I
If the Academy Award for Best Picture was given to the movie that received the most overwhelmingly positive response from moviegoers, betting on “The Holdovers” would have already been closed by bookmakers. It’s hard to find anyone who dislikes Alexander Payne’s coming-of-age story set in a boarding school. If there are any, they are not voicing their opinions. This film, with its heartwarming feeling of nostalgia, appears to be immune to any criticism.
Interestingly, it is precisely this aspect that may prevent some from considering The Holdovers as a deserving winner of the best picture award. Throughout film history, uplifting stories have not been favored by awards. Instead, the most celebrated Oscar winners tend to be dark and pessimistic, such as The Godfather Part II, The Silence of the Lambs, and No Country for Old Men. On the other hand, films that are deemed “nice” or pleasant, like Forrest Gump or more recently, Coda, are often criticized for lacking substance. While The Holdovers may be of a higher caliber than these films, it is likely to be categorized as this year’s feel-good indie film in a lineup dominated by heavy, serious works.
It appears unjust. This is because, firstly, there is equal proficiency in producing both optimistic and pessimistic things. Furthermore, The Holdovers can be deep and solemn when it desires to be. There is a subtle undertone of sadness that persists throughout the film, as it peacefully confronts complicated subjects such as social class, race, sorrow, and its immobilizing effects. The fact that it also serves as a heartwarming Christmas movie makes it even more remarkable.
The Holdovers follows the tradition of popular Christmas films by portraying its characters as having a negative outlook on the season. Paul Hunham, a strict classics teacher at Barton Academy, sees it as a duty to watch over the students who are unable to go home during the holiday. For Angus Tully, a troublesome student, the season brings feelings of being dismissed and uninterested as his family has left him behind to vacation. Under Hunham’s rule, his break is filled with studying and intense physical activity, an example of the teacher’s belief that facing hardships builds character. For Mary Lamb, the cafeteria manager, the season is a difficult reminder of her son Curtis, a former student at Barton who was killed in the Vietnam War after being drafted due to his lack of influential connections.
It is inevitable that this misfit trio will eventually form their own unique family, but Payne takes a more leisurely approach in the film. He takes brief detours into hectic emergency rooms and seedy dive bars, as well as making a Salinger-esque journey to Boston. However, he also finds joy in the gaps between these major events. The film often veers away from big, dramatic moments and instead focuses on smaller, more revealing moments, such as when Hunham notices some hidden antidepressant pills belonging to Angus. Instead of a forced speech about dealing with mental health, he simply shares a knowing look and reveals his own antidepressants in his wash bag.
The movie heavily relies on small, significant actions and therefore requires a talented cast to execute them effectively. The three main actors in The Holdovers are well-equipped to do just that. Giamatti, working with Payne again for the first time since Sideways, brings a similar frustrated energy to his character, but with a subtle touch of endearment. Sessa, a newcomer to the big screen, fully embodies his role as a naive and self-destructive yet compassionate Angus, giving an eerie portrayal. Randolph, who may be the only one of the trio to win an Oscar, delivers a performance filled with both pain and humor, successfully balancing the two.
This is just the second movie directed by Payne (after Nebraska) where he wasn’t also the writer. This might explain why it’s not as harsh as his previous ones. However, he still has the ability to add some bitterness, from moments of casual unkindness among roommates to a graphic scene of popping a dislocated shoulder back into place. Additionally, Payne has never attempted a period piece before – although even his modern films often have a preserved feel. Seeing the opening credits of The Holdovers with vintage versions of studio logos might cause concern that Payne has gone too far into the details of accurate reproduction, potentially neglecting the core of his film.
However, the decision to set the film in a certain time period allows Payne to add grit and imperfection to the story. It is noteworthy that the majority of the film takes place in the less glamorous parts of Barton Academy, such as the kitchen and narrow, industrial hallways. These settings are the antithesis of the pristine and polished hallways that Barton Academy is known for. From haemorrhoid cream in the bathroom to the stains on the dormitory beds, Payne captures and dwells on the grimy and authentic aspects of everyday life. Even Hunnam’s noticeable and often discussed fishy scent is not overlooked, as Payne takes every opportunity to showcase the messy and true elements of the characters’ surroundings.
In essence, this indicates that towards the end of the film, when it displays emotional sentiment, it feels justified and hard to resist. It is improbable that The Holdovers will secure the best picture award, but it could be the nominee that we repeatedly revisit.
Source: theguardian.com
