It’s been a while since we’ve seen director Alexander Payne team up with the always welcome presence of Paul Giamatti. The duo previously collaborated on eventual Best Picture nominee, Sideways way back in 2004, almost 20 years ago. And after seeing The Holdovers, one thing is surely apparent: These two are a match made in heaven!
Payne’s always been a respected director. Though his last film, Downsizing, was a bit of a misstep, The Holdovers sees him returning to his fine acerbic form, particularly given the incredibly sharp screenplay from David Hemingson. It’s also one of his most heartfelt films to date. It’s definitely a shame that he and Giamatti have only done two films together thus far, because it’s a pairing that really works wonders, with both parties really bringing out the tenderness in one another.
The Holdovers is a comedy taking place in 1970. It centers on a prestigious boarding school called Barton Academy, and the unlikely friendship that forms between a strict Classics teacher, his bright but troubled student, and the academy cafeteria’s resident head chef over the course of a holiday break, in which all of them are stranded together on campus for several days. Giamatti plays the teacher, Paul Hunham, a stern, cantankerous man who appreciates knowledge and education above all, but has absolutely no tolerance for most people. Da’Vine Joy Randolph plays the dining hall’s chef, Mary Lamb, who recently lost her son in the Vietnam War. And newcomer Dominic Sessa plays Angus Tully, a bright, if not rebellious Barton student whose difficult family problems cause him to be the only kid left on campus for the holidays.
The joy of this film really comes from seeing these relationships develop, the wonderful exchanges between the characters, and how they grow and evolve during the course of the movie. It’s a very simple story. But what Payne, Hemingson, Giamatti, Randolph, and Sessa do with these characters and how the characters help fix one another during the events of the movie is masterful. It’s actually what made The Holdovers one of my favorite films this year.
I predict we’re going to see golden acclaim for Hemingson’s hilarious and sweet-natured screenplay. The script’s dialogue pops and bites with clever hilarity (I found myself laughing out loud so many times), but it also contains smartly planted reveals that allow the characters to develop organically at the perfect moments that provide the perfect momentum for the story to progress. In short, it’s the perfect example of showing, not telling, gone right. And something that evokes the work of authors like JD Salinger. In fact, much of the movie feels like you’re experiencing a smartly crafted literary work of comedy.
It’s an intelligent, character-focused script. Each of these characters is damaged in different ways, from Hunham’s bitterness at the world and inability to connect with human beings; Tully’s angry, rebellious nature and abandonment issues; and Lamb’s grief and diminishing tolerance for her companions. However, what Hemingson does to interweave the strengths and weaknesses of each of these characters into one another’s lives to help them mend the gaps and shortcomings between themselves, to leave them impacted by each others’ presences by the end of the film, is nothing short of spectacular and heartwarming. These are three lonely characters who find an almost-family in one another during the holidays. Really beautiful work.
Giamatti is absolutely brilliant as Hunham. We have a character who is completely set in his ways but is never at all boring or one-dimensional. There’s so much going on at the center of his performance, allowing us to understand that there’s some reason deep down why this likeable curmudgeon has a chip on his shoulder. We like the character even if he’s a jerk. And sure enough, more gets revealed later that’s so incredibly consistent with what we’ve seen of the character, so by the end we absolutely love him. That’s Giamatti’s ability to humanize him, and understanding both the direction and script he’s been given, and inject true soul into this character, but not so much to detract from how horribly socially awkward he is as well. The result is so incredibly funny, but so incredibly warm. Easily one of the best performances of his career.
Speaking of career defining, Randolph and Sessa (the latter of which this is his first role ever!) deliver phenomenal performances that will absolutely put them at the top of every casting list in Hollywood once the Oscar nominations are announced. Randolph’s work on Broadway has, of course, garnered her much acclaim and followers; as did her breakout role in Dolemite is My Name. But if her role in that was the breakout, this is the work that’ll propel her to superstardom. She’s tough, and vulnerable, with pitch perfect comedic timing. Her character is the only one in the movie that displays a shred of heart and humanity in the beginning, acting almost as a conscience for both Tully and Hunham. However, she has some powerful scenes scattered throughout the movie, particularly when it dives into her struggles with grief. Two scenes in particular come to mind: one at a Christmas party, and another while she’s gazing upon some hand-me-down baby gifts. Randolph’s tenderness and kind performance are felt with every smirk, smile, and tear she exhibits through the course of the movie.
The only criticism I have of her character is she seems to have, perhaps, the least amount of development of the three characters. The movie really does want to focus its story on the relationship between Tully and Hunham, which means Mary Lamb is often relegated to a “den mother” sort of role. Though still a strong character with a fine performance, the character seems solely designed to push these other characters forward, without too much momentum for herself. It’s the only downside to an otherwise fairly excellent film.
On the other hand, Sessa is an absolute find! Playing the troubled Angus Tully, Sessa dominates the screen with a fire that exemplifies the mischievous recklessness of youth, married with the worldliness and melancholy of a teen who’s seen and lost more than his peers. There’s so much going on with this character, showcasing a kind and gentle leader beneath an angry, yet fun and sharp young man on the brink of true adulthood. We root for and fall for this character the same way Randolph and Giamatti’s characters do. And it’s because Sessa explodes into the scene with a semblance of untainted innocence hanging by a single thread. It’s a mature, funny, and charming debut for the young actor, who I predict, is on his way to becoming a big star!
Payne knows how to intersplice and capture the sad hilariousness of the situation that these characters are in, and bring out the humanity in all three characters. He does this with brilliant comedic timing, but also knows exactly what notes to hit when the seriousness of their situations is skillfully revealed. The pathos he pulls from each of the characters early and throughout the duration of the movie as it things progress allows us to connect deeper and deeper with these characters, as they get closer with one another. It’s smartly done, and very heartwarming, without ever becoming over saccharine. It’s honest, but optimistic, even when it hits the more bittersweet notes.
To get the most out of his ‘70s setting, Payne knows how to evoke the look and feel of a genuine ‘70s drama. From the opening credits to the grainy filter of the cinematography, it felt like a wonderful throwback to films like Hal Ashby’s Harold and Maude. It immerses the audience in the setting, but also reminds them of when movies were really original and full of wry offbeat charm.
On the whole, The Holdovers is a delightful Christmas dramedy. It’s one of the sharpest scripts this year, with three of the finest performances of the holiday (and likely awards) season. With the look of a charming Ashby picture, and the feel of reading a classic Salinger novel, it’s a film filled with really endearing characters, sensationally smart humor, and a wonderful sense of human tenderness.
Overall Score: A-
