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- <text id=93TT1090>
- <title>
- Mar. 08, 1993: Bill Murray in The Driver's Seat
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1993
- Mar. 08, 1993 The Search for the Tower Bomber
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- CINEMA, Page 67
- Bill Murray in The Driver's Seat
- </hdr>
- <body>
- <p>Goofily charming in a hit comedy and silkily menacing in a drama,
- he perfects the role of Everyguy as superstar
- </p>
- <p>By RICHARD CORLISS--With reporting by Janice C. Simpson/New York
- </p>
- <p> If Bill Murray the actor were to be paid tribute by "Bill Murray,"
- the unctuously impolite bon vivant familiar from Saturday Night
- Live and a dozen film comedies, the evening might go something
- like this:
- </p>
- <p> What, ladies and gentlemen, is stardom? Stardom is, you replace
- the most famous performer on a hot TV show--as Bill Murray
- did in 1977 when Chevy Chase left Saturday Night Live--and
- you effortlessly out-fame him. Stardom is, you top-line in the
- most popular comedy of its time, Ghostbusters. Stardom is, you
- seem to be yourself on screen and people love you. Stardom is,
- you've got two movies out at once--your hit comedy Groundhog
- Day and the new crime drama Mad Dog and Glory--so you are
- your very own multiplex festival.
- </p>
- <p> Stardom--are you gettin' where I'm goin', folks?--stardom
- is Bill Murray.
- </p>
- <p> We call to the dais Harold Ramis, who has known Bill since 1969
- and gave us a new, gentler side of Bill by directing him in
- Groundhog Day. Brother Harold.
- </p>
- <p> "Before Bill was an actor, he already was who he is. He's laid
- back. He's a realist but not necessarily a cynic. He's witty,
- tending toward irony. He's like a nasty Jimmy Stewart. He's
- a hero for our generation, because he talks the talk of our
- generation but embodies the classic American-hero myths. Working
- with Bill this time was simply helping him honor things I know
- are there--tenderness, genuine concern for others, a kind
- of goodness without too much irony--but that he wasn't ready
- to risk showing to people before."
- </p>
- <p> Thank you, Harold. But I'd add that the old Bill Murray was
- pretty revelatory too. Who said, "The work of any pioneering
- artist first looks like excess, then reveals itself as precision"?
- Well, I guess I did, just now. But as Nick the Lounge Singer
- on SNL and in a lot of his movies, Bill taught us that there
- was a magical, very American bliss to be achieved by failing
- in public and not realizing it. He was the soul of the showman
- in every CPA who's just had that third Scotch on the rocks.
- He was the spirit of unfazed, unfounded self-assurance. He was
- Karaoke before Karaoke was cool. He was conviviality masking
- contempt masking--who knows what? He was...Everyguy.
- </p>
- <p> Danny Rubin, who wrote Groundhog Day, can speak to this subject.
- Danny?
- </p>
- <p> "The same lines in somebody else's mouth would seem insulting.
- But there's that charm with Bill, that magical quality, and
- you like him anyway. He can get away with things. I'm sure he's
- been doing it his whole life. He's very good at it."
- </p>
- <p> Thank you, Danny. And now Bill is very good at something else.
- In John McNaughton's Mad Dog and Glory, he's a loan-shark boss
- who shows his gratitude to a cop, Robert De Niro, by sending
- him a woman, Uma Thurman, for a week's pleasure. The movie is
- a little gimpy, and I wanted to fast-forward during the reaction
- shots. And you know our guy is playing the villain, because
- he goes to White Sox games and Bill is a famous Cubs fan. But,
- hey, he's molto impressive. He drops his voice half an octave;
- he walks like a golem tailored by Armani; he puts his silky
- style in the service of menace. It's a whole nother dimension
- to him.
- </p>
- <p> Let's hear testimony from the co-producer of Mad Dog and Glory,
- Steve Jones.
- </p>
- <p> "If you sit in a room with Bill, it's obvious there's some darkness
- in his soul. And if you work with him the way we did, you find
- that it bubbles up every once in a while. I think Bill was hungry
- for a serious role. He likes to project a persona that he just
- rolls out of bed and does these things. But I found out he was
- doing dance-movement exercises to get himself in shape."
- </p>
- <p> An actor prepares. Thanks, Steve. Now folks, let me ask you:
- What becomes a legend most? That's right. Disappearing. You
- remember, after Ghostbusters and The Razor's Edge, Bill vamoosed
- to Paris with his family. Took courses at the Sorbonne--that's
- French for Harvard and Yale put together. He did a great cameo
- in Little Shop of Horrors, but otherwise, for four years Bill
- was J.D. Showbiz Salinger. And we're sorry to say that Bill
- couldn't be here tonight. Maybe he thought this was a roast
- and not a toast. He can be a suspicious guy. As Harold told
- me, "Bill has one of the most overworked bulls detectors of
- anyone I know."
- </p>
- <p> But Bill, wherever you are, I just wanted to tell you that--after Steve Martin, and just ahead of Billy Crystal, and until
- Eddie Murphy and Bette Midler regain their strides--you are
- screen comedy, pal. And I mean that, even if when Bill says,
- "I mean that," you're pretty sure he doesn't mean that. I do
- mean that. Really. I mean that.
- </p>
-
- </body>
- </article>
- </text>
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