"The Holdovers" is a comedy drama film directed by Alexander Payne ("Election", "About Schmidt", "Sideways"). Starring Paul Giamatti in the lead role, as well as Dominic Sessa and Da'Vine Joy Randolph, it makes great use of its talented cast and excellent script to create a potential future holiday classic.
In December 1970 in New England, Paul Hunham (Paul Giamatti) works as an ancient history teacher at Barton Academy boarding school. Due to his strict, uptight nature, Paul is widely despised by both his students and his fellow staff members. With Christmas fast approaching, Paul is forcibly tasked with supervising the "holdover" students who are being left on campus over the holiday break. Much to Paul's annoyance, the only student who ends up remaining is Angus Tully (Dominic Tessa), a troublemaker known for causing problems in the past. Joining them is the campus cook Mary Lamb (Da'Vine Joy Randolph), who is still in mourning over losing her son in the Vietnam War. With the three of them stuck on school grounds for the next few weeks, Paul, Angus, and Mary each try their best to get along with one another, an undertaking that proves much easier said than done.
During the holiday season, I'm sure it's a tradition for many people to watch at least one popular movie set around this time. Some like to watch Kevin McCallister setting traps for burglars in "Home Alone", some like to watch George Bailey learn the value of his life in "It's A Wonderful Life", and some like to watch Clark Griswold's family mishaps in "National Lampoon's Christmas Vacation". As for me, I'm one of those few who like to watch John McClane save people from terrorists in "Die Hard". What can truly define a "Christmas Classic" is open for interpretation but after watching "The Holdovers", I have a strong feeling this film could very well fit that bill in a few years time.
The film expertly plays into each of the personality traits of this trio of characters. Of course, out of the three, it would have to be Paul Hunham who is clearly intended to be the lead protagonist. Paul embodies just about everything you could dislike in a teacher; he frequently grades his students harshly and he is tactless in the way he handles their feedback. Overall, he is a very unpleasant person to be around, and other members of his faculty seem to be in mutual agreement with the students. But where Paul's character becomes interesting is in how he interacts with the two others he is forced to spend time with. It is here Paul starts to open up for the first time, and we learn that beneath his mean exterior is in fact a vulnerable, lonely man who has never been shown any real love his entire life. He secretly yearns for affection but after a lifetime of pushing people away he has no idea how to make others truly like him for who he is.
Similarly, we are also shown that Angus has his own insecurities to deal with. Throughout the first act, we watch as Angus makes things difficult for Paul and the class, often interjecting with blunt questions regarding Paul's teaching methods, attracting the ire of others in the process. Like Paul, Angus is not very popular either but he has plenty of time to mature as he grows older, which is something Paul has failed to do. We later see that Angus acts the way he does as a coping mechanism for the lack of attention he receives at home. Angus longs for a family to spend time with, as his father is no longer in his life and his mother has chosen to leave her son behind over Christmas in favour of an impromptu second honeymoon with her new husband instead. As a result of all this, Angus lacks a true parental figure to show him love whenever he needs it, which has him living a directionless life.
Rounding things off is Mary, the bereaved school cook who is struggling to move on from her son's recent passing. Since this story is set in the early 1970s, a time when the Vietnam War was still a contentious issue among the public, it is shown that Mary is receiving little support for her loss due to her son's involvement in an unpopular conflict. Because of this, Mary is apathetic towards most others and feels dejected from the world around her. In spite of that, Mary nonetheless continues to work efficiently at her job as a way of keeping her mind off painful memories, demonstrating a stronger level of emotional intelligence than the other two. However, she is not above breaking down in front of others if someone makes an insensitive comment regarding her methods of grieving.
All three of these characters are each given their own individual arcs and thanks to David Hemingson's superb script, there are so many great dialogue scenes that allow for them to really come into their own. I particularly loved watching Paul and Angus interact with each other, almost like they are a bickering father and son unable to make sense of what makes the other one tick. There is also this scene that takes place in a bar that really shows how much they are growing as people. Here, we see Paul commit his first altruistic deed in preventing a physical fight from escalating between Angus and a drunk patron. He accomplishes this on the basis of intellect rather than brute force, which is heavily reflective of his character up to this point. Additionally, throughout the film, Mary serves as a necessary mediator between the two if things turn hostile. This is her way of demonstrating maternal instinct toward her two male acquaintances, as her son is no longer around for her to enact her usual parental duties. Each character relies on the other at some point in the story, and part of the fun is watching the ways in which one of them may assist in helping another become a better person.
