Christmas cheer might be fashionably late, but with "The Holdovers," the delayed festive spirit finds a charming home in the UK and other parts of Europe, making its entrance in the third week of January. While the timing is perplexing, the movie itself is a delightful surprise, offering a fresh take on the classic Scrooge narrative, reminding us that holidays are truly about the people you find yourself stuck with. Despite its belated arrival, this film is not just a heartwarmer but a sharply intelligent comic drama.
Directed by Alexander Payne, known for the acidic "Election" (1999) and the bittersweet "Sideways" (2004), "The Holdovers" brings Paul Giamatti back into Payne's cinematic world. Unlike the sunny California setting of "Sideways," Giamatti now finds himself in midwinter Massachusetts, specifically December 1970.
Giamatti portrays Paul Hunham, a bow-tied teacher of ancient history enduring the end of another term at a prestigious private boys' school. His disdain for the privileged students he teaches is honed over time. However, fate plays its hand, and instead of enjoying a holiday break like his colleagues, Hunham is left to babysit the remaining wealthy kids abandoned by their vacationing parents.
Nostalgia permeates the film, set in 1970, a year that Payne captures with loving stylistic homage. The film adopts a soft, grainy look reminiscent of movies from that era, evoking the feel of a lost gem from a double-bill with "Harold and Maude."
As the misanthropic Hunham navigates this unexpected holiday duty, he finds an unlikely companion in Mary Lamb (Da’Vine Joy Randolph), the sole adult presence aside from him in this enclave of privileged white men and boys. Mary's tragic backstory adds depth to the narrative, focusing on the central trio of Paul, Mary, and Angus Tully (Dominic Sessa), a forgotten teenager in desperate need of attention.
The film balances humor and depth skillfully. Payne's script delivers witty zingers and even embraces moments of slapstick, but the real strength lies in the overall richness of the narrative. Despite the visual homage to the past, the film doesn't shy away from a caustic critique of private education, making the class commentary smart and integral to the storyline.
"The Holdovers" smartly addresses generational shifts, particularly with young Tully, who, despite endearing qualities, is destined to become a modern target: the boomer. The performances by Randolph and Sessa are commendable, with Sessa impressing in his first significant acting role. However, it is Giamatti who steals the spotlight, infusing the character of Hunham with more than just dusty sarcasm.
Watching "The Holdovers," one can't help but feel that Giamatti was born to deliver sharp retorts to the "hormonal vulgarians" around him. Yet, beyond the humor, the film imparts an old lesson in a new light—life often resembles a familiar classroom. In the end, the movie wishes viewers an overdue but heartfelt "Happy Christmas."
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