Author: Movie Outline

A Deep Dive into ‘All the Light We Cannot See’: Critics’ Perspectives

Shawn Levy’s Epic Series ‘All the Light We Cannot See‘ premiered on Netflix on Nov. 2, 2023. Based on Anthony Doerr’s Pulitzer Prize-winning novel, the four-episode limited series unfolds in a besieged city, immersing viewers in the lives of Marie-Laure, a blind French teenager, and Werner, a German soldier. Their paths cross in occupied France as they navigate the challenges of World War II.

While the series has a bright cast, its potential is often snuffed out by a tonally awkward blend of serious and silly. The television adaptation falls flat in comparison to its original source material. Critics note that it may not be a typical comfort watch, yet it offers a glimpse into a simpler time, contrasting with its wartime setting.

• The casting of visually impaired actors, such as Loberti and Nell Sutton, who portrays young Marie, adds authenticity to the characters, enhancing representation and genuine portrayal of the story’s protagonists.
• However, great actors and good source material are not enough when they’re in the hands of the wrong filmmakers. Nothing about this final product suggests that Levy or Knight was the right choice to bring this story to the screen.

Critics argue that whatever was transcendent or lyrical about Anthony Doerr’s novel gets lost in translation from page to screen in this hackneyed and surface-level adaptation from screenwriter Steven Knight and director Shawn Levy. Insight into the human condition is traded away in favor of underdeveloped characters who speak in on-the-nose metaphors.

Moreover, Levy’s directorial choices leave much to be desired. Marie-Laure is often filmed with precious close-ups that present her as an object of pure goodness, but she is given little to no moments that show her depth of character. Each actor feels like they’re playing a character rather than something resembling real life.

Part of the fault lies in Knight’s script, laden with clunky exposition or overly flowery language. The dialogue becomes increasingly worse, losing all nuance and thought, leading to a drearily slow yet stupidly rushed experience.

Critically, the acting is almost uniformly bad, and the accents are particularly concerning to some. Despite this, the emphasis on storytelling is what critics have found to be pretty terrible overall. The adaptation appears muddled and flat, leading many to say it will disappoint viewers who hold the original novel in high regard.

Notably, not only are the characters Doerr creates beautiful and wholesome, but the intricate plot-line and well-developed metaphors create the enchanting World War II story that is ‘All the Light We Cannot See.’

Is the Mini-Series Adaptation Faithful to the Book?

Director Shawn Levy consulted Anthony Doerr for historical accuracy in the adaptation of All the Light We Cannot See. Levy stated that Doerr ‘wasn’t precious’ about his adaptation but wanted to ‘get the history right.’ This collaboration allowed the series to portray significant events accurately, such as the invasion of Paris and the exodus of millions from their hometown.

The television adaptation introduces new characters, such as Nazi soldiers Captain Mueller and Schmidt, to highlight the threat of war and the growing tension during World War II. Levy aimed to manifest the evil of the Nazi party through these characters, a creative decision that Doerr found effective.

However, significant changes were made to character relationships. For example, between Madame Manec and Etienne, in the series, they are depicted as siblings. Madame Manec dies of pneumonia, inspiring Etienne’s advocacy work in the French resistance. This contrasts with the novel, where she has a different fate and Etienne survives the war, reuniting with Marie-Laure.

Moreover, the ending of the series diverges significantly from the novel. In the show, Marie-Laure kills Reinhold after Werner attempts to protect her, whereas in the book, Werner kills Reinhold before he can reach Marie-Laure. The series offers a more hopeful conclusion, with Marie-Laure throwing the Sea of Flames into the ocean, while the book ends with a more somber reflection on Werner’s fate.

Despite these elements, critics have acknowledged the adaptation’s shortcomings. One review noted that, in translating the hefty book to TV, Netflix is clearly hoping to gain some of that sweet critical clout for itself. However, it is unlikely, as the adaptation is described as mostly mediocre, occasionally veering into outright bad.

Furthermore, with Shawn Levy on directorial duties and Peaky Blinders writer Steven Knight dealing with the screenplay, any subtleties or quietness are stamped out in favor of belching out all of the subtext as pure text. The characters are constantly talking about what they’re doing and how they’re feeling.

