What, exactly, is a Christmas movie? The definition has gone through some transmutations. Traditionalists rail against ever adding new works to this cultural canon. No Die Hard or The Nightmare Before Christmas for you! I am not a particular fan of these two; however, movies like this are a kind of prism with which many shades are noticeable. Some see joy, others feel melancholy. A Charlie Brown Christmas has endured because of this dichotomy. This is where The Holdovers is nestled in.
Having arrived in theaters well over a month ago, I hesitated to discuss this. However it was way too rife with the themes ever-present in this season to ignore. Not only does it take place during Christmas 1970 into New Years 1971, we are treated to a found family. Paul Giamatti plays classics professor Paul Hunham at a New England boarding academy who is the very embodiment of Scrooge to his students, a trope that we should never retire. His every expression, his face a surly balled fist, holds both contempt and pain in equal measure. Giamatti is one of our unsung actors for which this part seems tailored to him like a suit, hopefully one that he will wear well into Oscar season. His character has been forced to look after the title rejects, unable to be picked up for winter break. Among them is Angus, a reprobate teen whose intelligence is matched by his mischievous. As we learn, his rebelliousness hides some turmoil. This aspect is what he learns to share with Hunham. After all, this is a fractured mentor story, one that calls to mind Wonder Boys which is a personal favorite. The soundtrack, peppered with late 60s classics and holiday chestnuts, also fulfills downcast tones with Mark Orton’s score.
The best part is De’vine Joy Randolph. Her role as head cook Mary Lamb rendered me in sobs by the midpoint. Hers is a grim reminder that loss cuts worse during this time. The acerbic humor matches Giamatti beat for beat, never missing a step and even showboating when needed. It would be a crime not to consider for any major awards going forward.
I am still baffled why this was put out in late October. Maybe Focus Features thought it would be lost in the shuffle of Oscar-bait fodder and family films like Hunger Games and Wonka. If it is still in a theater near you, I implore you to seek it out. I have neglected to speak about the director Alexander Payne since he has been outspoken about some writers calling this a future Christmas classic. Given his track record of unpleasant features like Election and Nebraska, it is easy to see why he thinks he made a cynical tale. But as I see it, there are also Sideways and The Descendants in his filmography which have more heart than a plastic Hallmark movie. Sorry Payne, you made a sweet holiday film about damaged people helping each other through the season. And like your professor, you have to live the consequences and make the best of it. I am sure you will.
In a turn away from heavier fare, Candy Cane Lane on Prime Video is a great family film which is appropriate for all ages. Eddie Murphy is a delight as a father who has lost sight of his wife and children in the holiday shuffle. But a little magic from a villainous elf turns his world upside down, makes him rely on them to save Christmas and himself. This is a cute movie; one that even employs home decorating contests and great use of porcelain figurines as characters. Stuffed with cameos, this will sure be a delight for all. Or maybe Hannah Waddingham’s revue on AppleTV+ will be fun to put in the background as mood music. I can’t tell you how to celebrate, but I can wish you a merry time and some good viewing.
