In Alexander Payne's latest masterpiece, 'The Holdovers,' the stage is set in a New England elite academy, where an unlikely trio of characters finds themselves bound together during the winter holiday. Paul Hunham, portrayed brilliantly by Paul Giamatti, embodies the cantankerous and unpopular teacher archetype, reminiscent of Payne's earlier work in 'Sideways.'
The narrative weaves around the lives of Paul, a man defined as much by his unwritten book projects as by his unlovable demeanour, and Angus, a bright and abrasive student grappling with the wounds of a last-minute holiday retraction. The ensemble is completed by Mary, the school's head cook, portrayed with poignant brilliance by Da’Vine Joy Randolph, a recently bereaved mother burdened by the loss of her son in Vietnam.
'The Holdovers' is a Christmas movie with a distinctive edge. While it features an atmospheric dusting of snow and a selection of a cappella school choir carols, it avoids the trap of becoming a cosy comfort blanket. Payne skillfully balances melancholy humour with a bracingly astringent bleakness, countering any lurch towards sentimentality.
The thematic kinship with 'Sideways' goes beyond the casting of Giamatti. Both Paul and Miles from 'Sideways' are defined by their unrealized potentials, carrying the weight of unwritten books as symbols of unfulfilled aspirations. Payne, a master of disappointment, creates richly drawn worlds where seemingly minor details coalesce into a reproachful chorus, a reminder that life could have been better.
Paul is resigned to being disliked by students and teachers alike and hides behind a wall of books and barbed put-downs. Angus, already grappling with the absence of his father, conceals his pain behind a barrage of adolescent sarcasm.
However, it is Mary's plight that cuts deepest. Randolph's portrayal of Mary, who took the job cooking for privileged rich kids so her son could attend school, is hauntingly brilliant. Her slow, deliberate movements convey the weary dignity of a mother grappling with the loss of a child who served in Vietnam.
Set against the backdrop of the tail end of 1970 and the beginning of 1971, 'The Holdovers' is Payne's first-period film. The retro feel of the design, vintage production logos, and idiosyncratic character-driven filmmaking pay homage to the spirit of 70s American cinema. Writer David Hemingson's sharp, sophisticated screenplay captures the essence of the era.
The crisp dialogue in 'The Holdovers' is a masterclass in character voices. Paul's seemingly bottomless well of insults for his students contrasts sharply with his inability to handle kindness. The film's most affecting moments are often dialogue-free, such as a poignant shot of Mary folding long-treasured baby clothes, symbolizing both the weight of disappointment and a glimmer of hope.
