The Holdovers: a perfect holdover for Christmas-New Year’s slump

Charles Dickens has been acclaimed as “the man who invented Christmas.” It is certainly true that his iconic “A Christmas Carol” has given rise to a multitude of tropes universally associated with Christmas, tropes ranging from Christmas traditional dinners to decorations. Above all, the story of Scrooge has resulted in a multitude of Christmas stories involving a person undergoing a change of heart. So, for example, among favourite Christmas movies, ranging from It’s a Wonderful Life to The Grinch, pay homage to this theme. It is not surprising, then, that one of the most recent Christmas offerings follows this format.

The Holdovers, in fact, commences with a plot point taken from A Christmas Carol. Just as the young Scrooge is shown as being at first confined to school during the holiday, so too the film starts with a group of sons of wealthy parents being abandoned by their parents and forced to spend the holiday in their expensive private school.

While some are soon rescued, as only the wealthy are likely to be, by helicopter, left behind are one angry and rebellious student, the unpopular Classical History teacher charged with overseeing him, and the school cook who is mourning her only son, a military hero. It will come as a surprise to almost no one that, once again, we are launching into yet another Christmas conversion story, a la Scrooge. What is more surprising is that what the film achieves is to take the viewer on a beguiling, gentle journey with enough unexpected incidents to maintain interest, while still paying homage to those expected themes of conversion and reconciliation.

Set in 1970, the film establishes the era in a number of ways, not least by subtle references to The Breakfast Club and Dead Poet’s Society, but especially a scene from Little Big Man, starring Chief Dan George. And as it unfolds in leisurely, predictable fashion, its unassuming narrative helps us to get to know the trio of leading characters in a warm and reassuring fashion. After all, Christmas is above all a time when we want to visit the familiar, though dressed in new wrappings.

At times the film reflects modern-day concerns, especially anger over the unfair disadvantages accorded to the wealthy and depicts the sort of thing that one expects of a film set in a school, especially bullying. But, above all, the trio of leading actors: Paul Giamatti as the despised, unpopular teacher, Dominic Sessa as the angry young student, and Da’Vine Joy Randolph as the brave, common-sense school cook not only make their complex characters real but bring them to emotional and convincing life.

It is true that the film tends to be a little longer than is necessary; it is true that it holds few surprises. However, in its unassuming and understated fashion, it becomes the perfect viewing for those days of relaxation and reflection between Christmas Day and New Year’s Day.

Whether The Holdovers will become one of the “Classic” Christmas movies, remains to be seen – but it will certainly be a contender. However, on a personal note, it will not replace my choice for the best Christmas movie, Danny Boyle’s 2004 British comedy-drama Millions.

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