MovieChat Forums > The Holdovers (2023) Discussion > "The Shining" Meets "The Apartment" Meet...

"The Shining" Meets "The Apartment" Meets "Dead Poets Society" -- But Its Own Great Movie, Too


(aka ecarle.)

After some "warm-ups" in cable TV episodes and such, Alexander Payne released his first movie in 1996: "Citizen Ruth."

In the near-20 years since then, Payne has directed only 8 films:

1996: Citizen Ruth
1999: Election
2002: About Schmidt
2004: Sideways
2011: The Descendants
2013: Nebraska
2017: Downsizing
2023: The Holdovers

But he made an "auteur's career" from early on.

It was his second film, "Election" that put him on the map much as "Boogie Nights" put Paul Thomas Anderson on the map and Pulp Fiction put Quentin Tarantino on the map. Critics took notice, Oscar took notice...Payne was launched.

But as it turns out, Election was a false start of sorts for Payne. It was a mean, pessimistic satire that didn't much like any of its characters and went more heavily for polemics than humanity.

That changed with the next one -- About Schmidt. About Schmidt also didn't much like MANY of its characters -- Payne started to get a reputiation of "looking down on his mid-American characters" (Election and About Schmidt were set in his home state of Nebraska) -- but About Schmidt ALSO had heart, and a sense of sadness about life. Thus began Payne's REAL canon -- a series of movies (less one) that could be called "hard edged tearjerkers."

Two of them share something in the protagonists -- Jack Nicholson plays a 66-year old husband who suddenly loses his wife in Abbout Schmidt. George Clooney plays a 40-something husband who suddenly loses HIS wife in The Descendants(to coma first and then death.) The pain hits harder in The Descendants as Clooney has young daughters -- the tears flow early in that movie.

But lined up in order, the movies aren't quite THAT connected in plot.

As PTA's Boogie Nights lured superstar Tom Cruise to Magnolia, Payne's Election lured superstar Nicholson to About Schmidt. But the Payne movie AFTER About Schmidt -- Sideways -- was his biggest critical, Oscar and poplular hit to date. No superstars here - Paul Giamatti and Thomas Hayden Church led the movie (George Clooney wanted Church's role, but Payne told him he was too handsome and successful to take it; he got The Descendants instead.)

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There are no dead wives in Sideways -- the emotion centers on a middle-aged man in depressive crisis -- his wife has left him, remarried and gotten pregnant -- and he must join forces with an old college-roomate(a "doofus horndog") on a road trip to Santa Barbara's wine country in search of redemption and maybe romance. Payne won the Best Adapted Screenplay Oscar and it was a favorite for Best Picture(Million Dollar Baby beat it.)

"Sideways" was such an indie phenomenon that Payne said "even I think it is overrated" and he "froze up" for 7 more years before giving us "The Descendants" in 2011. But he picked up the pace with "Nebraska"(yet another ode to his middle America) in 2013 -- with an elderly Bruce Dern getting the role of his life after Nicholson turned it down and Gene Hackman refused to come out of retirement. Dern got a deserved Oscar nomination.

It was four years to the next one -- "Downsizing" and Alexander Payne's hot roll finally ended. A misfire -- possibly because Payne abandoned his "hard edged tearjerker" formula for something more Sci-Fi, abstract and sociological. Matt Damon anchored the tale of people willing to be shrunk to one inch and live in tiny house(environmentally better). It started that way and ended in a totally other place (people walking to the center of the earth) and -- ouch. Bad reviews, bad box office.

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A lot of critics are writing: "The Holdovers" is a return to form after the misfire of "Downsizing" and while I agree, something struck me: with "Downsizing," Payne tried indeed to "get away from his usual formula" and created a movie that was so abstract and "deep think" that he practically scurried back to his comfort zone -- hard edged tearjerkers.