The ultimate effect of this approach is to turn Nazi-occupied France and the slaughter of millions into a cutesy playground for Instagram post levels of inspiration. Critics have questioned whether the book was simply too weighty for Levy and Knight to dissect or if they believed that viewers would be bored if the story took a breath and stopped for longer than a minute.

Overall, All the Light We Cannot See is described as half-baked, leaving behind scraps of potential but largely a hash of two-dimensional figures stuck in an interminable slog. Perhaps fans of the book will be satisfied to see the characters they love in the flesh, but many cannot imagine anyone being truly thrilled with something so blatantly made by people who didn’t know nor care to try harder with what they had.

Lastly, in addition to the deviation in character fates, the show kills off Etienne rather than having him end up in prison and ultimately reunite with Marie-Laure like in the book. Moreover, many reviews bashed the show, bemoaning the fact that it ‘changed the ending.’ Notably, Netflix’s adaptation brings new characters and a larger cast to the story, adding depth to the primary characters.

All the Light We Cannot See: A Review of the Cinematic Experience

Overview

“All the Light We Cannot See” is not, in the strictest sense, a comfort watch.

Like the Pulitzer Prize-winning Anthony Doerr novel on which it’s based, the four-episode limited series takes place in a walled city under siege by a bombing campaign. Its trapped civilians are unable to evacuate — hardly a relaxing break from today’s headlines.

Adaptation and Storytelling

As adapted by screenwriter Steven Knight (“Peaky Blinders”) and director Shawn Levy (“Stranger Things,” “Free Guy”), the series leans into sentiment and moral simplicity.

Knight and Levy aim for an uplifting, inspirational tale of connection that transcends division, distance, and prejudice. However, they instead deliver a flat, jumbled story that lacks the desired effect.

There’s a romantic tone to this story that borders on fairy tale-like fantasy.

Marie is locked in an attic á la Rapunzel, while a wicked jeweler-turned-Gestapo-officer (Lars Eidinger) is on the hunt for a magical gem.

Thematic Elements

A more substantial change is in how “All the Light We Cannot See” depicts, or doesn’t, the nuance of growing up in a fascist state.

The symbolism of Marie’s condition is straightforward and left largely intact from the book. She’s both part of a population threatened by Nazi ideas of genetic purity and in tune with deeper truths than skin-deep appearance.

Ultimately, ‘All the Light We Cannot See’ suggests that, despite the profound challenges of life, there is light to be found in the unlikeliest of places and moments.

One of the key points of ‘All the Light We Cannot See’ is that war is futile and impersonal. War brings out the horrific side of humanity.

Character Development and Casting

The Netflix adaptation has a few changes that improve upon the book.

While reading the book, you have trouble depicting the experiences of Etienne, Werner, and Marie. In the adaptation, Levy incorporates flashbacks from the present to before the war started. These flashbacks are so well done, emphasizing the pain each character must feel. The storyline for the Netflix adaptation is a 10/10.

Aria and Nell, both blind in real life, made a significant impact with their casting. This provided a perspective nobody had ever seen before and represented a new step for blind actresses. For Werner, Shawn found Louis Hofmann, a German actor, fitting the book well. The other characters are also well done. Who knew that Von Rumpel, the antagonist of the book, could be so deadly? For casting, I would give it a 10/10.

Accuracy and Cinematography

I would give the adaptation a 9.5/10 for book accuracy.

One change I appreciated was the development of Madame Manec and Étienne. Originally in the book, Étienne wasn’t part of the Resistance after his WWI experiences. In the adaptation, he is portrayed as the leader of the Resistance, and Madame Manec was only the housemaid to Étienne. I love how they made Étienne and Manec siblings because it enhanced the relationship hinted at in the book.

The cinematography was spot on. From the accurate depiction of Saint Malo to the bombings, it was beautiful. The audience is drawn into the events of the adaptation. I also like how, during time jumps, they add the date and location, which helps differentiate between Marie’s and Werner’s plots.

