Category: Tate Donovan

THE HOLDOVERS

By Marc S. Sanders

Alexander Payne’s The Holdovers plays like a modern-day Christmas Carol.  Paul Giamatti is the Scrooge of the story set during mid-late December in 1970.  He’s an arrogant, unforgiving and unlikable teacher at Barton Academy, an all-boys Massachusetts boarding school.  Two other Scrooges round out the headlining cast.  Da’vine Joy Randolph is a cafeteria cook at the school.  Dominic Sessa is senior student – very bright, but also a troublemaker.  With uninvited circumstances facing the trio, they are the holdovers at the snow-covered school campus during the Christmas break, and they’ll have no choice but to get along or at least tolerate one another.

Alexander Payne often specializes in bringing attention to sad sack lonely souls like in Sideways, The Descendents, and About Schmidt.  His films begin with the characters seeming to accept their fates which lack a desire to smile and be cheerful.  Death or abandonment are common sources for their conditions.  Yet, with each of his wonderful films, it’s always fresh and new.  After an endless series of superheroes, I’m glad I get an occasional reminder of the humanity that can be found and treasured within entertaining films like The Holdovers.

Giamati is Paul Hunham.  Paul is disliked by everyone including his colleagues, the dean of the school (who was a former student of his), and especially the students.  Sessa is Angus who has a discipline problem but normally gets good grades. It’s most impressive that his B+ in Mr. Hunham’s class is leagues ahead of his classmates.  Randolph is Mary who recently lost her son, a recent graduate of Barton, after his entry in the Vietnam War.  These very different individuals have to share their lonesome disregard for one another.  Eventually though, their shields will whittle away and perhaps a couple of viewings of The Newlywed Game will open themselves up to each other.

I would be doing a great disservice to spoil the character backgrounds of these three who stem from different worlds and have nothing in common.  However, a theme found especially in Angus, and surprisingly in Paul, is a tactic of lying and exaggerating.  Within the context of the script written by David Hemingson, the untruths his characters tell work because it opens up further revelations that color in Paul, Angus and Mary’s current states.  The goal of The Holdovers is to scrape away the dirt on the surface in order to uncover the likable or sad nature hidden within. During a trip to Boston, Paul and Angus visit a museum and the irascible teacher finds an opportunity to remind his student that we do not study the past to only see what once was.  Paul tells Angus “…history is not simply the study of the past. It is an explanation of the present.” If The Holdovers were to have a mission statement, this is what the film stands upon.  Angus, Paul and Mary may all be a variation of a Scrooge, but this story explores what precisely added up to their respective states of misery.

The performances in The Holdovers are perfection.  Dominic Sessa offers one of the best film introductions in history.  This actor looks as if you have seen him before and it’s surprising that his only experience ahead of this picture were school plays, he’s done at his own Massachusetts prep school where he was discovered by the filmmakers who were scouting locations for this film.  He ranks up there with the debut performances of Whoopi Goldberg in The Color Purple and Lukas Haas in Witness.  Da’Vine Joy Randolph is heartbreaking, yet lovable as a grieving, chain smoking widow and mother.  Having also watched her bring out her acerbic funny side in Only Murders In The Building, she’s now one of my favorite eclectic character actors working today.  She is wonderful with either natural comedy and drama or just broad, satiric humor.  Arguably, Paul Giamatti occupies the best role ever written for him.  He finds the right beats during different plot points in the movie.  He’s positively unlikable but there’s an understanding to be found amidst the carnage of his past and present.  The sensitivity of Mr. Hunham eventually shines through, but Giamatti keeps it blended with the angry grouch he’s introduced as in the first few scenes of the film.  It’s a dynamic portrayal.

Alexander Payne reminds me once again that everyone we encounter in life is going through some form of turmoil and suffering.  Some of us can hide it well.  Others have given up concealing what’s not attractive or pleasing to our peers.  If we only take the time to look beyond what’s in front of us then maybe a person’s past will justify their present heartache, and we can either grieve, lend support or simply listen.  Payne will have you convinced to do anything except give up on a person.

As I write this last particular paragraph, I recall when Da’Vine Joy Randolph’s character prepares to attend a Christmas Eve party.  She lays out a nice dress.  She does her hair up attractively.  She puts on makeup.  She brings fresh baked brownies and gives them to the hostess with a welcome smile.  A few minutes later though, poor Mary is breaking down in the kitchen and Paul and Angus are seeing a colleague at her weakest when she was doing her best to uphold a semblance of strength.  Mary’s past defines her present to both Angus and Paul.