And I say Payne can keep ON making hard edged tearjerkers forever. Just like Aaron Sorkin with his trademark fast talking funny argument scripts, and Tarantino with his mix of great dialgoue and gruesome action -- ...all Payne has to do is keep making THIS kind of movie and he'll have fans for life. But also this: these are extremely well-written, well made and almost delicate studies of the human condition. Payne is above and beyond other who try to do what he does in the indie field.

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Before describing the plot of "The Holdovers" I will note that one thing that puts it INSTANTLY in the company of all the movies from About Schmidt through Nebraska is: its musical soundtrack.

Part of what powered "About Schmidt" was its odd musical score -- a bit whimsical, a bit melancholy, sometimes a bit funny. The KEY to Alexander Payne movies from About Schmidt through The Holdovers(less Downsizing) is the MUSIC. I now believe that without their music, those Payne movies would be far lesser and would not connect. Its just like how Bernard Herrmann MATCHED Hitchcock as the "auteur" of Psycho, Vertigo, and North by Northwest..Payne's composers (several of them) make his movies what they are.

Payne picks the composers. I'll have to check IMdb but I don't know if he's worked with the same composer more than once per movie. I think he has. No matter: the scores end up being "Payne scores" whether Hawaiian in The Descendants or twanging guitars in Nebraska or cool mellow jazz in Sideways or 70's folk-rock in The Holdvoers(where Payne also gives the 1970-set film a few records of the time -- principally Cat Stevens' "The Wind." Instant 70's nostalgia...and EMOTIONAL.)

The Holdovers -- being set at Christmastime -- also has its fair share of holiday tunes on the soundtrack but they are done "the Payne way" -- somewhat sad, somewhat whimsical.

So..if Aaron Sorkin-scripted movies and QT movies start with the same strength -- great dialogue -- Payne's movies start with the music. The Holdovers is not exception. Its soundtrack is on YouTube. You can sample some of the tunes and get the emotion straightaway. Melancholy is the key to Alexander Payne -- whether the cool jazz of Sideways or the twang of Nebraska or the quiet sadness of About Schmidt.

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Payne also captures his time and place and atmosphere. The Holdovers is the absolute inverse of The Descendants. The Descendants, set in Hawaii, opens with shots of sun and surf, waves -- and a sense of HEAT. The Holdovers is set in New England(near Boston) in winter and Payne makes sure to give us opening shot after opening shot after opening shot of....snow. A sense of COLD. Snow flurrying down onto the isolated Boy's High School campus(pretty much a medieval castle surrounded by a few old houses) that provides the main setting for The Holdovers. We are meant to FEEL the burden of that snow, the utter cold of it, the utter isolation of the setting.

Indeed, The Holdovers develops, rather rapidly, a "Shining" vibe as all the boy students leave for Christmas vacation and leave only a few students, one cantankerous teacher(Paul Giamatti) and one female African-American cook (Da'Vine Joy Randolph) to "man the gigantic empty castle." Yep, very "Shining" indeed --but the emphasis isn't on fear and ghosts. It is on lonelieness, and being stuck from Christmas through New Year's with no family to be with.

The OTHER movie like "The Holdovers" is the Best Picture winner from 1960, the year of Psycho: Billy Wilder's The Apartment. That movie too(after some Halloween/Thanksgiving premlinaries, is set from Christmas Eve to New Year's Eve and centers on a couple of lonely people who have no one to be with: Jack Lemmon and Shirly MacLaine(who has a sister and brother and law but elects to attempt suicide at Jack Lemmon's apartment instead.)

"The Shining" and "The Apartment" are two worthy influences on "The Holdovers," but they are only there if you go looking for them(I did)...the movie has much to offer on its own.

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No spoilers here but I will say that two of the main three characters have major secrets -- and more than one secret -- to reveal as the movie goes on, and while I found some of those reveals to be predictable(you've seen them before), as always with a good movie that references other movies...the trick is in showing us familar things in a NEW WAY. And in Payne's case, to tell the story with characters you care about and feelings of sadness and warmth to guide you(and with that MUSIC, never forget Payne's music).

