Dominic Sessa did not receive an Oscar nomination, despite receiving. a BAFTA nomination, for portraying Angus Tully in The Holdovers.
The role of the young man who is the foil to the older man is a common enough role to exist, and frequently played very poorly. At least half the time Angus Tully would be a dullard that you wish we'd just get back to his curmudgeon lazy eyed teacher Paul Hunham (Paul Giamatti), some of the time he'd be worse and an actively grating part of the film, and occasionally he'd be decent but definitely unquestionably overshadowed by the older actor that you still do kind of forget about him as an essential part of the film. It isn't that the role itself is bad, in fact it is very well written, rather the nature of the part often seems to lead to uninteresting casting choices of not always the most talented performers, who either still need to come into their own or will never come into their own. You might've guessed I'm prefacing all of this to praise the casting director and probably Alexander Payne for casting Dominic Sessa in this role, who was a student at one of the boarding schools they used for the fictional boarding school of Barton and auditioned for the film. You'd never even guess this backstory necessarily, other than the fact that Sessa doesn't look like your standard Hollywood fresh face, and rather has a natural character of his own. Which is just point one in the points of exceptional elements that exist in this performance. Because in the parts where you often most feel the performance, or at least perhaps the not good enough attempt at one, it is in these roles, and Sessa just is this role from the first scene, which in itself is actually a lot trickier than one might think even for the low key establishing scenes.
Wrong choice number one would be to appear far too modern for the role of the 70's teenager. Well success number one is that Sessa's presence rather curiously feels like a young actor from the 70's and is entirely convincing as such, that again you don't even consider him for a moment as a modern teenager. There's something particularly interesting about pulling this trick off, because the certain style of performance could be that of that dull 70's actor, but thankfully Sessa is much closer to a Jeff Bridges or Timothy Bottoms, than a Robby Benson or Richard Gere. But he's also not copying in any way, he is entirely his own and that is where success number two comes in right away. Which is avoiding being a big nothing, as to try to be likeable one can easily have no defining features whatsoever, but Sessa very much defines Angus as his own character from his opening scenes, where frankly he is in a less innately likeable space of the teenage boys being teenage boys as they wait to go to on Christmas break. In this scene I think frankly it is some of the most difficult work as you get into his antagonism with a few other classmates particularly the properly named Kountze, as there were two dangers here. One being bland in just portraying the character in being slightly righteous in his attacks leaving no distinction whatsoever, or being aggravating in overplaying the antagonism. Sessa side steps either by indeed being distinct in his callous manner towards the classmates he has less affection for where he doesn't hold back, but doing so with just a natural ease in his delivery that makes the scene feel honest within his performance.
Sessa's great in his first interaction with Hunham, that is on a similar brand to his first scene, where he speaks up after most of the class gets failing test grades, though not Angus and Hunham decides to still teach class even though it is the last day of the semester. A low key scene but speaks to the strength of his performance because it would be again easy to fall into the pitfall of being too heroic as the one who speaks up for the class or obnoxious if we see the man seemingly owning his privilege as he states he's more interested in where he's going for his vacation. Sessa again is so good by riding the far more honest middle ground as he does speak with confidence and a bit of genuine befuddlement at Hunham's persistence, but just as that there's glints just before he's speaking and waiting for Hunham's response of some actual fear, showing that Angus is taking a step he's not entirely prepared for even if he is making it. And then earning far more than the undercurrent of anxiety and natural guilt he wears as Hunham allows for them to go enjoy the day, though with homework and no makeup test for a better grade. Sessa doing what is the most important thing, actually being a believable teenager who perhaps has his heart in the right place at times, but doesn't always make the right decisions consistently.
