The Holdovers A Seasonal Gem: In the realm of questionable business decisions, the release timing of Alexander Payne‘s contemplative holiday comedy, “The Holdovers,” stands out—arriving several weeks post-Christmas. The film not only captures the essence of the season but delves into its vibrant yet fleeting emotions. Picture a Hallmark card depiction of snowy 1970s New England, gradually transitioning to the poignant solitude of being anchored in familiar comforts.
Marking Payne’s return to the director’s chair after the 2017 sci-fi comedy “Downsizing,” a film met with mixed reviews, “The Holdovers” reunites him with his “Sideways” collaborator, Paul Giamatti. Payne navigates familiar terrain, offering a gently barbed social satire tailored for the cynics and curmudgeons. Screenwriter David Hemingson, a fixture in television, contributes cleverly literate humor, while the film embraces a sentimental core that seamlessly shifts into tragedy.
Giamatti takes on the role of Paul Hunham, the quintessential curmudgeon who claims to have forsaken sensual pleasures for loftier spiritual pursuits. Despite his declarations, his body aches, and his mind is confined within the walls of Barton Academy. Here, he imparts classical civilization lessons to a group of affluent yet, in his words, “rancid little philistines” resisting his strict curriculum of Marcus Aurelius and the Peloponnesian War. Giamatti delivers a remarkable performance, grounding his character’s frustrations not in cruelty but in a misguided longing to mold these young boys into better men.
Paul’s punishment for an altercation with a legacy kid leads to his nominal caretaking role for students stranded at the academy during the holidays—the titular “holdovers.” Among them is Angus Tully (Dominic Sessa), the brightest but most troubled in Paul’s class, bearing the weight of a broken family. Mary (Da’Vine Joy Randolph), the school’s head chef, completes this trio of lost souls, haunted by the memory of her son who perished in Vietnam.
Sessa, in his professional debut, brings depth to Angus, portraying subtle anguish through posture and expressions. Giamatti, Sessa, and Randolph share a compelling dynamic, enveloped by the nostalgic aesthetics of Payne’s homage to New Hollywood filmmakers of the Seventies, complete with a mono sound mix and custom studio logos.
While the film’s visual appeal is charming, the true emotional resonance comes from its exploration of grief and how privilege shapes its expressions. Angus, scarred but defiant, engages in minor conflicts without contemplating consequences. In contrast, Mary’s grief finds limited outlets. The school chaplain’s words, “we accompany you in your grief,” feel hollow. Yet, Payne, in a pivotal moment, allows the camera to delve into Mary’s space, revealing a profound expression—a masterful culmination of Randolph’s controlled performance.
In the midst of tinsel and lights, “The Holdovers” seeks peace within the isolated realms of these poignant characters, crafting an exquisite narrative that transcends the holiday backdrop.
FAQ About The Holdovers A Seasonal Gem
Is it worth watching The Holdovers?
In this heartwarming film, the trio delivers impeccable performances, blending humor and depth, embarking on a transformative adventure. Giamatti shines, portraying a man navigating life behind his public persona.
Is The Holdovers a comedy?
Directed by Alexander Payne and penned by David Hemingson in his feature writing debut, “The Holdovers” is a 2023 American Christmas comedy-drama film that promises a unique and engaging cinematic experience.