The Film
THE HOLDOVERS is a masterfully crafted film set in a New England boarding school during the 1970s, directed by Alexander Payne. The story centers around Barton, an all-boys institution where students spend their Christmas holidays under the supervision of the grumpy and pompous Paul Hunham, portrayed brilliantly by Paul Giamatti. As an ancient civilizations instructor, Hunham prides himself on failing even the most influential politicians' offspring. Giamatti's performance is noteworthy for the depth he brings to the character, moving beyond the traditional stereotype to create a multifaceted and unpredictable figure.
The movie initially seems like a typical prep-school yarn, where the students go against their sharp-tongued instructor. However, the story takes an unexpected turn when one of the students presents an opportunity that takes away four of the boys, leaving Angus Tully (played by Dominic Sessa) behind due to unapproachable parents. Under Payne's skillful direction, the plot unravels at a deliberately unhurried pace. As the story progresses, personal tragedies come to light, yet each scene maintains an uplifting tone, showcasing Payne's effortless ability to handle complex emotions.
Giamatti's second collaboration with Payne sees him delivering a less reactive, more introspective performance, embracing the wounds of life's defeats. The chemistry between Giamatti, Da’Vine Joy Randolph (playing Mary Lamb), and newcomer Sessa is affectionate and funny, capturing the intricacies of their evolving relationships.
Early in the film, Pyne sets up a dining hall scene where Hunham's clash with a student leads to a revealing moment about the school cook, Mary Lamb. Randolph's portrayal adds depth to Mary, turning her into a character of substance beyond her job in the school's kitchen. All of the characters in THE HOLDOVERS are introduced as archetypes (in one way or another) but given enough room to breathe and become fully realized three-dimensional characters.
THE HOLDOVERS is a rare film that captures the emotional meaning of Christmas without being overly sweet or sentimental. A film about the importance of human connection and curiosity. The film's nostalgic nods to the 1970s and its subtle allusions to classics like HAROLD AND MAUDE, DEAD POETS SOCIETY, and BEING THERE contribute to a sense of familiarity. The film not only feels like it's set in the 1970s, it feels like it was made then too. Payne has made the lost Hal Ashby film and I mean that as an immense compliment. Yet, Payne manages to carve out something truly unique. A seasonally resonant journey about coming of age, as both a young adult and a fully grown man/woman.
THE HOLDOVERS is a triumph for Giamatti, showcasing his acerbic prowess while breathing life into a character with emotional depth. The film challenges stereotypes and conventions, particularly in Randolph's standout performance, defying expectations and allowing her character to flourish beyond initial impressions.
Payne's evolution as a filmmaker is evident with THE HOLDOVERS, showcasing his ability to navigate both the harsh realities and poignant moments of life. He has found a distinct voice in film—one that balances cynicism with a newfound sense of connection and humanity. With this latest offering, we are invited not to just simply observe but to empathize, providing a refreshing perspective on what Payne views as the human experience.
- Alternate Ending – “Mary Continues On”
- Deleted Scenes
- Introduction by Alexander Payne
- New Room
- Making a Scene
- The Road Back to Barton
- Ancient History
- The Cast of THE HOLDOVERS – Sit down with the cast of THE HOLDOVERS, including Paul Giamatti, Da’Vine Joy Randolph, and newcomer Dominic Sessa, while they discuss getting into the minds of their characters. Meet the boys of Barton and learn more about director Alexander Payne’s casting process.
- Working with Alexander – Hear the cast and crew about their on-set experience working with acclaimed director Alexander Payne.