Unfortunately for Angus his newly re-married mother decides to have a late honeymoon over the break rather than let Angus come home for Christmas leaving him as one of the five Holdovers to be watched over by the still grumpy Hunham even over break. Although a relatively brief portion of the overall film, the sequence of Angus with the Holdovers is great work for Sessa. Sessa in part is just naturally creating the right sense of frustration over having to be stuck for his entire break at Barton that much longer, and creating that annoyance in a believable and in a very easy to sympathize fashion. Sessa's also great in creating the sense of his place in the school, as he's with two other older students and two other younger students. Where Sessa very much shows Angus playing the role within the group of mostly peers when all are together, where we see them together in frustration at the situation, and just being slightly rebellious in their ways. Sessa though makes the most of two separate moments out of really the portrayal of how Angus presents himself to his classmates. First two wonderful moments with the younger students, that Sessa manages to play with such an ease, because he plays warmth, but doesn't overplay it. He doesn't suddenly become this perfect person, but rather suggests just an innate care in his delivery where he brings a specific emphasis on a "we'll get through this" kind of support for the younger boys that creates a very naturalistic though better nature in Angus. That is in stark contrast to when we see him with his nemesis Kountze who has stolen a family photo. Where Sessa is great, in doing something I will get to more of as his performance goes on, but so fantastic in the way of playing the intensity of the conflict, though with the front of just being direct at his enemy, but internalizing the real sense of distress as something he's trying to hide. Although it is most evident that Angus is very much attached to his photo which means much to him, he's trying to keep the feelings in him in front of the other students.
The group gets a break when one of the student's parents lets him come home and in turn all the boys are given the chance to go on vacation with him, except poor Angus because his parents refused to ever come to the phone. Which brings me so much to what makes this such a great performance which is how dynamic Sessa is in playing Angus, particularly in the way he expresses his maturity, and uses that so well to create the sense of who this young man is and what he has been through. As on the surface Sessa plays the teenager who is trying to be tough, somewhat indifferent at times, though not unemotional, but most of all not revealing everything that is going on within him. Something that seems to inform so much of Sessa's work that ends up bringing such nuance to the character. The early scenes of the new situation, where it is just Angus, Hunham and the school cook Mary (Da'Vine Joy Randolph), Hunham is constantly on top of him, though still demanding he follow procedure for the most part. Sessa's great in just his expressions of this slight bit of boredom as he's stuck within the school, and the internalized frustrations as he just has to keep going. An example of Sessa doing so much more than you might expect from a first time film actor is actually in the montage, which isn't always the type of sequence one thinks of for acting, is great work though. As we see Angus swipe the school keys from Hunham and go around the school finding whatever joy he can. Sessa's wonderful in the scene because you see the wavering maturity of the not quite man but definitely not a boy person that is Angus. As you do see the moments where physically he's almost skipping like a child, but others where he's just staring at the empty halls of nothing with the sad contemplation of the mature understanding of being so stuck in this place.
The moment where there's a bit of a break, both literally and metaphorically in the situation, is where Angus has had enough of Hunham's control and purposefully pesters him by running around the school. A scene which is again speaks to what you would think is a far more seasoned performer, as he brings just the right type of mischievous smile as he goes about it, that I think importantly shows that this isn't just trouble making for the sake of it, he's also is more than getting a little crazed due to the cabin fever, playing the note just so effortlessly, particularly his big smile as he purposefully goes about "crossing the Rubicon" by taking a leap in the unfinished gym, right into dislocating his arm. Leading to another impressive scene for Sessa because he is hilarious, but hilarious in a way that is especially tricky not to be too much or too little, particularly when doing the comedy off a more seasoned performer like Giamatti who obviously has done both comedy and drama with ease over his long career. Sessa though completely sells the moment of the extreme sense of pain as he stares at his arm, just barely holding it together while also bringing this venomous anger towards Hunham's failure to "protect" him after Hunham said he'd "wash his hands of him". A very broad moment that wouldn't work if it wasn't delivered well, which Sessa delivers flawlessly, especially his "Of Course you meant It metaphorically! What were you going to do? actually go and wash your hands?!" that is comic gold. What is amazing is that Sessa is as comfortable in the scene as Giamatti is, and they are both great together.
