“History is not simply the study of the past, but an explanation of the present.” That’s a line from Alexander Payne’s latest, The Holdovers, that could also serve as a summary of the film itself. History has a habit of repeating itself, and despite the advances of technology and civilization, the human condition remains the same. Loneliness and desire have haunted the human mind since the dawn of our species. And despite its heavy lean into the 1970 setting, The Holdovers feels like it has something very modern to say.
It’s the holiday season at New England prep school Barton Academy, and Angus (Dominic Sessa) is stuck at school over winter break. Also left at the school are the loathed ancient civilizations teacher Paul Hunham (Paul Giamatti) and grieving cafeteria worker Mary (Da’Vine Joy Randolph). Angus is stuck with the school’s ultra-strict teacher, and Paul is stuck with a rebellious student — the two of them have to learn to endure each other’s presence to survive the Christmas holiday.
From the opening credits you can see Payne’s dedication to making the presentation feel not like a period piece, but more akin to a contemporary film from 1970. Editing techniques such as wipes and dissolves that have since fallen out of fashion are used in abundance, hammering home the ’70s feel. While the plot description sounds like a Christmas movie you’ve seen before, Payne — reuniting with Giamatti here for the first time since 2004’s Sideways — is able to create something that feels like a film you’re marking off your watch list as opposed to a contemporary work of fiction.
Style aside, this one is surprisingly hardy, filled to the brim with not only sharp, witty comedy but also themes about the universal human condition — loss, loneliness and mental illness. There are moments when simple back-and-forths between characters peel back layers just enough to reveal how messed-up things were and still are.
That said, it also happens to be one of the funniest movies of the year. Clever dialogue is delivered with nearly perfect comedic timing — this preview screening featured some of the loudest laughter I’ve ever experienced at a screening. Payne and writer David Hemingson use humor to chip away at the cynicism of any would-be Grinch or Scrooge. Giamatti gives a career performance, Randolph steals every scene she’s in, and Sessa — making his film debut here — is destined for a long career in acting.
More than a feel-good holiday offering, The Holdovers fires on all cylinders. It has a wide appeal and will be cinematic therapy for anyone who’s ever spent the holiday season alone.
