When director Alexander Payne released his film Downsizing it was universally praised for its highly original premise. Unfortunately, however, it received decidedly mixed reviews for its execution. Five years later, Payne has re-emerged with his latest cinematic offering in The Holdovers. This time, the plot is considerably more familiar, far less obscure, and largely set within the hallowed halls and grounds of one fictional elite private school for boys. Going against the familiar grain of casting box office drawcards, Payne has managed to pull together an ensemble of rare gems and breakout performers to create a beautiful cinematic tale.
The Holdovers is set predominantly at the fictional Barton Academy, an elite New England boarding school for boys. Barton is preparing for the 1970 Christmas break with students and teachers excitedly departing for the holidays. There are, however, five students who inevitably have nowhere to go and are forced to remain at Barton for the duration of the break. Collectively referred to as ‘the holdovers’, the boys must remain on school grounds chaperoned by one teacher – usually determined by a rotating round of staff members who all dread their turn to stay at the school over the Christmas break.
Forced into chaperoning for another year is Paul Hunham, a teacher of the classics, disliked by students and staff alike for his grumpy and eccentric nature and stern teaching style. Played with glorious aplomb by Paul Giamatti, Hunham is none too pleased on learning of his revised plans for the holidays, despite his original intentions being to spend them alone.
Far from regaling at their own predicament, the five holdovers are even more dismayed to learn they are to be chaperoned by Hunham – lamenting the days yet to come. Particularly peeved is student Angus Tully, played by Dominic Sessa in his debut film role. Angus has never been a holdover, but this Christmas his mother is off on her honeymoon with his stepfather and so she cannot have him tag along.
Hunham announces his plan of action in administering the holdovers for the holiday period. He intends to run the school much like the academic year – with assignments, exercise, and appropriate disciplinary measures when necessary. Almost an allegory for life at Barton over the holidays, mealtimes are similarly quiet and depressing affairs. But they are saved from being completely analogous thanks to the company of Barton’s cook in residence, Mary Lamb – superbly performed by Da’Vine Joy Randolph.
Mary is content to remain at Barton over the holiday season as she grieves the loss of her only son in the Vietnam War. Her presence at the dining table provides a much-needed maternal aura to the decidedly masculine environment that is Barton. Particularly when Barton Academy is under the watchful eye of a decidedly gauche character in Hunham, who manages to typify someone who is both socially awkward and lacking in any grace. Mary’s matter of fact, albeit nurturing sensibility against Hunham’s often antagonisng insensitivity makes for some effervescing moments, with bouts of levity thrown in.
Five days into the break, a wealthy father of one of the holdovers arrives unannounced via helicopter onto the school grounds and announces his intention to take his son and his fellow holdovers on his family’s ski trip. Hunham must then contact the parents of all the holdovers to seek their consent to have their son partake in this unexpected excursion. He manages to contact all of them except for Angus’ mother, and the helicopter flies off into the distance leaving Angus angry at his misfortune and forebodingly apprehensive about the days ahead at Barton.
It is from this second act where Payne really demonstrates his ability to command from his cast and crew their best work. And from where his brilliance in showcasing the chemistry amongst his characters shines. Three characters, all vastly different in personality and opinions, converging from very different paths and experiences. Three individuals who ordinarily would never entertain the notion of spending any time together, let alone being forced to engage so intimately over a holiday season when all tradition and expectations demand they do just that.
Adding to this immersive experience is the deliberate use of colouring appearing as washed-out and added graininess to the film, which gives viewers a sense this may be a film produced in the 1970s and only recently emerged from a film vault lost in time. Cinematographer, Eigil Bryld, borrows techniques familiar to the subject era, such as rapid zooms onto a subject. While Mark Orton’s score, along with a carefully selected soundtrack, embraces the nostalgia close to perfection.
Payne develops the inter-relationships between Hunnham, Mary and Angus beautifully. The depth of each character is gently brought to the surface at a surprisingly calm pace, with poignant scenes of vulnerability and dialogue. A new layer of insight into their life histories and motivations is gently revealed through their interactions with one another. In doing so, their bond strengthens – with the focus being between Hunham and Angus who grow together. The basis for Hunham’s hardened demeanour and Angus’ defiant disposition is also revealed as armour for matters far more fragile. And in knowing one another’s past, they soon build a mutual respect for one another.
Not to be ignored for their respective roles in delivering characters with depth to the screen are the performances of Giamatti, Sessa, and Joy Randolph. Giamatti’s performance is particularly engrossing, convincingly proving the role was made for him. For a debut performance, Sessa is a rare find. With no formal training, and acting experience limited to school plays, Sessa was discovered at a casting session offered to students at one of the Massachusetts boarding schools being used by Payne for filming. It is difficult to grasp Sessa’s relative inexperience.
In containing his subjects to sets in the form school rooms, dining halls or other intimate settings, Payne makes it is easy to keep us focussed on the characters and their respective journeys and emotional growth. It is fitting then the climax of the film takes place in the uncontrolled chaos of the city, where Hunham and Angus are vulnerably exposed to all manner of influences and temptations, creating an upheaval to their now established bond. The conclusion is an emotionally charged confrontation, which could bring about a lump in the throat to even the most hardened cynic.
In short, there is an ethereal beauty in The Holdovers which nurtures you till the end. Along with the exquisite production values and camerawork, the poetic performances of Paul Giamatti, Da’Vine Joy Randolf and Dominic Sessa are a joy to observe. The film sets its own leisurely pace – taking you willingly on its nostalgic ride.