Which then we get the real start of their relationship as more than just the teacher everyone hates, as they go to get Angus's arm treated, to which Angus lies to save Hunham's job by pretending to be his son. Another scene that is incredible again regardless, but particularly when again this is the first film gig, because Sessa on the surface is playing well the act of the concerned kid for his dad to be convincing to the nurse, playing this humbleness as he seems so reasonably intent to be able to see his "dad" again, which is all good, but the little glints of real emotion relating to the idea of seeing his dad pierces through just a bit in the moment as Sessa suggests Angus using real emotion to sell the false scenario. And with this we finally see the beginning of the connections between Angus and Hunham, which is fantastic work from both actors because it isn't easy. As initially their conversation, which is what is the best alcoholic drink, arguing about lying as a Barton man and getting a burger out of him, might seem mostly casual stuff, yet what both actors do is help to establish at least a conversational speech that bridges the two in some way. They are hardly friends, but they are no longer just grumpy teachers and frustrated students. There is at least a little more there, a bit more of any connection if with the right distance still that needs to be worked through.
When the at-home trio are invited to a Christmas eve party by another staff member from the school, Miss Crane (Carrie Preston), Sessa is able to express the range of his work that is most impressive. The first moment actually being a quick one but one of my favorite scenes in the film, where Angus takes a moment to look at a snow globe, and there's this quiet sadness mixed with nostalgia Sessa brings as Angus seemingly is lost in thought for a moment at the ideal Christmas that the globe seems to represent to him. When he goes off with Miss Crane's niece, you have again Sessa being impressive in really scenes that being okay would've been fine. But Sessa's great because he manages to so naturally play the shifting maturity of Angus in such a natural way, and again a way that speaks very honestly to a teenager who wants to be mature but isn't quite there yet. And with the niece Sessa's good in playing the moment of scoffing at kids finger painting, to having an earnest moment of potential romance with the niece, but also being properly awkward as he'd be at first denying trying to look down her shirt to shyly admitting it. It is the way he is able to flow within the character, while always seeming the character that just makes you feel like you're entirely getting to know this young man, while also just being compelling. His other moment is as much the mature man as he gets Hunham to help as the widowed and bereaved parent has a mental breakdown, and Sessa is great in just his work as a scene partner, reactionary, where he quietly conveys his empathy to the moment and genuine concern in the young man even if he doesn't quite have the words himself. When leaving the party you have a quick, but still a great moment where Angus asks to go back to the party after they take Mary back home, however when Hunham dismisses this as well as his want to enjoy his time off in any way, Sessa's expression almost freezing is great acting. What he shows is basically the "tough face" of the teenager who doesn't care about anything, while actually alluding to the teenager who just doesn't want to be needlessly hurt.
Hunham, thanks to some important words from Mary, decides to try his best to make a decent Christmas for Angus after all, which first includes gifts and a Christmas tree. A scene where Sessa's performance is pitch perfect, though speaks well to the relationship between the two at this point, where you see kind of the sense that the gesture isn't overall amazing in terms of the output but there's a definite sort of begrudging appreciation that the attempt has been made regardless. When asked though if he can have a sort of a gift, Sessa's delivery of "let's go to Boston" is amazing because the excitement again speaks to the real youth of the character even perhaps even more connection to Boston symbolizing more than just possibly a fun trip. We see then the advancement of the relationship between Hunham and Angus as they go on their trip to Boston, where Sessa and Giamatti are great together. They are great because they never go to the completely simple choice, rather there is a connection with a little bit of a back and forth of a pseudo battle as well. As we get moments of Hunham being the teacher to Angus at times, where Angus comes back at the student, and I love the two nearly connecting lines as delivered by Sessa. The first being as he notes Hunham's passion over Ancient history, being genuine seeming in the moment and saying just so directly though encouragingly that he wished he taught like that when was in class. This is followed by him telling Hunham that everyone hates him, which is key delivery that Sessa nails, because it isn't about trying to put Hunham down or even express hate, it rather with this bluntly honest way of trying to get Hunham to see the trench that Hunham has created between himself and others. But between the best and the worst, the two have natural moments of just having fun with one another, occasionally a bit of cutting though not hateful remarks, but also the moments of understanding as the two begin to respect one another in their way. Every moment feels earned in their performances and never does a moment of openness feel like a jump because Sessa and Giamatti are so genuine together.