Exploring Characters: Who Shines in ‘All the Light We Cannot See’?

Character Analysis in ‘All the Light We Cannot See’

Marie-Laure LeBlanc

Marie-Laure LeBlanc is a blind French girl and one of the novel’s protagonists. She is sheltered but also brave, self-reliant, and resourceful.

Marie-Laure grew up during a challenging time in history. She experienced personal tragedies, but she never loses a sense of wonder in the world around her.

She became blind at the age of six but learns to adapt to this new reality. Marie-Laure is inquisitive and intellectually adventurous. Her father is a driving force in her new life, encouraging her to not let the loss of sight destroy her life.

He builds her a scale model of the area of Paris near their home, making her lead him home from work every day. Shortly after it becomes apparent that Paris will be overrun by the German army, Marie and her father flee the city.

They carry with them the Sea of Flames as they travel to the city of Saint Malo, where Marie’s great uncle, Etienne, lives. The war progresses, and Saint Malo becomes occupied by the Germans. During this time, Marie loses her father because the Germans accuse him of being a rebel.

Eventually, Etienne’s maid, Madame Manec, takes over as her primary caregiver until she dies. With no one else left to care for her, Etienne steps up and begins to watch over her.

As the war nears its end, Marie learns that her father has left her the Sea of Flames. She faces harassment from Sergeant Major Von Rumpel, who is searching for the diamond. When the German siege begins, Marie must hide in the attic to avoid being attacked. Using her uncle’s radio, she calls for help.

Werner Pfenning comes to her rescue after hearing her pleas over the radio. Doerr depicts Marie-Laure as a quiet and observant young girl.

Werner Pfennig

Werner Pfennig is a young, intelligent German boy with whitish-blond hair and blue eyes. He grows into a kindhearted and intelligent young man, highly motivated to learn.

Initially, his scope of experience is limited as he grows up as an impoverished orphan in the poor coal mining district of Germany, raised in an orphanage with his sister, Jutta, by Frau Elena.

However, his horizons change dramatically when he finds and repairs an old, broken radio in an alley near the orphanage. Werner falls in love with this radio and the physics of broadcasting. With time, he becomes more engrossed in physics and radios.

After a series of brutal examinations, he is chosen to attend a highly selective school in Schulpforta, where he excels in his studies. He is selected by his professor, Dr. Hauptmann, to help create a radio tracking device for the German army.

At the school, Werner meets his only two friends: Frederick, his bunk mate, and Frank Volkheimer, an incredibly large schoolboy known as ‘The Giant.’ However, 16-year-old Werner is soon sent to the Eastern front to fight in the war, serving under Volkheimer’s command to track down rebel radio communication.

As he travels across Europe, his duties lead him to Saint Malo, France, where he meets Marie-Laure. Throughout much of the novel, Doerr portrays Werner as a young, innocent boy, despite fighting in the war.

He often feels regret after finding rebel radio operators, as he feels responsible for their deaths. A haunting memory from the war is the killing of a young Romanian girl—an image that will distract him for the remainder of his time in service.

Daniel LeBlanc

Daniel LeBlanc, Marie-Laure’s father, is selflessly devoted to his daughter. He spends long hours teaching her Braille and crafting elaborate models of Paris and later Saint-Malo to help her navigate her environment, showcasing a deep bond between father and daughter.

Frank Volkheimer

Frank Volkheimer is described as a huge, intimidating, and morally ambiguous staff sergeant who works as an assistant at Werner’s school. Initially, he comes across as a simple-minded, brutish thug.

However, when alone with Werner in the laboratory, a deeper side of Volkheimer emerges; he listens to and dances to classical music by Mozart, Bach, and Vivaldi.

Later, as Werner is sent to the Eastern front, he serves under Volkheimer’s command, who appears to protect Werner like an older brother would.

Jutta Pfennig

Jutta Pfennig is Werner’s younger sister. She is left behind when Werner departs for Schulpforta, resulting in feelings of abandonment and resentment towards her brother. During the war, they maintain contact through letters. After the war, Jutta returns the puzzle box that Werner retrieved to Marie-Laure.

