Bill Murray has no time for Kumbaya Catholicism.
In an interview with The Guardian, the actor, who grew up in an Irish-Catholic family (he was the middle child of nine) confesses to a preference for the traditional Latin Mass and talks about his favorite saint:
His parents were Irish Catholics; one of his sisters is a nun. This conspicuous religion adds to his broad church appeal (there’s a citation from the Christian Science Monitor on his golfing memoirs). You don’t need to ask if his faith is important to him. He talks about how 19th-century candidates risk not getting canonized because the church is keen to push ahead with the likes of John Paul II and Mother Teresa. “I think they’re just trying to get current and hot,” he smiles.
One new saint he does approve of is Pope John XXIII (who died in 1963).
“I’ll buy that one, he’s my guy; an extraordinary joyous Florentine who changed the order. I’m not sure all those changes were right. I tend to disagree with what they call the new mass. I think we lost something by losing the Latin. Now if you go to a Catholic mass even just in Harlem it can be in Spanish, it can be in Ethiopian, it can be in any number of languages. The shape of it, the pictures, are the same but the words aren’t the same. Isn’t it good for people to understand it? “I guess,” he says, shaking his head. “But there’s a vibration to those words. If you’ve been in the business long enough you know what they mean anyway. And I really miss the music – the power of it, y’know? Yikes! Sacred music has an affect on your brain.” Instead, he says, we get “folk songs … top 40 stuff … oh, brother….”
Certain fans of Murray in “Groundhog Day” are now nodding their heads. Check out Jonah Goldberg’s wonderful essay on the movie’s deep spiritual and philosophical meaning:
“In the years since its release the film has been taken up by Jews, Catholics, Evangelicals, Hindus, Buddhists, Wiccans, and followers of the oppressed Chinese Falun Gong movement. Meanwhile, the Internet brims with weighty philosophical treatises on the deep Platonist, Aristotelian, and existentialist themes providing the skin and bones beneath the film’s clown makeup. On National Review Online’s group blog, The Corner, I asked readers to send in their views on the film. Over 200 e-mails later I had learned that countless professors use it to teach ethics and a host of philosophical approaches. Several pastors sent me excerpts from sermons in which Groundhog Day was the central metaphor. And dozens of committed Christians of all denominations related that it was one of their most cherished movies.”
Maybe it’s worth giving Murray’s latest movie, “St. Vincent,” a chance.
And today we celebrate...