Thanks to director Alexander Payne, the film also has a very distinct look to reflect the time period. Although the film was shot digitally, Payne uses a specific grainy colour grading scheme to make it look like it has been shot on film reels from the 1970s, something that helps enhance the atmosphere of many important scenes. Even the opening titles use the old Universal Studios and Miramax logo from this era, which is a perfect way to establish the film's retro setting. It's also worth noting that Payne has shot the film on location, using real buildings and schools that resemble a place you'd visit in this particular decade. Numerous scenes that take place inside small bars and school kitchens are appropriately cramped along with the characters inhabiting them, which allows the audience to better understand how they must be feeling at this time.
Each of the three actors all gave fantastic performances, but I think Paul Giamatti is the real highlight due to how much his character grows over the course of the film. There aren't too many actors who can play a completely unlikeable character that can change into a sympathetic hero, but Giamatti does a wonderful job here. Giamatti has always been one of those actors who adds at least one memorable thing to the films he is in and this just so happens to be one of his best roles to date. Newcomer Dominic Tessa also shines considerably as Angus, who carries his role with the right level of maturity and sincerity. For his first film role, Tessa knocks it out of the park as a troubled young man who craves love from a real family. However, my one complaint is that Angus is supposed to be fifteen but the 21-year-old Tessa clearly has a visible five o'clock shadow on his face throughout the whole film. Da'Vine Joy Randolph is also a nice addition to the cast, managing to hold her own alongside the other two. Many times throughout the film, Randolph plays into Mary's grief and depressed state, never once coming off as someone wishing to thrive on other people's sympathy. She knows she needs to move on from her son's death, but is also aware of the long and arduous healing process until that can happen.
If you're craving something beyond the usual onslaught of holiday movies, then "The Holdovers" might just be the film to satisfy your needs. It stands tall among most other films set during the Christmas season thanks to the combined efforts of its great cast, assured direction, and first-rate screenplay. In my eyes, this film has already earned its place as a modern holiday classic, although the reach of its popularity will dictate whether or not future opinions will agree with me. At this point, only time will tell.
I rate it a solid 9/10.
In December 1970 in New England, Paul Hunham (Paul Giamatti) works as an ancient history teacher at Barton Academy boarding school. Due to his strict, uptight nature, Paul is widely despised by both his students and his fellow staff members. With Christmas fast approaching, Paul is forcibly tasked with supervising the "holdover" students who are being left on campus over the holiday break. Much to Paul's annoyance, the only student who ends up remaining is Angus Tully (Dominic Tessa), a troublemaker known for causing problems in the past. Joining them is the campus cook Mary Lamb (Da'Vine Joy Randolph), who is still in mourning over losing her son in the Vietnam War. With the three of them stuck on school grounds for the next few weeks, Paul, Angus, and Mary each try their best to get along with one another, an undertaking that proves much easier said than done.
During the holiday season, I'm sure it's a tradition for many people to watch at least one popular movie set around this time. Some like to watch Kevin McCallister setting traps for burglars in "Home Alone", some like to watch George Bailey learn the value of his life in "It's A Wonderful Life", and some like to watch Clark Griswold's family mishaps in "National Lampoon's Christmas Vacation". As for me, I'm one of those few who like to watch John McClane save people from terrorists in "Die Hard". What can truly define a "Christmas Classic" is open for interpretation but after watching "The Holdovers", I have a strong feeling this film could very well fit that bill in a few years time.
The film expertly plays into each of the personality traits of this trio of characters. Of course, out of the three, it would have to be Paul Hunham who is clearly intended to be the lead protagonist. Paul embodies just about everything you could dislike in a teacher; he frequently grades his students harshly and he is tactless in the way he handles their feedback. Overall, he is a very unpleasant person to be around, and other members of his faculty seem to be in mutual agreement with the students. But where Paul's character becomes interesting is in how he interacts with the two others he is forced to spend time with. It is here Paul starts to open up for the first time, and we learn that beneath his mean exterior is in fact a vulnerable, lonely man who has never been shown any real love his entire life. He secretly yearns for affection but after a lifetime of pushing people away he has no idea how to make others truly like him for who he is.
