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Very Murray Christmas, A
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by Rob Gonsalves

4 stars

In the Netflix Original holiday special "A Very Murray Christmas," Bill Murray exists in a weird holiday-special reality where some celebrities appear as themselves and others are playing roles.

Chris Rock, for instance, exists here as himself, but Amy Poehler and Maya Rudolph don’t; neither do Rashida Jones or Jason Schwartzman. There seems to be no rhyme or reason for this, just as there wasn’t in most star-studded holiday specials since the dawn of TV. If it’s funny for you to be up there playing yourself, as with George Clooney or Miley Cyrus or Bill Murray, you play yourself. Everyone else acts, although the milieu here is dark and artsy enough that even those playing themselves can be said to be playing fictional roles.

The special was directed by Sofia Coppola and written by Coppola, Murray, and Mitch Glazer. It plays like an off-market continuation of Scrooged, which Glazer cowrote, and Lost in Translation, which Coppola wrote and directed. It has the vague form of the former (we gotta put on a Christmas show!) and the ennui of the latter (what does it matter if we put on a Christmas show or not?). The two moods conflict entertainingly. Murray is stuck in a swank New York City hotel while a blizzard batters the metropolis. Nobody can make it into the city to join Murray for the live holiday special he’s obligated to host. Then the power goes out and there’s no more pretense of a show within the show. There is now only the show we’re watching, full of bored people who congregate around Murray to sing tunes both holiday and non-holiday.

Murray never had much of a singing voice; his Nick the lounge singer got by on sheer Vegas brio, and his karaoke crooning in Lost in Translation spoke volumes with its self-aware sadness. His performances here don’t have those Nick quotation marks around them — the joke isn’t that Bill Murray is the one singing these songs. The Murray we see here seems to want to discover some truth in the melodies, particularly the opener “Christmas Blues.” Accompanied by Paul Shaffer on piano — oddly, the only SNL veteran here from Murray’s era as a Not Ready for Prime Time Player among several other SNL-ers from later years — Murray brings a melancholy dignity to the music. What he lacks in technique (he wouldn’t make it far on The Voice, but then neither would Tom Waits or Warren Zevon) he compensates for in open emotion.

The special is light on narrative and wants to come across as tossed-off, but that doesn’t mean there isn’t a lot to unpack here. The bluesy, mildly sardonic tone will make A Very Murray Christmas a welcome perennial for those who resent the season’s omnipresence, its commercialism, its bullying insistence that everyone celebrate in the same way. After Murray has had too much brandy and passes out, he dreams that George Clooney and Miley Cyrus ride in on a sleigh to save the show, and they bring some razzle-dazzle (Clooney more or less hilariously Dean Martins his way through “Santa Claus Wants Some Lovin'”).

After that, though, Murray is more or less left alone again in his hotel room, albeit with Paul and the room-service guy. He looks out his window at the city, embodying the cliché of being alone among millions of strangers, same as in Tokyo.

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originally posted: 12/08/15 04:40:16
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  04-Dec-2015 (NR)



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