated film based on Rudyard Kipling’s 1894 book. The new version tries to find a middle path between the more light-hearted earlier film, and the darker, more mythic Kipling story. Director Jon Favreau purposely wanted to keep some of the elements of the earlier film that he loved as a child. But rather than produce a straight remake, he has created something much more enticing with much greater depth.

Because the film is mostly CG animation (assisted at various points of production with puppetry and motion capture), it has an amazingly realistic look to it. These are not cartoon tigers, wolves, and bears. They look real, even though they talk. That in itself makes the film a bit darker and scarier (especially for younger children). The action/adventure element can be intense at times, but that just adds to the enjoyment of the film.

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The film is part coming of age story and part hero’s journey. This is the story of Mowgli (Neel Sethi, the only actual onscreen performer), a man-cub discovered alone in the jungle as an infant by the panther Bagheera (voiced by Ben Kingsley). Knowing that Mowgli would need “a people” to raise him, he was left with the wolf pack lead by Akela and Raksha (Giancarlo Esposito and Lupita Nyong’o). This is the only home and family that Mowgli has known. When the tiger Shere Khan (Idris Elba) discovers there is a man-cub in the jungle, he vows to kill it and anyone who stands in his way.

It is decided that Mowgli must leave the jungle for the realm of men. He and Bagheera start off on a journey to the human village. Along the way there are adventures—some fun, others quite dangerous—in which Mowgli must learn to make wise choices. He also must use his resourcefulness (a part of his human nature) as he makes his way. Among those he meets on the way are Kaa (Scarlett Johansson) a massive and seductive python, Baloo (Bill Murray) a slothful but lovable bear, and King Louie (Christopher Walken), a huge Gigantopithicus (a cross between an orangutan and a yeti) who wants Mowgli to give him the secret of man’s red flower (fire) so he can rule the jungle.

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There are several themes in the story worth exploring. The first is what it means to be human and what it means that humans are animals. Mowgli, having been raised by the jungle animals, really thinks like them. He has had no contact with humans so he doesn’t know what they are like. Yet, he is also different from the animals. He has “tricks”. He creates and uses tools. He makes complicated plans to achieve an end. But Mowgli, even though he has certain skills as a part of his nature, is never seen as above the other animals. He feels he belongs to the jungle, and most of the animals accept him as he is.

Mowgli also must choose between two approaches to life. Bagheera, his primary mentor, and the wolf pack live by order and rules. The pack regularly recites the Law of the Jungle (taken from a Kipling poem). Bagheera (as played by Kingsley) has a military swagger. But when Mowgli meets Baloo, he is exposed to a much different understanding. Baloo lives for ease and pleasure. At first look, this may come across as the kind of difference between wisdom and folly found in the biblical book of Proverbs. But Mowgli learns that each way of living has its own rewards. It is not so much that he must choose between them as he must learn to balance them. Bagheera and Baloo also learn of the need to balance.

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But the key value that The Jungle Book puts forward is that of community. Mowgli alone may be resourceful and creative, but he is no match for the dangers in the jungle. That is why Bagheera gave him to the wolf pack to raise. Much of the film is built around the idea of community: Mowgli and the Pack, Mowgli and Bagheera’s relationship, and Mowgli’s working and playing with Baloo are all about the importance of being tied to one another. And when Mowgli and Shere Kahn must settle scores, as we know they must, it is the Law of the Jungle—“For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack”—that sets the stage for the outcome. In Ecclesiastes it says,

“Two are better than one, because they have a good reward for their toil. For if they fall, one will lift up the other; but woe to one who is alone and falls and does not have another to help. Again, if two lie together, they keep warm; but how can one keep warm alone? And though one might prevail against another, two will withstand one. A threefold cord is not quickly broken.”

The importance of helping each other and living in peace with others is at the core of The Jungle Book.

Photos courtesy of Walt Disney Studios

On The Small Screen: From Snow White to Sandra Bullock (2/2/16)

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SmallScreenThis week’s offerings include: Snow White & the Seven Dwarfs, Our Brand is Crisis, Rocking the Kasbah, The Last Witch Hunter, Batman: Bad Blood, Freeheld, The Assassin, Man Up, and Meadowland.

 

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Our Brand is Crisis (Warner Bros.)

Sandra Bullock has never looked so bad – even in 28 Days! As Calamity Jane Bodine, she is drawn out of retirement to provide political advice (and spin) to a Bolivian presidential candidate (Joaquim de Almeida). What transpires is an exploration of truth, lies, and politics (a non-too-gentle blend of the in-between) that seems to be like a drawn-out episode of Scandal that just isn’t that interesting. Sure, it draws in Billy Bob Thornton (Bodine’s adversary politically), Anthony Mackie (Avengers unite!), and Zoe Kazan, but unfortunately there’s just not enough to make this non-politically savvy reviewer care. [There is however a notable special feature here about how Bullock persuaded them to make the main dude into… a woman, just for her.] Verdict? Rent… if you’re a Sandra Bullock fan.

