As the lights dim and the opening credits of “The Holdovers” roll, it’s evident that filmmaker Alexander Payne and lead actor Paul Giamatti have reunited to offer audiences a potent dose of cinema reminiscent of their acclaimed collaboration from 2004, “Sideways.” Much like their previous work, “The Holdovers” puts Giamatti in the shoes of an archetypal Payne protagonist: a despondent educator carrying the weight of unfulfilled ambitions, romantic desolation, and an uncompleted grand literary pursuit. These characters are etched in the cinema landscape by their unrealized potential, a common thread in Payne’s filmic tapestry that weaves both heartache and dark humor.
Set against the wintry backdrop of a 1970s New England all-boys boarding school, “The Holdovers” introduces an eclectic trio forced to spend the holidays together. Paul Hunham, portrayed by the adroit Giamatti, is a pedantic and irascible professor specializing in ancient civilizations, notorious among the school’s elite pupils for his biting wit and convoluted insults. Plagued by strabismus, commonly known as crossed eyes, and afflicted with trimethylaminuria, which results in a persistent malodorous condition, Hunham becomes an easy target for ridicule among students and faculty alike.
Entering the scene is Angus Tully, exquisitely played by newcomer Dominic Sessa, whose remarkable performance is bound to leave an indelible mark. Tully is intelligent yet troubled, abandoned for the holidays as his mother and her new spouse are unreachable on their honeymoon. Despite his deeply felt abandonment, Tully masks his turmoil beneath a veneer of sharp repartee and feigned self-assurance, particularly in his confrontational interactions with Hunham.
The final member of this unique assembly is Mary Lamb, the stoic head cook of the cafeteria, brought to life by the talented Da’Vine Joy Randolph. Lamb grapples with the profound loss of her son, a Barton graduate who perished in Vietnam, an endeavor she had only undertaken to grant him access to an esteemed education. Now, she copes with grief through solitude, tobacco, and spirits, even as she navigates the pervasive complexities of being an African-American woman in the 1970s.
Payne’s narrative escorts the audience along a journey that, while at times veering towards the predictable, proves rich in character exploration, emotional depth, and the kind of reflective storytelling for which the filmmaker is renowned. Secrets are divulged, scars are exposed, and amidst life’s stark disappointments, unlikely friendships begin to flourish. Complete with quaint Christmas celebrations, hints of romantic intrigue, and an impromptu road trip, “The Holdovers” promises an emotionally satisfying odyssey.
The film marks Payne’s eighth directorial venture, proving he has not lost his touch in orchestrating the delicate balance between melancholic introspection and existential comedy, a formula that has become his signature. David Hemingson’s script is a thoughtful landscape for Payne’s directorial prowess, merging the thematic echoes of his other films, such as “About Schmidt,” “The Descendants,” and “Nebraska,” while honoring the authentic spirit of 70s American cinema, even employing artificial grain to emulate the era’s analog film photography.
Giamatti delivers a commanding performance that, alongside Payne’s directing, should firmly position them in the upcoming Oscar race, and equally notable is Randolph’s potential nomination for Best Supporting Actress. “The Holdovers” stands as a testament to the timeless allure of clichés and life lessons, celebrating the poignant beauty in human disappointment—a feeling Payne portrays with unmatched finesse.
Now playing in theatres, “The Holdovers” is not just a film—it’s a poignant reminder of the intricate dance between life’s aspirations and its inevitable letdowns, captured with the eloquence and insight only Payne and Giamatti can deliver.
