The Holdovers Review
Two grouchy characters, separated by age and class divides, form a gorgeous bond over a boarding school Christmas despite their uniquely disparate personalities, in this feel good, heartwarming tale.
Paul Hunham (Paul Giamatti) is a cranky history teacher at the prestigious prep school Barton. As the school holidays approaches, he is selected to mind the boys who have nowhere to go over the break, staying at the school for the Christmas holidays. It winds up only being one boy staying - Angus Tully (Dominic Sessa), a wonderfully smart student who has issues with authority. Tully’s father is out of the picture, and his mother chose to go on a honeymoon with her new husband rather than have her son stay with them for the break. As the pair struggle to get along, a begrudging respect, friendship and also paternal bond forms between them.
The Holdovers is, first and foremost, a gorgeous looking movie. Cinematographer Eigil Bryld infuses the film with both a gorgeous grain, and a wonderfully muted warmth (despite the frosty conditions), that makes it a joy to sit in this world for a couple of hours.
Giammati is a wonder, completely cranky and hateable one minute, lovably pitiable the next, and rounding it all out as a hero to root for in the third minute. The switch between the three is so natural and imperceptible, it’s as if all three facets of his character are present in every line, glance or movement he makes. Sessa, perhaps only imperceptibly more one-note than Giamatti, is nevertheless a worthy scene partner for the veteran actor, and a compelling hero for us as the audience. His story is heartwarming and heartbreaking, but Sessa never feels out of control despite circumstances that may make us pity him; he retains the defiant fire of youth, irrespective of his surroundings. It’s a wonderful performance that makes the film never feel too cliche, or too prognosticating, but always authentic and real and lived in.
The supporting cast all give a good shout, in particular Da’Vine Joy Randoplh as Mary Lamb, the school cook who has lost her son to war.
Ultimately, this is the sort of film that rides or dies on the strength of its story, and David Hemingston’s script, ably directed by Alexander Payne, is a lovely and moving story that will have you feeling all the things by the end of it. A worthy addition to the year’s ‘best of’ oeuvre, and certainly a film worth the price of admission; particularly around the holiday period.