Eventually though Angus tries to slip away from Hunham, which is a brief but terrific scene for both performances because you see them briefly kind of return to their old status though differently. As in Hunham you see genuine betrayal with the frustration with the young man, meanwhile Sessa is so powerful by being so meek in the moment of the man hiding away his emotions, that emotion being connected to his father, who he previously said was dead, and is trying to run away to see. We see the reason for the attempt and the lie as Angus comes to see his father who is in a mental institution due to being a paranoid schizophrenic. Sessa is outstanding in this scene because we see none of the attempts to present himself anything but his way. Sessa most looks like a boy in this scene, from his anxiety in waiting for his son, and then the purity of his smile as he sees his dad. His voice cracking in the emotion pouring in from seeing his dad in this way. His "miss you" has no attempt "cool" to it, just completely wanting to connect with his dad, his excitement in telling him about his grades is really heartbreaking because the way Sessa says every word is this outpouring of just trying to share his life and his potential with his dad he clearly once had such a strong connection to. Sessa is the boy here who just wants to be acknowledged by his dad and is frankly eager to be recognized. As we see as he looks at his dad with hope, as his dad is about to tell him something, which is only paranoid ramblings, and the way Sessa's face falls into realization of just how lost his dad is absolutely devastating.
The following scene Sessa is amazing because we now see him without any front with Hunham in just recounting his dad's descent into madness. Sessa's so heart wrenching in the scene because you feel every moment of the difficult history as he briefly tries to smile in talking about the good times, then just brings so much vulnerable pain as he discusses his dad's slowly increasing madness. The history here is felt in every word, but that's not even the most impressive moment. The most impressive is when we see that vulnerability pour into his own exile from his family, and the heartbreaking expression of his own concern that he might become like his dad at some point. Sessa is so open in his performance, that we see as the hidden truth of the scared boy beneath it all, that is so beautifully acted and just brings such an earned poignancy into Angus admitting all that he's been going through this whole time. Hunham's words to try to build up Angus then, that comes from his own pains and heartbreak, speak so much loudly due to Sessa's reaction that you see is reserved yet let just a little bit of inspiration and hope pour into his face that is absolutely moving in seeing the real connection between the two. A connection that makes it convincing that Hunham would rather lose his job than throw Angus under the bus for visiting his father, and sacrifices himself for the sake of the young man after the break period is over. A moment followed by Hunham directly sharing his own self by simply telling Angus which of his two eyes is the one to look at, and it is all in both Giamatti's delivery and Sessa's reaction where you see the profound meaning in the two sharing this moment. Which is only a warm-up to their final scene together as Angus goes to see Hunham as he's finally leaving Barton. A scene I saved purposefully for this review because of how great the two are together in realizing this exceptional scene. The way Angus begins by acknowledging what Hunham did for him, to which Hunham brushes off as they both admit to keeping to their Barton men code of silence between them, is so sweet yet earned as the pair create fully too an inside understanding between them in their pitch perfect performances. Seguing so naturally to a brief moment of joking again about their beer ranking and alluding to the good times they did have together, with the warmth between the two just overflowing so naturally and it is hard not to feel the warmth yourself, as Angus suggests the two go off to get lunch one more time. Hunham softly turning him down as this having to be a goodbye, Giamatti brings fully the maturity of the teacher being completely the teacher he's always should've been against Sessa, wearing so powerfully the emotion of how much it has meant that an adult has genuinely cared about him. Creating the sense of the meaning this relationship has meant to both the old and the young man. And Giamatti's way of showing Hunham final near complete emotional break just below the surface as he says "you can do this" to Angus, as Angus says "I was going to tell you the same thing" matching the same emotional undercurrent, before each finding their strength in the other in the handshake, is absolute perfection from both actors, and just such a strikingly beautiful scene made so by two tremendous performances. Two tremendous performances, because Sessa gives one of the all time great feature film debuts here. It's already a part with so many potential pitfalls, which Sessa misses every one to give an effortless performance which I absolutely adore every moment of. And what is more impressive is how risky the performance is, he goes for the big emotions, he goes for the big comedic moments, but he knows to do that with subtlety, nuance, and always an understanding for who his character is, what are his truths, and what everything means within his arc.