Much has been made of The Holdovers being Paul Giamatti's reunion with Payne 19 years after Sideways. In a promotional interview, Payne has said that he'd been trying for years to find a script to "fit" Giamatti but could not befre The Holdovers.

Not entirely true. I first read of Giamatti for the lead in Downsizing when that film was announced. I don't know if Giamatti walked on that movie or was pushed, but Thank God! And the hapless Matt Damon ended up in it. Better him.

I looked at Sideways on DVD after seeing The Holdovers, and it was astonishing to see indeed how young Giamatti looked in the earlier film - his hair and beard a dark black. Now he's gray and a bit paunchier --- but that great voice and that great delivery are intact.

I know that Giamatti has not been "gone" since Sideways. I recall him playing a particularly repulsive hit man villain in "Shoot Em Up" -- his oddball features turned very ugly in the part...he needs some "heart" to soften his looks. I also sampled an episode of Giamatti in Billions -- he's a super-rightous NYC attorney general after a superrich foe(both are villains.) From what I saw, Giamatti was playing an awful man in that and -- no sale. I stopped watching the show.

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So its almost a quick , heartfelt leap from the young-middle aged Sad Sack Giamatti played in Sideways to the old-middle aged teacher(NOT Professor) he plays in The Holdovers and credit to Payne -- he's helped humanized Giamatti both times. Folks forget that Giamatti was NOT Oscar-nommed for Sideways(his doofus-stud buddy Thomas Hayden Church was) so maybe this time they'll make up for it.

The Holdovers makes the most of its isolated campus setting -- Giamatti the warm-hearted cook lady(who has a tragedy of her own, and its not a secret)and his young, troubled, brooding(and handsome) young male charge made car journies away from the campus to other locales(a bar, a home for Christmas party, a town, a city) and it is as if they are escaping an island of exile.

The Holdovers takes place in December of 1970 and eventually reaches "the ball dropping to welcome 1971" on the TV. Nice for me. I remember where I WAS for that ball drop.

It occurs to me that several of my recent favorite movies cater personally to my past -- Once Upon a Time in Hollywood(1969), The Holdovers (1970-1971) and Licorice Pizza(1972-1973). . If PART of the draw is when the movies are set, and how good I feel about that...the movie wins. (For others younger than me -- go ahead, take a look at what it was like back then.)

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With its 1970 boy's school setting, The Holdovers acknowledges a very scary time in American history -- the Vietnam War years, and the omnipresent draft. A sad and unfair point is made right up front: if the boys get into college, deferments will keep them out of Vietnam. But the cook's son got no such deferrent, went to Vietnam...and died there. Leaving a hole in his mother's heart -- and adding to the melancholy of The Holdovers. (I don't see this as a spoiler, it is told to us right up front.) Meanwhile, our young (white) hero is feverishly trying to avoid flunking out and going to Nam himself. Here is a movie with some bite to its timeframe -- the guys in Once Upon a Time were too old for Vietnam and the draft ended around the time of the Licorice Pizza story.

I liked the scene where the leads went to a movie theater to see "Little Big Man" with Dustin Hoffman. One feels as if one is THERE, in a half empty theater in winter, watching a so-young Dustin Hoffman talking with Chief Dan George. I saw Little Big Man in 1970, that was a lot of movies ago...

I liked the scene where our three leads(Giamatti, the young man, and the female cook) all go to a Christmas party at a home together -- and each of the three is presented with a possible romantic partner. There MIGHT be someone for everybody, the sheer possiblity of it is enchanting.

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I'm not sure if The Holdovers is the best movie of 2023(I liked it personally very much) but it succeeds where other movies did not this year -- in proving a worthy additon to the personal work of a very personal director -- Alexander Payne. It fits right in with his best works post Election (I'll note that his first film, Citizen Ruth was about the never-heartwarming topic of abortion and Election is aside and apart from his tearjerkers). And it allows Paul Giamatti a great opportunity to abandon his awful-villailn roles of recent years to reestablish what we liked about him in Sideways -- a great voice, funny line delivery, a humanity within that helps us root for him. Good show.

