T
The highly anticipated 2023 Christmas movie is released much later than expected, in the middle of January. It tells the story of The Holdovers, a gritty drama set in an abandoned all-boys boarding school and centered around a lonely, imperfect Norwegian spruce. The film’s holiday spirit is brought to life by Paul Giamatti, playing a grumpy teacher of the classics. He proclaims, “I see the world as bitter and complex, and it seems to feel the same way about me.”
The director of the movie, Alexander Payne, has never experienced a Christmas as solitary as the one depicted in The Holdovers. However, there have been a few similar occasions, such as his 60th birthday. “I had to quarantine because I had Covid,” he shares. “So I was completely alone in my apartment. Friends would leave food by my door.” Despite this, he believes that overall, his milestone birthday could have been much worse.
Mishap, misery and redeeming acts of human kindness: these are the themes that speak to Payne as a film-maker. These are the squabbling forces that power his best work, be it 2004’s Oscar-winning Sideways (which sent Giamatti’s failed writer on a tour of California wine country) or 2013’s Nebraska (in which a blasted Bruce Dern ran down the American dream). The tone can be skittish; the emotional weather keeps shifting.
Payne enjoys keeping the audience on their toes. He mentions a Greek term, harmolipi, which represents the combination of happiness and sadness. In Greece, the two masks were always depicted together. In English, it could be described as “bittersweet.”
Our interview has just begun, but it feels like we’re already in the classroom at The Holdovers’ Barton Academy. The director exudes a scholarly aura, with a commanding presence and a sharp eye for detail. He is well-versed in film history and has no patience for amateurs. “I like to think of myself as a creator of comedies,” he introduces himself. “John Ford used to say, ‘I’m John Ford and I make westerns.’ I say, ‘I’m Alexander Payne and I make comedies,’ because I strive to maintain a humorous perspective, even when dealing with serious subject matter. It’s important to stay agile and endearing. And isn’t that just like life? It’s a cheesy analogy, but life is not just one note, it’s a symphony of chords. There are highs and lows, joy and sorrow.”
The formula used in The Holdovers has been praised by experts and even chosen by Barack Obama as one of the best films of the year. It is a slow-paced and engaging film that centers around the misanthropic character, Paul Hunham, who finds himself stuck at Barton Academy during the Christmas holiday. He forms an unlikely family with the school’s cook, who is grieving, and a troubled student. Hunham acknowledges that none of them want to be there, setting the stage for the film’s tension to be resolved. As the winter progresses, the gloom lifts and the broken pieces come together to form a whole. Just like Payne’s 60th birthday, this holiday may not be a lost cause after all.
Unfortunately, in line with the theme of outcasts in a state of uncertainty, The Holdovers does not align with current trends. Rather than sticking to Payne’s usual setting of the flat Midwest, the story takes place in a snowy Massachusetts filled with melancholic mill towns and white-water rivers. Despite being marketed as a Christmas film, it appears to have been delayed. The Holdovers is heavily influenced by the filmmaking style of the 1970s, going beyond simply paying tribute or imitating it.
The 1970s aesthetic is evident in the film, akin to the lettering in Brighton rock. This is seen in the time period (December 1970), the filming style (slow pans and dissolves), and the intense emotional impact of the plot (alternating between gritty and sentimental).
According to Payne, the print bears a 1971 date, creating the illusion that it was filmed in 1970 and released the next year. This gives the impression that the film is a relic from the past, perhaps still carrying the scent of patchouli oil and cigarettes. He also suggests that our choice of this date may have some connection to current events, as the film deals with a sense of societal confusion. Additionally, it may possess a rebellious undertone. How do these elements relate to or reflect upon our present circumstances?
I am certain that they do, however, I believe that the movie can stand on its own. The industry has evolved; movies now have a faster pace. In other words, how many traditional American films does Payne think are currently being made?
