“School days, school days, dear old golden rule days…” I remember those days. Probably the most memorable and important of those days came while I was transitioning through a very difficult time in my childhood. Before I knew it, I had really short hair, was wearing a simple school uniform and found myself learning educational material which was a good two years more-advanced, compared to my public school counterparts. Of course, I was trading all this out for a more-normative experience. After all, no advantage is met without the accompaniment of at least one disadvantage.
To this day, filmmakers, whether they be directors or writers or something else, entirely, are drawing from their own experiences and the ability to relate to those experiences, as an audience member, is paramount. “The Holdovers” represents the latest offering from the prolific, award-winning director, Alexander Payne (“Downsizing”). For just the second time during his illustrious career, Payne is only the director for this project, where he has, normally, at least, been involved as a producer and/or writer for the respective movie. Joining Mr. Payne for the first time in nearly 20 years is none other than Paul Giamatti (“A Mouthful of Air”). However, the atmosphere and overall vibe could not be more different than it was in 2004’s “Sideways.” Either way, Giamatti’s comedic timing and dramatic expressions are, still, prevalent and vital to the enjoyment of the film. Interestingly enough, my connection to the material, here, is tied to the other, primary character of “The Holdovers.” Whereas, when I watched “Sideways” for the first time, I related more to Giamatti’s character. With that, from my own personal perspective, the experience is, fundamentally, different.
From the start, “The Holdovers” has a distinct, 1970s vibe to it. There seems to be a filter on the film, which gives it a slightly-grainy appearance, and the movie credits, shown at the beginning, show a copyright year for 1971, or, at least that was what it looked like to me.
Giamatti is Paul Hunham, a specialized history teacher at an academy just for boys. I guess it is what we would have referred to as a “boarding school,” but there is probably another name for that, today. The Christmas/New Year holidays are fast-approaching and someone on staff has to stay on campus for the boys who are unable to go home, but who will it be? Not Mr. Hunham! Well, it was not supposed to be him, but the teacher who was assigned to do it for this year found an excuse to get away and Mr. Hunham became his replacement. At least he received a plate full of homemade cookies from Miss Lydia Crane, played by Carrie Preston (“They/Them”). Was that meant to be a preemptive act of charity? Based on Hunham’s befuddled expression, I think that may be the case.
As the boys all pack to leave school, one, in particular, stands out from the others: Angus Tully, played by Dominic Sessa. Though he seems to be the nerdy type, he has no trouble with bullying the perceived bullies he encounters all around him, which I find to be an interesting story detail. At this point, I could not help but notice how charming the movie is; so much so, it makes me smile. I was not ready to call it a better film than “Oppenheimer,” but “The Holdovers” might be more-enjoyable, if that is not too much of an ironic statement.
As you might have predicted, Hunham and Angus are two of the ones who had to stay behind, during the holidays. Although there were a few others, at first, eventually, it is only them, plus the lone cook: Mary Lamb, played by Da’Vine Joy Randolph (“Rustin”). Over time, you will discover that she and Angus have something in common, which involves a great sense of loss. They are dealing with that in their own, unique ways. While many observers are bound to remark at the acting of Giamatti, which is well-deserved, I strongly believe that Randolph deserves nearly-equal attention, once award season begins. They are both worthy this year.
There is plenty to love and connect with in “The Holdovers.” It could be something as simple as holiday nostalgia, or, a beat in the rhythm of the story that feels something like an older Wes Anderson movie. Perhaps, you will identify with the motivation and causation behind Hunham’s behavior and small eccentricities, or, empathize with how he and Angus feel as they go through frustrating revelations and “hard-to-swallow” situations, which we can only wish to avoid, in life, as much as possible. I must admit, however, I became a little bit uncomfortable with where the relationship goes between these two characters and I honestly feel that the film allows for that while not telling us what we should really think. Do not worry! It does not go anyplace that could lead to any controversy…well, it should not, anyway.
It is rare when a movie encapsulates so many different emotions, but does not leave me feeling worn out afterward. In the end, I found myself thinking more inward about my own life, wondering about some of the same things as Hunham likely was. If there is one complaint I have, it is that the brief segment involving a few, other holdover students served to do little more than remind us of the things we may or may not have experienced as children. Ultimately, it does very little to enhance the development of the primary characters. That being said, “The Holdovers” is easily one of the greatest movies of 2023. It might even be possible that I will be rooting for it to succeed over “Oppenheimer,” though I will not be too surprised or upset if it does not. The screenplay, written by David Hemingson, is probably the best of the year, in terms of dialogue and character structure, and Giamatti, as well as Randolph, ought to be well-rewarded, for their performances, in the coming months. Director Payne probably should have already won an Oscar for Best Director, at this point, but his odds of winning this year are going to be tough, too, unfortunately. Even if you can forget about what awards “The Holdovers” might win or not win, that should not stop you from thoroughly-enjoying this movie.
Director: Alexander Payne
Screenwriter: David Hemingson
Cinematography: Eigil Bryld
Starring: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa, Carrie Preston, Gillian Vigman (“Forever My Girl”) as Judy Clotfelter and Tate Donovan (“Ghosted”) as Stanley Clotfelter
Distributor: Focus Features
Release: August 31st, 2023 (Telluride), October 27th, 2023 (partial release) and November 10th, 2023 (United States)