Sergeant Major Reinhold von Rumpel

Reinhold Von Rumpel is a sergeant major in the German army responsible for evaluating art, jewelry, and gems. Diagnosed with cancer during the novel, he zealously searches for the Sea of Flames—a gem believed to protect its possessor from death but curses those close to them.

Why Are Critics Divided Over ‘All the Light We Cannot See’?

The series, which is broken into four episodes, looked promising upon its release. It is directed by Canadian Shawn Adam Levy, known for the Night at the Museum film franchise. A through line between All the Light and Museum is that many scenes within All the Light were set at the Muséum National d’Histoire Naturelle (The National Museum of Natural History). However, unlike The Night at the Museum, the series takes place during World War II, amidst the destruction of war-torn Paris.

Critics’ Scores:

• All The Light We Cannot See (2023) has a 28% critic score on Rotten Tomatoes.
• The audience score is 82% and IMDb ranks it at 7.6/10.

General Criticism:

Critics have so far branded the latest offering from Stranger Things executive producer Levy and Peaky Blinders writer Steven Knight a shonky, star-studded dud, a trite, turgid mess and quite simply terrible.

• The Guardian described it as terrible with almost uniformly bad acting and dialogue that gets worse, feeling drearily slow and stupidly rushed.
• Early reviews have branded it a ‘shonky, star-studded dud’, a ‘turgid mess’ and simply ‘terrible’. Ouch. It’s the much-hyped Netflix series from director Shawn Levy. But now the initial reviews are in for All The Light We Cannot See – and we’re sorry to say that they are not good.
• Here’s a selection of what critics have said about All The Light We Cannot See so far: ‘It is terrible. The acting is almost uniformly bad. The dialogue gets worse and worse (or if it’s Von Rumpel’s, vurse and vurse). All nuance is lost, all thought has been excised and it feels both drearily slow and stupidly rushed.’

Character Portrayals and Writing Issues:

All the Light We Cannot See (2023) had the opportunity to present its storyline in a more truthful manner by incorporating German and French speaking actors to play the characters. Unfortunately, an all-American cast was selected instead. This choice made the film feel less realistic and removed from the World War II period it is supposedly set in.

When reading the novel alongside the series, it became clear that switching between the lives of Marie-Laure and Werner was a difficult task. The novel alternates their stories with every chapter, providing small snapshots. I think this is the reason the novel did not translate well into a screen adaptation. The series wanted to cover the experiences of both characters in-depth, but they should have picked either Marie-Laure or Werner to be the focus, rather than battling over finding ways to equally share their screentime.

Moreover, the series felt rushed. Although it was thought that packing an entire novel into four individual episodes would allow for more detail, Marie-Laure and Werner’s relationship progresses too fast. They meet in the final episode and almost instantly share a kiss. Marie-Laure is overly trustworthy of Werner and believes he is there to save her, even though she has never spoken to him in her life.

Notable Performances and Visuals:

Despite some positive notes, including a radiant lead performance from newcomer Aria Mia Loberti and a nicely shot visual style, critics noted that the series diverges significantly from the original book. Changes made the material louder, clumsier, and less emotionally rich.

Radio Times expressed disappointment with the overall quality of writing. While the series is visually impressive, it lacks convincing character arcs. There was a sense of missed opportunity with talented actors like Laurie and Loberti, as the writing did not allow their performances to shine fully.

Adaptation Concerns:

The Independent noted that while the casting of visually impaired actors was a good decision, Mark Ruffalo’s performance was criticized for lacking any French authenticity. The central chemistry between Marie and Werner was deemed incoherent due to the achronological telling, resulting in a cartoonish portrayal of a Nazi that does not honor the scale of suffering in history.

The Telegraph argued that the adaptation has clumsily scissored the source material to make it less dark and more optimistic, resultant in a preachy, sanitized, and sentimental portrayal. Characters were drawn in rudimentary strokes, with heroes depicted as saintly and villains as cartoonishly evil, failing to capture the complex humanity of the characters.