“Let’s think about this together,” the director suggests, shifting back into teaching mode. “When it comes to comedy, where are films like Groundhog Day or Trading Places in today’s movie landscape? Where is a well-crafted, intelligent comedy-drama like Terms of Endearment? Where are the visually stunning, mature dramas? Where are the epic films like Out of Africa or The English Patient?” He worries that the industry is mostly focused on Marvel movies. “If your film doesn’t involve superpowers, it may be difficult to secure funding.”
It was Payne’s fate to come in at the tail end of the era he reveres, catching the last wave of the 70s-style auteurist cinema otherwise known as the 90s indie scene. He scored a breakout hit with the pitch-perfect Election, pitting Matthew Broderick’s stricken teacher against Reese Witherspoon’s nightmare pupil. He followed that up by showcasing probably the last great Jack Nicholson performance in 2002’s About Schmidt.
Since then, it has been challenging as every film has been a struggle. “Nebraska was particularly difficult to finance due to my desire for it to be filmed in black and white. Even at a budget of $14 million, which is a small amount for studio executives, it was still a challenge to get the film made. The Descendants was easier, mainly because I had the star power of George Clooney attached to the project – “Look at this big, shiny thing.” Downsizing was a completely different situation, with a larger budget and the added bonus of having Matt Damon on board. I mean, on paper, Downsizing looked very promising.”
I must admit, I enjoyed Downsizing, although it was not well-received by most. The 2017 sci-fi comedy by Payne was too ambitious and unpredictable for its own good, leading to negative reviews and poor box office performance. Despite the setback, Payne has persevered, acknowledging that “you have to brush yourself off and keep going.” Reflecting on past film failures, he recalls a quote from Brian De Palma about the infamous flop Bonfire of the Vanities: “You’re not truly someone in Hollywood until you’ve brought a studio to its knees.”
Skip over the advertisement for the newsletter.
after newsletter promotion
Payne grew up in Omaha, Nebraska, in a Greek-American household with two older brothers. Despite being distant from any excitement, he disliked the city during his childhood. He couldn’t wait to leave the conservative and rural atmosphere. However, as he reflects on his career, Payne recognizes that Omaha played a significant role in shaping his films and their underlying spirit. Some may even consider it a character in itself, but Payne dismisses this idea. He compares it to failing a test, saying, “Yeah, people often refer to landscape as a character.”
Currently, he has a residence in Los Angeles and also has a home in his hometown. He describes how Omaha has evolved into a more progressive and trendy city. However, the main reason he resides there is due to his family. His father has passed away, both of his brothers have also passed, and his mother just recently turned 100 years old. Therefore, it is his responsibility to take care of her.
After completing The Holdovers, Payne is currently without a job. He has expressed interest in making a sequel to Election, with Witherspoon once again in the lead role, but the script requires some adjustments. Another possibility is for him to use his Greek citizenship and produce a film in Europe. Whichever path he chooses, it is expected to result in another tragicomedy, featuring characters on the margins of society and struggling to make ends meet.
Payne acknowledges it as a paradox. He gravitates towards films with genuine depth, those that depict the marginalized and disadvantaged. However, these are produced by highly accomplished filmmakers who occupy the highest echelons of the industry.
I inquire if he is also included in the comparison. He flinches at the assumption. He responds: “I cannot compare myself to Charlie Chaplin, who portrayed a homeless man.”
Does he view himself as a successful individual?
“Wow,” he exclaims, throwing his hands up in defeat. “I see you’ve exhausted all of your inquiries.”
Unfortunately, school has not yet ended as we still have a few minutes remaining. Payne shared, “Although it may be a negative response, my brother recently passed away from pancreatic cancer. Witnessing his struggle provided me with valuable insight. No matter what trials you face in life, believe me, you are fortunate if you are not battling pancreatic cancer.”
He takes a step back and reevaluates. “What if I give a more optimistic response?” he suggests. “I consider myself extremely fortunate to be a filmmaker. Fortunate that I was born during a time when movies were even possible. Fortunate that I developed a passion for them. Fortunate that I have been able to create them and experience some level of success. So, in that sense, I believe I am quite successful. And as I grow older, I become even more grateful and aware of my good fortune. It’s just the way life goes, isn’t it?”
Source: theguardian.com