Similarly, we are also shown that Angus has his own insecurities to deal with. Throughout the first act, we watch as Angus makes things difficult for Paul and the class, often interjecting with blunt questions regarding Paul's teaching methods, attracting the ire of others in the process. Like Paul, Angus is not very popular either but he has plenty of time to mature as he grows older, which is something Paul has failed to do. We later see that Angus acts the way he does as a coping mechanism for the lack of attention he receives at home. Angus longs for a family to spend time with, as his father is no longer in his life and his mother has chosen to leave her son behind over Christmas in favour of an impromptu second honeymoon with her new husband instead. As a result of all this, Angus lacks a true parental figure to show him love whenever he needs it, which has him living a directionless life.
Rounding things off is Mary, the bereaved school cook who is struggling to move on from her son's recent passing. Since this story is set in the early 1970s, a time when the Vietnam War was still a contentious issue among the public, it is shown that Mary is receiving little support for her loss due to her son's involvement in an unpopular conflict. Because of this, Mary is apathetic towards most others and feels dejected from the world around her. In spite of that, Mary nonetheless continues to work efficiently at her job as a way of keeping her mind off painful memories, demonstrating a stronger level of emotional intelligence than the other two. However, she is not above breaking down in front of others if someone makes an insensitive comment regarding her methods of grieving.
All three of these characters are each given their own individual arcs and thanks to David Hemingson's superb script, there are so many great dialogue scenes that allow for them to really come into their own. I particularly loved watching Paul and Angus interact with each other, almost like they are a bickering father and son unable to make sense of what makes the other one tick. There is also this scene that takes place in a bar that really shows how much they are growing as people. Here, we see Paul commit his first altruistic deed in preventing a physical fight from escalating between Angus and a drunk patron. He accomplishes this on the basis of intellect rather than brute force, which is heavily reflective of his character up to this point. Additionally, throughout the film, Mary serves as a necessary mediator between the two if things turn hostile. This is her way of demonstrating maternal instinct toward her two male acquaintances, as her son is no longer around for her to enact her usual parental duties. Each character relies on the other at some point in the story, and part of the fun is watching the ways in which one of them may assist in helping another become a better person.
Thanks to director Alexander Payne, the film also has a very distinct look to reflect the time period. Although the film was shot digitally, Payne uses a specific grainy colour grading scheme to make it look like it has been shot on film reels from the 1970s, something that helps enhance the atmosphere of many important scenes. Even the opening titles use the old Universal Studios and Miramax logo from this era, which is a perfect way to establish the film's retro setting. It's also worth noting that Payne has shot the film on location, using real buildings and schools that resemble a place you'd visit in this particular decade. Numerous scenes that take place inside small bars and school kitchens are appropriately cramped along with the characters inhabiting them, which allows the audience to better understand how they must be feeling at this time.
Each of the three actors all gave fantastic performances, but I think Paul Giamatti is the real highlight due to how much his character grows over the course of the film. There aren't too many actors who can play a completely unlikeable character that can change into a sympathetic hero, but Giamatti does a wonderful job here. Giamatti has always been one of those actors who adds at least one memorable thing to the films he is in and this just so happens to be one of his best roles to date. Newcomer Dominic Tessa also shines considerably as Angus, who carries his role with the right level of maturity and sincerity. For his first film role, Tessa knocks it out of the park as a troubled young man who craves love from a real family. However, my one complaint is that Angus is supposed to be fifteen but the 21-year-old Tessa clearly has a visible five o'clock shadow on his face throughout the whole film. Da'Vine Joy Randolph is also a nice addition to the cast, managing to hold her own alongside the other two. Many times throughout the film, Randolph plays into Mary's grief and depressed state, never once coming off as someone wishing to thrive on other people's sympathy. She knows she needs to move on from her son's death, but is also aware of the long and arduous healing process until that can happen.
If you're craving something beyond the usual onslaught of holiday movies, then "The Holdovers" might just be the film to satisfy your needs. It stands tall among most other films set during the Christmas season thanks to the combined efforts of its great cast, assured direction, and first-rate screenplay. In my eyes, this film has already earned its place as a modern holiday classic, although the reach of its popularity will dictate whether or not future opinions will agree with me. At this point, only time will tell.
I rate it a solid 9/10.