Alexander Payne is a genius storyteller of the human heart.  He’s already been quoted as saying The Holdovers is not a Christmas movie and he despises the reference.  Mr. Payne will simply have to forgive me though.  His Oscar nominated piece is a wonderful film to watch ritually during the year-end holidays.  Christmas and New Year’s may be a time to celebrate with our loved ones and the fact that we’ve lived through another year gone by.  However, it is also the loneliest for many of us who can no longer celebrate with a family or friends.  It’s important to acknowledge the pain that comes with living under that circumstance.  Fortunately, Payne, with David Hemingson’s screenplay, finds the humor needed for these souls to shed their agony and proudly reveal the faults they carry and the suffering they had no choice but to endure.

The Holdovers is funny, touching, insightful and it’ll leave you embracing a new collection of characters that will not soon be forgotten within the enormous lexicon of memorable movie roles.  

This film will likely win Oscars for screenplay, supporting actress and actor.  A shame that Dominic Sessa was not nominated as well.  There could never be too many accolades for this picture.  It’s marvelous.

The Holdovers is another wonderful film.  Another best of 2023.

CLEAN AND SOBER

By Marc S. Sanders

There’s nothing pretty about alcoholism and drug addiction.  Surprisingly enough, I can only think of a handful of films that really explore the struggle ahead of the main character admitting to a problem, then going through the rehabilitation process, and then trying to live without the chemical dependency, thereafter.  Each of these stages have been depicted plenty of times, in all kinds of mediums.  Yet, Clean And Sober, directed by Glenn Gordon Caron, with Michael Keaton in the lead role, covers all three quite effectively.

Keaton portrays Daryl Poynter, a successful real estate broker.  When he’s awakened by a phone call one morning, his incessant sniffing is interrupted by his insistence to the caller that he’ll check on a missing $92,000 from an escrow account on Monday morning.  He quickly hangs up the phone and turns towards the nude woman in his bed.  Then it dawns on him that something is not right with her.  Police determine she has overdosed, and Daryl better stay in town. 

Instead, Daryl opts to check in anonymously to a nearby rehabilitation center.  He’ll get free room and board, and no one will know to look for him while he’s hiding out from those looking for the escrow money or how he may be responsible for the drugged woman.  He’s just hiding out, though.  Daryl has no intention of following the program the center offers.  So, Daryl is a rule breaker where he sneaks in phone calls to his stockbroker, and his friend that he insists send him an overnight package of cocaine he kept stashed in his office desk.  Morgan Freeman is Craig, the leader of the recovery program and a recovering addict.  He easily sees through Daryl’s shenanigans and kicks him out.  Following a late night, out-of-control episode at his office, while looking for his drugs, Daryl returns to the center and gradually acknowledges his problem, while still living in fear of the consequences when he learns the woman he was with has died and her father has gone out looking for him.  His bosses are also questioning the whereabouts of that money.

Keaton turns in a chain smoking, red eyed performance.  His appearance and body language convincingly send the message of his harmful addictions more than his line deliveries.  Honestly, I found him to be a little over the top with his rantings and “fuck you” temper tantrums.  When I was observing his behaviors, only then was I buying his portrayal.  This role should serve as a significant accomplishment in the history of Keaton’s career.  Before this film, from 1988, the actor was more well known for comedies (Mr. Mom, Gung Ho, Johnny Dangerously) and his tours on the stand-up circuit.  I think he became a better dramatic actor later on. 

Freeman is once again so good as a subdued, in charge and street-smart mentor.  Another good mentor comes from the never showy character actor, M Emmet Walsh (I find him in so many of these now classic films; he really had a presence in Hollywood.)  Walsh is Richard, the unglamourous sponsor that Daryl was never expecting.  Daryl was holding out for an attractive woman to be his sponsor.  A great scene occurs between the two actors when Daryl meets Richard at a diner for lunch.  Richard has three desserts and a milkshake on the table in front of him.  Daryl makes a crack about it, and Richard reminds him that they are addicts.  It’s in their nature to be compulsive, even with food.  Good writing here, from Tod Carroll, who doesn’t take for granted how a recovering addict lives with himself, for the rest of his life, from one day to the next.