Ultimately, whatever was transcendent or lyrical about Anthony Doerr’s Pulitzer Prize-winning novel gets lost in translation from page to screen in this hackneyed and surface-level adaptation from screenwriter Steven Knight and director Shawn Levy.

Should You Watch ‘All the Light We Cannot See’? A Viewer’s Guide

ALL THE LIGHT WE CANNOT SEE is a riveting and well-stocked miniseries filled with intense jeopardy. Each episode ends with a cliffhanger, keeping viewers on the edge of their seats.

The four-part limited series tells the story of a blind French girl named Marie-Laure and her father, Daniel LeBlanc. They flee the National Socialist Germans occupying Paris with a famous diamond that supposedly grants eternal life, but also brings harm to the owner’s loved ones. Daniel is determined to protect the diamond, as it belongs to France.

The two major narratives intersect as Daniel and Marie seek refuge in the coastal town of Saint Malo. They move in with a reclusive uncle, Etienne, who sends radio broadcasts for the Resistance, and an aunt who organizes old ladies as spies. Concurrently, the other storyline follows a young orphan, Werner Pfennig, a genius taken into Hitler’s radio squad to locate signals from the Resistance.

The show has been handsomely produced with a substantial budget. The dialogue, acting, sets, costumes, and direction are remarkable. However, some flashbacks can be disorienting. Moreover, the series has very intense violence, including torture and the killing of Daniel, despite minimal bloodshed. Notably, the Germans use the ‘f’ word several times, which seems out of place given its lesser impact in German language culture.

Despite its strong visual elements, ‘All the Light We Cannot See’ has received criticism for being a hollow adaptation of rich source material. The adaptation fails to capture the depth and subtleties of the Pulitzer Prize-winning novel it is based on.

Screenwriter Steven Knight, known for ‘Peaky Blinders’, has been blamed for turning Anthony Doerr’s lyrical narrative into cliches. Director Shawn Levy, recognized for the ‘Night at the Museum’ franchise, has been criticized for eliciting lackluster performances from talented actors like Mark Ruffalo and Hugh Laurie. Additionally, the score by James Newton Howard tends to dictate audience emotions rather than allow them to experience the story organically.

Conclusion

While ALL THE LIGHT WE CANNOT SEE is described as an extremely exciting and morally affirming miniseries that testifies to good triumphing over evil, it ultimately falls short. With strong Christian references but also notable coarse language and violence, it leaves many viewers feeling a sense of disappointment.

In conclusion, the series may hold worth for some, especially with the radiant performance from newcomer Aria Mia Loberti as Marie-Laure. However, many audiences and the spirit of the source material deserve better.

The Holdovers Movie Review

The Holdovers is a consistently smart, funny movie about people who are easy to root for and like the ones we know. Its greatest accomplishment is not how easy it is to see yourself in Paul, Angus, or Mary. It’s that you will in all three. David Hemingson’s script is about those wonderful turns in our lives when a stranger can shift us off in a new direction that we hadn’t considered and how they can come long after we think we’re done adjusting.

Director Alexander Payne knows how to create an artful film, and The Holdovers is no exception. It’s at once indie and art-house while simultaneously being mainstream and easily accessible; in short, it’s a film for everyone that actually feels like a genuine crowdpleaser instead of a pandering mess.

Moreover, Payne bounces back from the disastrous ‘Downsizing’ by reuniting with the star of arguably his most beloved film, ‘Sideways.’ Paul Giamatti gets his richest part in years as Paul Hunham, a brutal professor at the prestigious Barton Academy in the early ‘70s. Hunham is generally disliked by students and staff, although a colleague named Lydia (Carrie Preston) does make the grumpy old man Christmas cookies.

Through a series of events, the holdovers this break end up being pretty much just Paul, a student named Angus (Dominic Sessa in a breakout role), and the head cook Mary (Da’Vine Joy Randolph). They’re three people at very distinct chapter breaks in their lives, but they will influence each other in a heartwarming and genuine way.

