Is ‘The Holdovers’ Really ‘a ’70s Movie’? Or Is It the New ‘Green Book’?
12.11.2023 - 18:33
/ variety.com
Owen Gleiberman Chief Film Critic In the most shockingly funny moment of Alexander Payne’s “Sideways,” Miles Raymond, the desperate English teacher and wine aficionado (that is, alcoholic with good taste) played by Paul Giamatti, has just learned that his book was turned down by the publisher he had his hopes pinned on. It’s more than a rejection; it’s the death of his dream. Miles is in the middle a chi-chi Napa Valley wine tasting, and suddenly he’s in dire need of a drink.
He asks the bartender for a glass of red, but all the man will pour him is a “taste.” Miles offers to pay for a full glass, but no go: That would be breaking the rules. It’s like the side-order-of-toast scene in “Five Easy Pieces,” only what happens here is three times as explosive. Miles grabs the bottle on the bar and pours himself a drink, and he and the bartender wind up wrestling over it.
At which point, in a rage of desolation, Miles seizes the wine-tasting bucket — the one that everyone has been spitting into — and pours the contents down his throat and all over his face. If I had to sum up what the spirit of filmmaking in the 1970s was about, I would say, “That moment.” “Sideways” came out in 2004, but even then it hearkened back to a lost era of American cinema. Giamatti’s Miles was a dweeb, a loser, a man enmeshed in the gears of self-hatred.
Yet he had an inner lawlessness about him. You never knew what he was going to blurt out next. He was a schlub looking for redemption, but he was also an addict at the end of his tether, boiling over with a barely repressed fury.
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