 

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Rocking the Kasbah (Universal)

The last time we saw Bill Murray, he was Aloha… (or was it the five minutes we watched of A Very Murray Christmas?) Somehow, the one-time great has succumbed to a list of average roles that play on who Murray was rather than who he is. Here, he’s cross-cultural as a has-been rock musician’s manager who ends up ditched in Kabul, and ‘discovers’ a local who he tries to leverage through the Middle Eastern version of a talent show (think American Idol). While it’s amusing to consider the ways this could all go wrong with some sweet sentiment, it’s just not the Murray that we once knew and loved. Yes, it’s clever in the turnabout, but there’s just not enough to make us true believers. [Special features here include a look at Murray’s character, Richie Lanz, and Murray himself.] Verdict? Rent and sing along.

 

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The Assassin (Well Go USA)

After winning the Best Director award at the 2015 Cannes Festival, director Hou Hsiao-hsien must feel pretty good about his film – now selected as Taiwan’s choice in the 2016 Academy Award race for Best Foreign Language film. Here, the young woman Nie Yinniang learns both how to be a saint (a nun) and a martial arts expert at the feet of the military leader who abducted her as a child. Now, she finds herself back in her native land, aimed at killing her husband-to-be. She faces her own emotions, and those of her family and culture, battling the age-old combat of nature versus nurture. A decidedly different film than typical Western fair, The Assassin speaks lyrically and visually in ways that put most blockbusters to shame (except the nearly dialogue-free Mad Max: Fury Road). Who would you choose to be if you had to fight what you considered your nature? (The Apostle Paul had a few things to say about such things…) Verdict? Cultured fans – buy; Everyone else – rent

 

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Freeheld (Lionsgate)

When Laurel Hester (Julianne Moore) is diagnosed with terminal lung cancer, she recognizes that while her life is over, she can still help her partner, Stacie Andree (Ellen Page). Battling for her benefits, Hester enlists the aid of her police officer partner, Dane Wells (Michael Shannon), and Steve Goldstein (Steve Carrell), the founder and chair of Garden State Equality. A heartfelt and, at times, intense drama, the film challenges us to consider those who are marginalized and left out because they do not fit inside of what society considers its norms. Regardless of belief system, how a society cares for its “least and last” has a lot to say about it, right? Verdict: Rental — too tough to watch twice!

 

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The Last Witch Hunter (Lionsgate)

For the love of Vin Diesel… I wish this one was better. The cursed eternal Kaulder (Diesel) fights evil wherever he finds it, with the help of a “Dolan” – think the Companion to Doctor Who. The thirty-sixth Dolan (Michael Caine) dies and is replaced by the less-experienced thirty-seventh (Elijah Wood) in a bit of casting that is surely intended to amuse… Then there’s Ygritte, er, Chloe (Rose Leslie), who goes from bartender to ally a la Miriam in Raiders of the Lost Ark. Are you getting the picture here? The Last Witch Hunter is just a little derivative, and only the boldest of Diesel fans will any on for this whole CGI-spawned ride about good versus evil. Verdict? Ouch.

 

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Batman: Bad Blood (Warner Bros.)

In the latest animated (direct-to-home media) feature length film, Batman (Jason O’Mara) is presumed dead as a new villain, The Heretic, unites various lower-level villains like Killer Moth, Electrocutioner, etc. to terrorize Gotham. But Batman’s “family,” in the persons of Robin, Nightwing, Batwoman, and others, rise up to meet this new threat, even as they investigate what has happened to their fearless leader. But there is more going on here in terms of the conspiracy behind Bats’ disappearance: the League of Assassins and Bats’ sometime-girlfriend, Talia al Ghul (Morena Baccarin), have a nefarious plot in mind. While some believe that Batman/Bruce Wayne has actually gone over to the dark side, the ‘true believers’ hold onto their knowledge of him – they know he would never abandon them or Gotham City. Part mystery/part adventure, Bad Blood proves to be a good holdover until Batman vs. Superman. Verdict? Batman Fans: Own; Others: Rent

 

meadowlandMeadowland (Cinedigm)

Olivia Wilde and Luke Wilson play against type in this close-up study of grief, marriage, and what makes us human as Sarah and Phil. Having lost track of their young son while on a road trip, they struggle with his loss through the means that they are provided – both legitimate and illegitimate. But the struggle they experience seems reasonable given their grief, and those seeking to examine the depths of their own pain may be moved, but … entertained? Director Reed Morano moves Wilde, Wilson, John Leguizamo, Elizabeth Moss, and Giovanni Ribisi in their paces in his directorial debut (of which you can catch the behind-the-scenes view on the DVD). Verdict? Rental.

