Bill Murray St Vincent and the Magic of a Grumpy Saint
You've probably seen the poster. Bill Murray, looking like he just woke up in a dumpster but somehow making it look like high fashion, wearing a pair of headphones and a look of pure, unadulterated annoyance. That’s the vibe of St. Vincent. When it hit theaters back in 2014, critics were a bit split. Some called it sentimental mush. Others saw it for what it was: a masterclass in "Murray-ism."
The movie follows Vincent MacKenna, a retired, alcoholic Vietnam vet living in Sheepshead Bay, Brooklyn. He’s the kind of guy who picks fights with his bank because he's overdrawn by $112 and treats his 30-year-old Chrysler LeBaron like a sacred relic. Enter his new neighbors: Maggie (Melissa McCarthy), a struggling single mom, and her son Oliver (Jaeden Martell). Because Maggie works late shifts as a radiology tech, Vincent becomes the world's least qualified babysitter for a fee, obviously.
The 800-Number and the In-N-Out Meeting
The story behind how this movie even got made is honestly more "Bill Murray" than the movie itself. Ted Melfi, the director, didn't have a backup plan. He wanted Murray. Period. But as anyone in Hollywood knows, Bill Murray doesn't have an agent. He doesn't have a publicist. He has a 1-800 number that he checks whenever he feels like it.
Melfi left dozens of messages. Nothing. Then, out of the blue, Murray called back. He didn't want a formal meeting in a glass office. He told Melfi to pick him up at LAX. They drove around for three hours, stopped at an In-N-Out Burger, and ate in the car while Murray "flipped the script." Literally. Murray suggested moving lines from the bottom of scenes to the top to better fit his "topspin" acting style. By the time they finished their burgers, the movie was a go.
Why It Isn't Just Another Grumpy Old Man Movie
Look, we've seen this trope a thousand times. The "curmudgeon with a heart of gold" is a Hollywood staple. But Bill Murray St Vincent works because it doesn't make Vincent a secret hero right away. He’s actually kind of a jerk for most of the runtime. He takes a 12-year-old to a racetrack. He introduces him to a "lady of the night" named Daka (played brilliantly by a pregnant, Russian-accented Naomi Watts). He even teaches the kid how to break a bully's nose.
It's messy.
The real weight of the film comes when we find out why he’s so broke and bitter. He’s spent years paying for a high-end nursing home for his wife, Sandy, who has Alzheimer’s. He does her laundry. He pretends to be a doctor just so she won't be scared when he visits. This isn't just "sentimental territory"; it's a gut punch about the quiet sacrifices people make when the world isn't looking.
The Cast That Shouldn't Have Worked (But Did)
- Melissa McCarthy: At the time, she was known for broad, physical comedy (Bridesmaids, The Heat). Harvey Weinstein reportedly didn't see her as a fit for a dramatic role. He was wrong. She plays Maggie with a grounded, exhausted realism that keeps the movie from floating off into "indie quirk" land.
- Jaeden Martell: This was his film debut. Most child actors in these roles are "too cute." Martell is just... a kid. His chemistry with Murray is authentic because it feels earned, not forced.
- Naomi Watts: Seeing an Oscar-caliber actress play a pregnant Russian stripper who is basically Vincent's only friend is a trip. She steals almost every scene she’s in.
The "Saints Among Us" Turning Point
The movie builds toward Oliver’s school project. He has to nominate a "living saint." He picks Vincent. It sounds cheesy on paper, right? But the film defines a saint not as a perfect person, but as someone who shows "commitment, dedication, and sacrifice."
Oliver points out that Vincent is a veteran who saved lives in Vietnam. He points out his devotion to his wife. He argues that even though Vincent is a "misanthropic, bawdy, hedonistic" man, he’s also a human being who shows up when it counts.
The Awards and the Legacy
The film was a surprise hit, grossing about $54 million on a $13 million budget. Murray pulled in a Golden Globe nomination for Best Actor (Comedy or Musical), and the film itself was nominated for Best Picture in the same category. Critics like Richard Roeper gave it an "A," though some—like the folks at Rotten Tomatoes (where it holds a respectable 77%)—warned that it gets a bit sugary at the end.
Is it a perfect film? No. The loan shark subplot feels like it belongs in a different movie, and the ending is wrapped up a bit too neatly. But the scene during the credits—where Murray sits in a plastic lawn chair, watering a patch of dirt while listening to Bob Dylan’s "Shelter from the Storm" on a Walkman—is arguably one of the best moments in his later career.
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Actionable Takeaways for Your Next Rewatch
If you’re going to revisit St. Vincent, or watch it for the first time, keep these things in mind to get the most out of it:
- Watch the Background: Pay attention to Vincent's house. It’s cluttered, decaying, and real. It tells the story of a man who stopped caring about himself the moment he had to start caring exclusively for someone else.
- Listen to the Script's "Topspin": Try to spot the lines Murray moved. You can usually tell because they’re the ones that feel a bit more deadpan and "off-beat."
- Appreciate the Silence: Some of the best acting in the movie happens when Murray isn't saying anything. His facial expressions during his physical therapy sessions after his stroke are heartbreakingly honest.
If you want to see more of this side of Murray, check out The Razor's Edge (1984) or Lost in Translation. They both capture that same blend of sadness and humor that makes St. Vincent worth your time, even a decade later.