Fairy Tale and Film

Fairy Tale and Film
Phil finally gets his love interest to stay the night, but when he tries 
to save a tramp’s life, a man he continually disregarded as he stood in 
the street and begged for change, only to see him collapse and die – the 
shock of which forces him to acquire a new perspective on life. Reprising 
the kind of motif often seen in 
The Twilight Zone
, the film’s Capraesque 
quality is also apparent in both its touch of whimsy and its final mes-
sage. A miserable man realises the value of small town life and is cher-
ished by his adopted community in response. He may not save the 
tramp’s life, discovering that feeding him well for a day cannot reverse a 
lifetime’s damage and the destiny assigned to him, but the fact that he 
tries to make a difference is what counts. Phil is transformed from a mis-
anthrope into a caring and considerate man because he genuinely feels 
remorse when this man dies. Significantly, although unable to save this 
individual, he sets about helping others in the community, with this 
seemingly unimportant outsider inspiring him to make a difference. The 
desired romance with his colleague, Rita (Andie Macdowell), may even-
tually serve as his reward, but this is only achieved once Phil becomes a 
truly changed man, and oddly once he no longer seems that interested 
in her. Acquiring an understanding of the world, proving oneself as a 
man, and growing up are key fairy tale motifs that have found their way 
into films, yet 
Groundhog Day
serves as one of an interesting group of 
comic coming-of-age plots which reiterate the idea that maturity dawns 
not with losing one’s virginity but in acquiring a sense of compassion 
and responsibility towards others. Only when the protagonist learns to 
care for others (in some scenarios somewhat late in life) is he offered 
any real grounds for a successful relationship, or consequent happiness. 
An interesting counterpart, 
Shallow Hal 
(Peter and Bobby Farrelly, 
2001), also presents a man in dire need of maturity. Seemingly aping 
Grimm titles such as ‘Dumb Hans’ and ‘Clever Gretchen’, the plot hinges 
on shallow and chauvinistic Hal (Jack Black) supernaturally acquiring 
the ability to see everyone for the person they are inside, leading him 
to fall in love with a larger woman he would never usually be seen 
with. Eventually, his ‘real’ vision returns, yet his feelings for Rosemary 
(Gwyneth Paltrow) remain. Realising his distorted sense of perception 
he finally declares his feelings to her in front of a crowd, admitting 
‘I’m immature, I’m unthoughtful, I’m an idiot!’ The last point is 
affirmed in thinking ‘unthoughtful’ is an actual word, yet when he 
signs up to the Peace Corps to be with her we are inclined to believe his 
heart is in the right place. As for the odious best friend who appraises 
all women superficially, he confirms Hal’s suspicions that his poor 
attitude stems from fear, having been born with a physical deformity 

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Transformations and Male Maturation 
59
that has prevented him from getting close to women, a hideous wag-
ging tail. The film was a surprise to those used to the Farrelly brothers’ 
brand of bad taste comedies yet cleverly plays it both ways, making fat 
jokes throughout while claiming to have good intentions. It ends with 
the happy couple driving off together, and while the gesture is a little 
undermined by the car’s suspension dramatically depressed on her side, 
we nonetheless applaud the fact that Hal is a changed man.
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What Women Want
(Nancy Meyers, 2000) offers another comic 
fantasy where a fantastical transformation results. In a part that seems 
increasingly apt for the actor, Mel Gibson plays an incorrigible sexist in 
dire need of a makeover. Offensive to women and unable to relate to 
his daughter, he acquires a magical ability to ‘hear’ women’s thoughts 
and although he initially seeks to take advantage of the gift, he eventu-
ally learns to use it wisely.