Furthermore, Hollywood has a long history of stories of ‘makeshift families that learn something,’ but then why does ‘The Holdovers’ feel so fresh? It’s probably because it’s been so long since one of these stories felt this true. Payne and his team recognize the clichés of this life lesson, but they embed them with truths that will always be timeless.

The Holdovers is the epitome of a feel-good Christmas movie. It’s got heart, humor and an aesthetic sense so well-cultivated you’ll feel like you’ve walked into the year 1970. Cute and touching if not laugh-out-loud hilarious, The Holdovers is a thought-provoking dramedy for viewers seeking a dialogue-driven movie with a throwback.

This Christmas-themed gem doesn’t hold back on the drama, delivering a thoughtful blend of comedy, coming-of-age storytelling, and a touch of romance – all wrapped around a very raw, human plot-line that virtually everyone can relate to.

This movie is a beautifully crafted piece of nostalgia that feels lifted right out of the late sixties/early seventies, worth seeing for its playful homage to a very specific slice of cinema history, for its three lead performances, and for a few very good scenes that come before the conclusion.

In addition, this is a high-quality movie – from the impeccable acting to the beautiful on-location cinematography to the relatable, thought-provoking plot, every element is executed with pinpoint precision and finesse; it’s a testament to the art of storytelling on the silver screen.

Lastly, I would’ve liked a touch more romance; yes, there was romance here, but a bit more would’ve pushed me over the edge into 10 out of 10 territory. Besides that, this is basically a perfect film, one that I loved, and one that has become one of my favorite movies of the year.

The Holdovers is a movie everyone can enjoy with endearing characters who share with us our moments about loneliness peppered with the possibilities of love and offers a thoughtful exploration of human relationships set against the backdrop of a bygone era. It provides the feeling of something destined to become a classic.

Critical Reception of The Holdovers

The Holdovers is a strong and warm-hearted piece that gives actors roles with powerful lines, without any reliance on flashy editing and being overwhelmed by special effects. The story is simple: three people get stuck for the Christmas holidays in a boarding school.

Alexander Payne’s The Holdovers isn’t merely set in 1970 but pretends to be from 1970, in subject and form. Paul Giamatti is outstanding in Alexander Payne’s darkly comic, melancholy, but uplifting drama.

The dialogue rolls off the characters, elevating their distinctiveness and humanity. Yet as fluid as the writing is, the performances bring each character to life.

All of this doesn’t capture how consistently funny “The Holdovers” is from beginning to end. Payne leans into Giamatti’s irascibility in the early scenes in hysterical ways that make it more powerful when those walls start to fall.

Let’s just get this out of the way now – when it comes to writing this review, I’m probably a little bit biased (and a little bit drunk, currently, but that’s besides the point). You see, I have an affinity for indie coming of age movies, and ‘The Holdovers’ is basically an indie coming of age film, so it may – or may not – come as a surprise to you that I absolutely adored this picture.

I am genuinely looking forward to rewatching this, and I can’t wait until it becomes closer to Christmas so I can view this on my own TV, cuddled under blankets, with a glass of whiskey, and bask in the absolute heartwarming experience that is ‘The Holdovers.’ My recommendation: Do yourself a favor and watch this as soon as you can – you won’t regret it.

Themes and Messages in The Holdovers

The Holdovers features one of my favorite storytelling themes; that of broken people finding one another. It weaves themes of loneliness, the eternal search for belonging we all feel, and a nuanced definition of family that gains shape as we connect. However, instead of helping to mend each other, Paul, Angus, and Mary give each other the space and belief that they can mend themselves. While one character is grieving, another is lost, and the other is afraid. Both Paul and Angus are stunted youths of sorts, and their forced pairing gives way to an unexpected coming-of-age tale for both of them. Meanwhile, Mary’s best moments come when she’s by herself. Free from her cooking and managing duties, the times when she’s forced to be alone with her grief are when she’s at her most open as a human being.

Style aside, it’s the characters that make The Holdovers as involving a film as it is. Each of the three has accepted the notion that society has written them off and made each of them into a stereotype. But Paul, Angus, and Mary are such richly drawn portraits of the kinds of people found in the real world with great idiosyncrasies and hidden depths that no one would see unless they stopped and looked closely. These are people whose fears don’t have to do with loneliness or being misunderstood. Instead, it’s the suspicion that where they are in the current moment is the most the universe has to offer them.

