Grief perpetuates change, and while change, at times, can be discomfiting in nature, it is no less essential. It is the catalyst that challenges our comfort; the propellant that steers our collective evolution. But, is it possible for someone so set in their ways to change? Alexander Payne’s “The Holdovers” is a powerful commentary on the adherence of grief and its capacity to elicit that change.
Payne is a master storyteller, possessing an uncanny ability at highlighting the complexities of human interaction. Three characters with nothing more in common than internal hardship, bound together by nothing more than sheer coincidence. Completely subject to the vicissitudes of their fortune.
The cast is perfect
Paul Giamatti, as Paul Hunham, plays a crusty prep school instructor forced to remain on campus throughout the holidays. He is a man completely content in isolation. Kids hate him, teachers hate him, he hates him. He is socially crippled by the same intelligence that accounts for his status; “I’m a Barton man.” A thick coat of pompousness covering a thin veneer of compassion. One eye aimed at the sky, one aimed at your soul.
Da’Vine Joy Randolph, as Mary Lamb, plays a cafeteria administrator grieving the loss of her son, a Barton Academy alumnus, in the Vietnam War. She is poignant, unapologetically direct, and truly exceptional. Her ability to anchor the narrative without resorting to melodrama really creates the film’s emotional warmth and insight into the complexities of life’s privileges. She is completely broken but entirely present. She is great.
Dominic Sessa, as Angus, delivers an emotionally deep and extremely physical performance in his film debut. He stands toe to toe with a giant and shines with charisma. Very good.
Payne’s direction is a delicate balancing act of humor and emotional depth. “The Holdovers” is incredibly funny. It also forces reflection. There is the subtle, punch-in-the-face reminder that life is tough, and grief is ubiquitous. It is characterized by the warmth and nostalgia of the surroundings and delivered with the signature dark comedy for which Payne is known.
Eigil Bryld accentuates this nostalgia by shooting the film digitally and adding graininess in post-production to replicate the 1970s look. It perfectly encapsulates the tone, hammering home a sincere feeling of authenticity. It is also perfectly paced. You can see the ending coming from a mile away, but I believe that’s the point. Despite knowing what is coming, you can’t take your eyes away from the journey. It’s brilliant.
“The Holdovers” is an immersive experience, oscillating between a hilarious comedy and a heartbreaking drama; teetering on the brink of cinematic cliché, but never crossing the line. It is entirely fantastic.
Ranking
I rank all of my movies out of 5 🐘, because I love movies and I love elephants.
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