I hope its not six or seven years til Alexander Payne's next movie...

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You must live a full and fascinating life.

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What, because I hope its not six or seven years until Alexander Payne's next movie? This is a movie place, and movies are a great part of life and...the other part of my life is mine to live -- not here --and it is full and fascinating, I assure you.

"The Mean Girls of the internet." Christ.

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Ignore these idiots. I swear, the mean-spirited comments on this website amaze me in how pointless and childish they are.

As for The Holdovers, I thought the trailer looked fantastic but I haven't gotten around to seeing it yet. I haven't been overly impressed with the big releases I've seen this year (Barbie, Oppenheimer, Napoleon), but this one looks great and your recommendation makes me want to see it even more. A lot of other movie fans I've spoken to online have gone as far as to say it's their favorite new release of the year.

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As for The Holdovers, I thought the trailer looked fantastic but I haven't gotten around to seeing it yet. I haven't been overly impressed with the big releases I've seen this year (Barbie, Oppenheimer, Napoleon), but this one looks great and your recommendation makes me want to see it even more.

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Well, one reason for my long OP on this one is that I think Alexander Payne has created such a great, specific and emotional body of work that The Holdovers feels more like PART of a career-long story that Payne keeps telling in new ways. (Less Downsizing -- and while Election was acclaimed, it is a mean movie that really doesn't fit the "heart" of his work from About Schmidt on.

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A lot of other movie fans I've spoken to online have gone as far as to say it's their favorite new release of the year

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It is my favorite of the year -- a personal matter. I am an Alexander Payne fan. But then I think its been a disappointing year. Payne delivered; Scorsese(who OFTEN has my favorite of the year) did not(though his is still a good movie.

Funny thing: as Payne movies go, I like Nebraska(the Bruce Dern one) of 2013 better than The Holdovers, but in 2013, there were a couple of movies I liked better than Nebraska. The Holdovers sort of has the year to itself for ME. (Payne movies.)

I'd say that The Holdovers continues such great Payne things as (1) sense of place(snowy New England), (2) moving musical score and songs; and (3) painful but human story.

And this: Alexander Payne has a "stylistic touch" I love: sudden deadpan cutaways to a photograph or painting that rather "raise an eyebrow" of condescension. In About Schmidt, it was a cut to a photo of a man with a prize winning cow on a leash. In The Holdovers, there are SEVERAL such cuts to paintings of the "grand old men" who founded the college.

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Thank you for such a well-thought out review. That's a rarity on this site. Are you on Letterboxd or Substack? I think both would be great platforms for your writing.

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Thank you for reading! I'm not familiar with those platforms, but I will look into them.

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I really loved this movie. Three of the best performances of the year in one of the very best dramas.

If anyone's interested, I reviewed the movie on my youtube channel. Appreciate any feedback. Trying to improve - https://youtu.be/J3rl7c_W8Jk

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I think both are great. Unlike this site, which seems to have attracted a lot of people who'd rather argue politics or lob insults at one another, both Letterboxd and Substack skew in a more intellectual and informational direction, Substack especially.

Substack is a newsletter/blog/podcast/video site that works the opposite of Facebook, YouTube, Twitter, etc. in that it lets the creator control their content, access their fanbase, and keep the majority of money they make.

Letterboxd is a place where film fans can log the movies they watch, share reviews of films, and make lists of films. It isn't quite as interesting content-wise as Substack, but it's 100% film, as opposed to Substack which features content on every topic imaginable.

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I'm very much a bumbler when it comes to technology but I will take a look.

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Feel free to message me here if you need any help. I think you'd reach a far wider audience on Substack than here, and you seem to have a lot of interesting things to say.

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You forgot to include Scent of a Woman & Harold and Maude.

And don't you EVER criticize Downsizing again. I love that movie.

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Yup. Downsizing is absolutely terrific.

With The Hoidovers, I was thinking more about Equus, The Paper Chase and -of course - Dutch.

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