Additionally, the movie’s tone is a wonderful blend of both poignancy and humor, with all of its moments evolving organically. Meanwhile, the narrative structure adopts a free-flowing sensibility, allowing the story to travel where it naturally should rather than hitting expected plot points. The Holdovers also proves itself to be a worthwhile echo of the times through the sense of isolation and uncertainty felt by people who are simply existing in the only ways they know how.

In today’s landscape, it seems that a film experience isn’t considered complete or whole unless the audience watching can relate to the characters on the screen. In 2023, characters must be relatable, likable, and possess no flaws that might be considered dark or ugly to be sure that audiences reward them with sympathy. But The Holdovers doesn’t ask for audience sympathy. Instead, what director Alexander Payne and writer David Hemingson are asking for their characters is empathy; empathy for them as people who carry with them complexities both exposed and hidden.

There’s something so incredibly charming, genuine, and intimate about this tale of three lost souls who find each other and themselves during the most emotional time of year that I fear would be diluted and lost if exposed to a widespread audience. If there’s one lesson to be gleaned from the film, it’s one that I’ve personally clung to down the past few years — we are, and always will be, more alike than we are different. The trick is finding those similarities.

Moreover, many times, our families are dysfunctional. Not in the cutesy Christmas comedy way, but in the heartbreaking, I don’t belong here way. Many people are alone at Christmas and feel castigated for not having a partner or children to gather around them during the holiday season.

The writing, the light, everything is so perfectly understated as to reinforce the film’s powerful message: that life goes on. That you are capable of survival, of change, of growth despite tremendous adversity. It addressed questions like am I the sins of my parents?, am I the sum of what I’ve lost?, how the fuck do you laugh and play music after a tragedy?

Interestingly, I liked The Holdovers as a Christmas movie precisely because it didn’t cite the same merry, empty ideology that ‘despite your uncle’s toxic traits, and your perv brother-in-law or whatever, Christmas can be wonderful if you suck it up and embrace the kookiness’. I think that’s bullshit, so I was glad they didn’t tell me that.

Lastly, one of the most prominent themes in The Holdovers is the strength that emerges from diversity. The characters in the film represent a spectrum of talents, experiences, and perspectives, mirroring the real-world complexities of modern organizations. Without giving away too much, the conclusion of The Holdovers is about one member of this makeshift family sacrificing their own welfare to pay for the real or perceived sins of another. It is a fitting end for a film that occurs over Christmas. Ultimately, The Holdovers, at its core, is a film about the impermanence of youth and the grief that accompanies its passing – and this is where it shines.

Character Analysis in The Holdovers

Paul Giamatti plays Paul Hunham, an up-tight classics professor who is tasked with watching over Angus Tully over Christmas break. The lonely teacher has spent most of his life at Barton, with him being despised by his students until the events of The Holdovers. Initially, the character starts off strict and confrontational; however, he evolves as he develops a bond with his student and the head cook, Mary Lamb.

Furthermore, Dominic Sessa, in his film debut, plays Angus Tully, a student at Barton who discovers that he will be staying at Barton over Christmas break due to his parents going on vacation. Initially portrayed as a miserable rebel, Tully’s character undergoes significant growth throughout the film as he warms up to Hunham and Mary Lamb, forming an unlikely bond with them.

In addition, Da’Vine Joy Randolph plays Mary Lamb, the head cook at Barton who decides to stay at the school over Christmas due to her grieving the loss of her son in war. Throughout the film, Mary acts as a reconciling force between Hunham and Tully, bringing the trio closer together by the end of the film.

Moreover, Paul Giamatti describes Mr. Hunham as a haughty, dismissive character, an irritable prep school teacher who relishes his meanness in the classroom. He takes pleasure in being an ass and embodies the type of British schoolmaster who conveys ideas through a kind of harsh cruelty. However, Giamatti emphasizes that underneath Hunham’s off-putting demeanor, he is not a bad guy and possesses a certain kindness, making him a complex character. This balance is important for the film’s tone, which revolves around empathy.

