Great PerformancesJudy Holliday, Bells Are Ringing

She had a little, kewpie-doll voice and a large frame; the 5ft.10in. comedienne would have bought her gowns at the Big & Tall Ladies’ Salon. Judy Holliday was also the most dynamic, engaging musical comedy star of her generation. That makes her only movie musical, Bells Are Ringing, one to treasure. Adapted by her old Revuers pals Betty Comden and Adolph Green from their Broadway hit, with tunes by Jule Styne and direction by Vincente Minnelli, the film casts Holliday as Ella Petersen, an answering service operator who brightens her customer’s lives but has no control over her own. Dean Martin is the wrong guy who becomes Mr. Right, and Eddie Foy Jr. a bookie with a scheme to take phone bets disguised as orders for classical records (“Who is Handel? Hialeah! Hialeah!”). But it’s Judy’s show, and she’s a pearl: sweet, vulnerable, totally winning. Her farewell song (“I’m goin’ back / Where I can be me / At the Bonjour Tristesse Brassiere Company”) has an extra poignance because this was Holliday’s final film. She died of throat cancer five years later, at 44.
Next: Bill Murray, Groundhog Day
Great PerformancesBill Murray, Groundhog Day

Selfish and snarky, Murray’s Phil Connors is a Pittsburgh weatherman who plans to be in Punxsutawney, Pa., for just one day: Feb. 2, Groundhog Day. Except that the day repeats itself, with infinitely minute variations, until Phil gets it right. Punxatawney becomes Phil’s Purgatory, or maybe Limbo, a place with this weather report: “It’s gonna be cold, it’s gonna be gray, and it’s gonna last you the rest of your life.” The script for this 1992 film, by Danny Rubin and director Harold Ramis, superbly balances comedy and philosophy. (Is God a Groundhog? Discuss.) But it’s Murray who sells, and inhabits, this rumination on life as an endless repetition of small inanities and indignities. Since Caddyshack and Ghostbusters, Murray has refined his amiable doofus into the minimalist modern man—his posture a question mark, his face a concrete poem of anticipated disappointment. Murray—Man should have won an Oscar for Lost in Translation, and certainly for this film, where he can rise to romance and sink to despair—and be wonderfully funny—all in the same day.
Next: Brigitte Lin, Swordsman II