- Release Date: 27/10/2023
- Cast: Paul Giamatti, Dominic Sessa, Da’Vine Joy Randolph, Carrie Preston, Darby Lee-Stack
- Director: Alexander Payne
A disarming story about love, life and emotions told through heartfelt performances and visual brilliance
The IMDb synopsis of “The Holdovers” reads: “A cranky history teacher at a remote prep school is forced to remain on campus over the holidays with a troubled student who has no place to go and a grieving cook.” That’s all you need to know walking into this magical piece of filmmaking. I urge you not to see the trailer, as that might just colour your imagination about what to expect from this film. This is the kind of film that needs to be seen with an open mind at a moment when you are at your leisurely best and when your mind is not burned or buoyed by anything else. The time that the film unfolds is the holiday season, which starts just before Christmas and goes all the way till a week after the new year. Imagine the kind of mood you are in during these days, and that’s exactly what your state of mind needs to be when you watch this film if you intend to enjoy it the way it was intended and also understand every emotional and dramatic beat of the story, the characters, and what they are driving at.
A Family Away from Family:
There have been numerous examples in films where we have witnessed a bunch of characters connect after initially hating each other. This may have been because they had to gel in order to survive an ordeal, were forced to be in each other’s company, or just because it was a means to an end. In “The Holdovers,” the three primary characters are forced to stay at the school for three very different but extremely personal reasons. As the film progresses, we see the characters gradually reveal themselves to the others and also the impact that their respective reasons for staying back are having on them and the others. They are never shown falling in love with each other, nor do we see the character of the student start looking up to the teacher whom he had hated for so long. We don’t even see anything romantic develop between the female cook and the character of the teacher, who happen to become good friends through the course of the vacation. Without catering to some of these tried and tested tropes, the film plays out as naturally and organically as it could have. It doesn’t build any emotionally disarming chemistry with the characters but does just enough to give us a peek into the psyche of the characters and lets us have an idea of the quantum of the pain that they are in and yet trying to cope with it all and put up a brave face.
Revelations Through Visual and Situational Expositions and Not Expository Dialogues:
Each of the three primary characters of the film is complex, dealing with their own issues as the film unfolds. However, instead of having the characters express their state of mind or the torture they are enduring through dialogue, the director decides to reveal the same through subtle situations and interactions with other characters. The cook, Mary (Da’Vine Joy Randolph), has recently lost her son to the Vietnam War, and she is distraught. She still successfully puts up a brave face in the presence of others. However, on the night before Christmas, during a party, after having one too many drinks, she finally bursts out, doing things that she would never have under different circumstances. This goes on to express her grief and how miserable she was without her son.
The student, Angus (Dominic Sessa), has been forced to do things that he doesn’t want to do. He desperately wanted to be home for Christmas. He wanted to visit Boston. He didn’t want to spend a second with the teacher he was stuck with. He despises him, critiquing every action of his, and he finally breaks out in rebellion by doing something that causes him a lot of pain. The teacher, Paul (Paul Giamatti), has been hiding the biggest secrets and one of the biggest stories of unrealized potential under his poised and somewhat inhuman portrayal of a strict and cranky teacher. This is revealed to Angus during a brief meeting with one of Paul’s old school friends during their visit to Boston. Each of these scenes adds such depth to the characters and makes us aware of the things happening to them inside in such a heartfelt manner that it becomes impossible not to love this approach to storytelling.
Phenomenal Performances from Giamatti, Sessa, And Da’Vine Joy Randolph:
It is needless to underline the greatness of the performances from Giamatti, Sessa, and Da’Vine Joy Randolph, as their portrayal was in itself the essence of the entire film. There are numerous other qualities to the film, but it is a fact that their captivating performances and their ability to intrigue the audiences with the subtle drama they were conjuring between them made this film so special. Giamatti is accustomed to playing similar characters before, and he brings his trademark charm and oddball mannerisms to the fore in the best way possible. His chemistry with Sessa and Da’Vine Joy Randolph filled their scenes together with vitality and character, allowing us to experience and soak in emotions and expressions that were not conveyed through words but communicated through gestures. This is increasingly becoming a difficult thing to achieve, but it is also something essential in films of this nature. In real life, we don’t verbalize most of the things that we are feeling. They surface through our mannerisms and how we react to situations and people. This is extremely difficult to replicate in films through performances unless they are as great as they are here. Hence, look out for the visual cues and the subtle nuances that make the performances that much more special.
Sessa portrays the complex and tormented character of Angus with utmost sincerity. He never goes overboard and never overreacts. He is very much aware of the importance of somehow sticking to the school. He knows that his mother wouldn’t bother sending him to military school, which he doesn’t want. Having said that, he still feels these sudden urges to break the rules and do things that he has been wanting to do. He is also annoyed at how everyone around him makes decisions for him when he feels he is capable enough of having a say. All these emotions boil inside his heart and finds an escape through different elements and expressions in the film, particularly in the presence of the character of Giamatti. He doesn’t start idolizing him but has just enough respect and love for him by the end to result in a spectacularly emotional but low-key parting of ways for the two characters.
Da’Vine Joy Randolph’s effort to document the nuances of a grieving mother and her fight to find a way to live on with her tragedy was magical. She often shows her soft side for the character of Angus, which goes on to show that the love that she had for her son is somehow seeping out of her frigid exterior and finding its way to a child who needs it just as much as she needs to let it out. Her camaraderie with Giamatti is not only quirky but filled with moments of genuine emotion and, better still, dialogue. She is not only an integral part of the story but also one who underlines why life is worth living even when nothing about it is right.
Breathtaking Cinematography and Wonderful Editing:
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I was surprised to find out that the film was shot digitally. I was confident that it was, in fact, shot on film to replicate the visual aesthetics of the times that the story was set in. Even the trailers were designed in a way that reminded me of trailers from that era. The unadulterated visual wizardry of the film needs to be experienced to be appreciated. It is easily one of the most gorgeous-looking films that I have seen this year. The power of the visuals comes as much from the vibrant colors and the framing of the shots, as it does from the mood and the aesthetics that the director carefully brings to the frames using the best angles to capture important aspects of the film. Even the close-ups are done with a lot of imagination and are important in conveying key emotions. The editing of the film is just as good. The camera stays with certain emotions and aspects of the visuals for just as long as is required to convey or accentuate a particular emotion or feeling. The transitions from one portion to another of the story feel flawless and organic, and the mood and the drama of the scenes are built up as much through performances as through the editing. It is the editing that punctuates the emotions and the performances in the film.
Final Words:
“The Holdovers” is a captivating film that transcends typical storytelling tropes with its heartfelt performances, subtle character development, and visually stunning cinematography. Through its poignant portrayal of grief, resilience, and unexpected connections, the film invites audiences to reflect on the complexities of human emotion and the enduring power of compassion. With a masterful blend of nostalgia and contemporary storytelling techniques, it leaves a lasting impression that lingers long after the credits roll. “The Holdovers” is a cinematic gem that deserves to be celebrated for its sincerity, depth, emotional resonance and brilliant performances. I never imagined that I would enjoy this film as much as I did and this, I believe will be the case with most audiences.
Rating: 3.5/5 (3.5 out of 5 Stars)
The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.
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