Additionally, Mr. Hunham’s self-importance is humorously undercut by Da’Vine Joy Randolph’s character, Mary. She sees through his facade and recognizes his flaws, establishing a subtle rapport that enhances the dynamic between them. This interaction adds depth to Hunham’s character, illustrating that while he is not a bad person, he is still deeply flawed and in need of growth.

Furthermore, Giamatti notes that Hunham learns to care about two specific individuals, rather than undergoing a radical transformation. This incremental change reflects a desire for freedom that he is not fully aware of, adding complexity to his character arc. The film portrays this development as believable and nuanced, rather than a sudden shift in personality.

Next, Angus Tully is a character who stands out for his remarkable intellect and an unfortunate sense of isolation. Despite being one of Barton Academy’s brightest minds, his brilliance is overshadowed by an overwhelming sense of isolation that he feels. The thematic core of the film lies in a tête-à-tête where Paul assures Angus that he does not have to be his damaged father; that he is his own man. The not-very-buried implication is that Angus can be his own man in part by choosing Paul as his father figure; pick a new patriarch, become a new guy.

Importantly, the antagonist of ‘The Holdovers’ is not Mr. Hunham or even Angus’s parents. Instead, the antagonist of this film is the act of giving in to one’s burdens, such as Angus’s affirmation of feeling unloved by his family, Hunham’s loss of hope for his students, or Mary’s lack of perseverance.

Finally, the character arcs are the most telling here. Angus’ anger and sadness collide with that of Paul when both experience similar shocking moments. ‘The Holdovers’ presents us with three broken souls attempting to find solace during a time in which they are isolated among themselves.

Cinematic Style of The Holdovers

The visual style of The Holdovers plays a crucial role in creating its nostalgic and timeless feel. Eigil Bryld was hired to capture the classic look of the movie, which was inspired by the 1970s.

Initially, Bryld and Payne planned to recreate this bygone 1970s aesthetic in The Holdovers by using traditional film stock that was used in that decade in Hollywood. He [Payne] really wanted it to look and feel and sound like it was a movie that was actually made in the 1970s,” Bryld says.

However, but ultimately, he chose to shoot The Holdovers digitally with an ARRI Alexa camera. Nevertheless, while using digital technology to film the movie, he also collaborated with colorist Joe Gawler to create a 1970s feel in post-production.

Furthermore, virtually every celluloid-related textural element one might expect is present, yet The Holdovers doesn’t stop there: it was conceived from the ground-up to, in Bryld’s words, “look like it was a movie found in the cans in someone’s garage.”

In addition, cinematographer Eigil Bryld embraced a particular spirit of freedom to give Alexander Payne’s vintage dramedy The Holdovers a distinctive 1970s vibe.

The Holdovers: Insights and Inspirations

The Holdovers is a consistently smart, funny movie about people who are easy to root for and like the ones we know. Its greatest accomplishment is not how easy it is to see yourself in Paul, Angus, or Mary. It’s that you will in all three. This review was filed from the premiere at the Toronto International Film Festival.

Partly a conversion story, partly a study in the triumph of friendship over isolation, the moving comedy-tinged drama ‘The Holdovers’ (Focus) is an intimate, beautifully crafted film. The Paul Giamatti-led movie The Holdovers — equal parts funny and tragic — stuns with its performances, tone and message.

On the surface, ‘The Holdovers’ flirts with being a cloying comedy-drama about a found family. However, the movie is deeper and richer than that, mostly through the characterizations of Paul, Angus, and Mary, who are all more than just their archetypes.

Moreover, ‘The Holdovers’ takes place in New England somewhere, in 1970, at a tony, all-boys boarding school called Barton, where the students who remain during the holidays include a curmudgeonly teacher and an irreverent student.

Finally, directed by Alexander Payne and starring Paul Giamatti and Dominic Sessa, ‘The Holdovers’ finds its humanity in its depiction of how personal connections can flourish in unexpected circumstances.