 

snowwhiteSnow White and the Seven Dwarfs (Disney)

The beautifully simple animation of Walt Disney’s 1937 feature-length allegory is still spellbinding. As Snow White wrestles with the evil in the world in the person of the Evil Queen, the audience sees that the beauty of this young woman is in her hope and gentle grace. Her impact deters the Queen’s Huntsman and changes the lives (positively) of the dwarves; in the end, her innocence is redeemed because she refuses to succumb to the darkness around her. This is the first time the story has been presented in Digital HD but the Blu-ray combo pack contains special looks at Disney’s love for the film, the impact socially (in pop culture) of the story, and much more. Verdict? Must Own.

 

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Man Up (Lionsgate)

Simon Pegg is hilarious. Star Trek, Mission Impossible, The World’s End, Hot Fuzz, Shaun of the Dead. But can he play the leading man? Lake Bell co-stars as a woman mistaken for Jack’s (Pegg) blind date. Whether you’re British or American, Pegg is funny, but it’s hard to know whether everyone will find this one as charming. Sometimes, you have to grab life, hold on, and go for it – both of these two do it, making for the adorable date movie you need just in time for Valentine’s Day. Verdict? Totally worth the rent. 

Murray’s Christmas is Kinda Merry

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A Very Murray Christmas

Bill Murray has done what few have been able to do in the last several years. He has put together a likable Christmas special that is not a parody and is not a variety show. Murray, along with his director Sophia Coppola and co-writer Mitch Glazer, write the bad-weather plotted story of Murray’s Christmas special that doesn’t happen.

Murray begins the special lamenting that his live special from New York isn’t going to happen because none of his high profile guests can make it into the city.  “The airports are closed,” he laments. “The trains are closed. The buses and bridges and tunnels are not working. A couple of saloons have closed. The entire city of New York has shut down.” After convincing Chris Rock to sing with him, the power goes out, putting an end to it all.

Murray, along with Paul Shaffer, spends the rest of Christmas Eve in the hotel’s bar. This is where the bulk of the special actually takes place. Because the show was produced for and aired on Netflix, bar language is permitted but not in a way that is vulgar, if that makes sense. And of course, there’s drinking.

And lots of singing.

Murray is like a Dean Martin, emceeing a group of his friends asking them to sing. Some of it is ridiculous, like Murray and Rock singing, “Do You Hear What I Hear?” Or humorous like Murray and George Clooney singing “Santa Claus Wants Some Lovin’.” But much of it is really good. Miley Cyrus sings “Silent Night,” reminding us that she really can sing. Maya Rudolph and Jenny Lewis balance out the ridiculous and humorous with their selections, not to mention Pogues’ “Fairytale of New York.”

There is an air of gloominess throughout the special. Murray opens the show with singing “Christmas Blues” due to the snow storm. There is a bride and groom unable to get married. Rudolph is drinking alone. It’s Christmas Eve and no one seems to be happy. But Murray is not Grumpy Bear. He tries to replace the grumpy with the merry. I’m not convinced that he gets there, but it is only an hour-long special. The important thing is that he tries.

A Very Murray Christmas

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very murray christmasSometimes Christmas just doesn’t work out. In A Very Murray Christmas (directed by Sofia Coppola and currently streaming on Netflix) Bill Murray’s live Christmas Eve TV special is completely undone by a massive storm and power outage. When he and Paul Shaffer head to a hotel bar to drown their holiday sorrows, they encounter others who are experiencing a very blue Christmas. Along the way there are appearances from (among others) Amy Poehler, Chris Rock, George Clooney, Miley Cyrus, Maya Rudolph, and Jason Schwartzman, some of whom have roles, others who play themselves. It is built around the kind of low-key humor that Bill Murray is famous for.

Like most TV Christmas specials, this is a paean to the secular version of Christmas. The one religious touch is Miley Cyrus’s rendition of “Silent Night”. The focus on the cultural celebration of Christmas centers on these people who are nearly alone as Christmas approaches: Murray and Schaffer who have basically been left without the show that was to be their holiday, a bride and groom who had to cancel their wedding because of the storm, the staff at the hotel bar who are stuck where they are, and other lonely people who have come here. Most of the songs that fill the show are about the idea of missing someone at Christmas.

While we usually think of Christmas as a joyous season, this is also a time when many people are indeed alone and depressed. That sorrow is only made worse when they are bombarded with the message that everyone is happy. We should note that much of that happiness is just as manufactured and counterfeit as the Christmas spirit of shopping malls (or of TV Christmas specials). The stresses of the holidays can wear on even those who find great meaning in either the secular or religious versions of this season. For those in this story, relief is found in discovering that there are others who share their plight—that they are not alone in their blues. Just knowing that we are not as alone as we may feel can bring a bit of relief.