Carrol offers up other special scenes.  We’ve all seen the staged AA meetings where the character stands up, says his name and the others say hello back.  Tod Carroll goes a step further.  Morgan Freeman as Craig is a smart character who sees past the well to do appearance, and smiling face of one young female character and calls her out for being high right in front of the group.  He immediately asks her to leave, and rather than come off embarrassed, she exits the room.  The rest of the group, Daryl included, are shocked.  They are only beginning to learn how people like them function only on the dependency of the drug and drink.

Kathy Baker portrays another addict that Daryl becomes attached to.  She’s also very good in her role as the lonely woman with the boyfriend who treats her like dirt, yet she can’t imagine anyone better for her; not even Daryl as he’s moving on a positive path towards recovery, and wants to begin a life with her.

Caron and Carroll focus the script of Clean And Sober on a variety of ways that addiction affects different walks of life.  It’s fortunate that the film does not fall into the trap of melodrama.  Chemical dependency is an ugly ordeal that destroys so many lives, not just the abuser.  Relationships are tested.  The will to function is also tested.  As well, the endurance to remain clean and sober is tested. 

This film might be from the late 1980s, but I’d argue that its themes and messages remain prevalent today.  Alcohol and drug addiction still stand as leading killers within the country.  I believe violations of DUI are not taken seriously enough.  Alcohol and drugs are too easily accessible and affordable, thereby feeding the illness.  Ultimately, we can only be responsible for ourselves.  One way to hold fast to our committments is to observe and learn.  Clean And Sober will allow you to do just that.

ARGO

By Marc S. Sanders

Ben Affleck’s third directorial effort Argo is his best. It makes me wonder why he followed this with playing Batman, a done to death cinematic character.

Argo showed promise of another great actor/director in the same vein as Orson Wells, Woody Allen, Robert Redford and Clint Eastwood. I’m sure Affleck will direct again but a Batman commitment certainly sidelines you. I hope he’ll direct again. I’m a big fan of his previous films, The Town and Gone Baby Gone.

The story tells of one aspect of the Iranian hostage crisis that spanned the end of 1979 through 1980. Six employees of the riot stormed American embassy in Iran manage to escape and hide in the Canadian ambassador’s home. Slowly but surely their hideaway will be revealed and they will inevitably be taken prisoner. Affleck plays CIA operative Tony Mendez who is tasked with getting them out. His plan, with assistance from John Goodman as legendary Hollywood makeup artist, John Chambers, and Alan Arkin as producer Lester Siegel, will make up a cockamamie story about producing a fake science fiction Star Wars rip off film called, you guessed it, Argo. They will do marketing write ups, poster advertising, and even a costumed table read at the Beverly Hills Hotel, all with the intent to just appear authentic as a film studio seeking out production locales in exotic Iran. The six hostages naturally are the film’s crew.

Affleck directs two acts here with two different narratives using both masks of theatre. Namely comedy and tragedy. The pleasure comes in watching Arkin and Goodman pair up to bring the Hollywood flavor that’s necessary. It’s great fun, especially when watching Arkin (in an Oscar nominated role) shyster his way with character actor Richard Kind to buy the Hollywood script-these two guys are like Oscar and Felix. Goodman is great as the been there done that Hollywood insider. He says “You can teach a Rhesus monkey to be a director.”

The drama comes with Affleck’s talent for delivering taut tension from his directing especially but also from his own performance as well as his cast of six hostages consisting of Tate Donovan, Scoot McNairy and Kerry Bishe. Bryan Cranston is also good as Mendez’ comunica from home. Cranston is just good in anything.

The tension builds with intimidating locals screaming of their loyalty to the Ayatollah as well as the eventual airport security. It’s all very nerve racking.

The critique for the the film lies in its own admission of historical inaccuracies. The escape was not as tense as the film suggests. More importantly, the caper was really primarily pulled off by the Canadian Ambassador, Ken Taylor (great actor Victor Garber). No. Canada is not given enough credit in the film. Still, here is a rare exception where I don’t mind. I guess because the suspense Affleck offers up is at its peak. You really shake your head at it all.

Forgive the cliche but Argo is a nail biting, edge of your seat thriller. At best, I can be grateful for learning about the true story following seeing the film. It’s a story that was kept hidden for 17 years. In these times of hardship and turmoil in America, it’s fortunate that a success can finally be celebrated.

Argo was undoubtedly worthy of its Best Picture Oscar win, and Ben Affleck should have at least been nominated for Best Director.

Fun Fact: Argo is produced by two former Batmans: George Clooney and Ben Affleck.