Long live Harold Ramis.
Although he has never fully received his full due in the popular imagination on the par with one of his most devoted collaborators, Bill Murray, Harold Ramis is nonetheless a vital figure of American film comedy. A major creative voice behind popular comedies from the late 1970s throughout the 1990s. Ramis deserves an enduring place in the canon of American humor. Consider his productive six-year run as writer, in particular: Animal House (1978); Meatballs (1979); Caddyshack (1980); Stripes (1981); National Lampoon’s Vacation (1983); and Ghostbusters (1984). He would later put together him most ambitious comedic film narrative with Groundhog Day (1993), a beautiful romantic comedy. For the long 1980s (I just coined that phrase–the long 1980s, which runs from 1977 -1992, from “God Save the Queen” by the Sex Pistols to the election of Bill Clinton, but I digress), no other director/writer/actor was so integral to establishing the comedy best of the era while also effectively drawing on mainstream American comedic traditions.
His timing, his content, his comic framing were all on point. May his memory and that Egon hair stick with us.
For my take, the four films that should remain firmly within our popular and critical imaginations are Animal House, Caddyshack, Stripes, and National Lampoon’s Vacation. They exploit the most persistent and beloved of American comedic tropes–the tension between mainstream forces of respectability and the marginal forces of subversion, or, to be more concise: the snobs versus the slobs.
From the barbarians at the gates who emerged Animal House to the subversive caddy-underworld of an elite country club, to the ne’er-do-well losers who join the army out of desperation, to the bumbling, ever-failing American suburban father–the beloved marginal characters in these Ramis films exploit our communal desires to root for the underdogs, the Cinderella stories out of nowhere. Out of everywhere.