{"id":15049,"date":"2026-03-14T11:18:33","date_gmt":"2026-03-14T08:18:33","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15049"},"modified":"2026-03-14T11:18:39","modified_gmt":"2026-03-14T08:18:39","slug":"pierderi-si-castiguri","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15049","title":{"rendered":"Pierderi \u0219i c\u00e2\u0219tiguri"},"content":{"rendered":"
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The Holdovers (regia: Alexander Payne, 2023)<\/figcaption><\/figure>\n<\/div>\n\n\n

Via\u021ba ca o \u00eentrecere cu propriul trecut. Educa\u021bia \u0219i exersarea r\u0103bd\u0103rii, cu limitele \u0219i \u00eencerc\u0103rile de fiecare zi, dar mai ales cu lentoarea zilelor de vacan\u021b\u0103\u2026 prietenie de coniven\u021b\u0103, familii distante, profesori rigizi, blazoane de respectat \u2013 \u00eentr-un campus pustiit \u00een preajma s\u0103rb\u0103torilor de iarn\u0103, numai \u0218tiuc\u0103 \u0219i c\u00e2\u021biva elevi r\u0103m\u00e2n la internat din motive diferite. \u00cen The Holdovers<\/em>, David Hemingson, scenaristul filmului, integreaz\u0103 propria experien\u021b\u0103 ca elev c\u0103minist \u00een Hartford \u0219i rela\u021bia cu unchiul s\u0103u, iar Alexander Payne pleac\u0103 de la ideea din Merlusse<\/em> (1935) de Marcel Pagnol, restituind povestea unui profesor exigent, dar empatic, odat\u0103 ce cunoa\u0219te, la r\u00e2ndul s\u0103u, istoria de via\u021b\u0103 a unuia dintre elevii-problem\u0103 care nu are unde s\u0103 se duc\u0103 \u00een vacan\u021ba de iarn\u0103. Profesorul de istorie Paul Hunham ilustreaz\u0103 un profil didactic al contrastelor: mucalit \u0219i interesat mai degrab\u0103 s\u0103 studieze ceea ce \u00eei face pl\u0103cere, sever, dar dornic s\u0103 le transmit\u0103 propriilor elevi din cuno\u0219tin\u021bele sale, intelectual rasat, \u00eens\u0103 incapabil s\u0103 se implice \u00een via\u021ba cet\u0103\u021bii, protejat de pere\u021bii gro\u0219i ai colegiului la care pred\u0103 deja de decenii (de altfel, directorul liceului \u00eei fusese c\u00e2ndva elev \u2013 \u0219i nu era unul dintre cei mai str\u0103luci\u021bi, dup\u0103 cum el \u00eensu\u0219i afirm\u0103), \u0218tiuc\u0103 (a\u0219a cum este poreclit de colegii de cancelarie din cauza mirosului nepl\u0103cut, dar \u0219i din pricina stilului versatil \u0219i a privirii ciudate, generate de \u201eochiul lene\u0219\u201d \u2013 truc menit s\u0103 dea mai mult\u0103 autenticitate personajului) descoper\u0103, de-a lungul c\u00e2torva zile, prietenia, dar \u0219i suferin\u021ba celor mai tineri, propria vulnerabilitate \u0219i pandantul s\u0103u, propria neputin\u021b\u0103. St\u0103p\u00e2ne\u0219te ironia \u0219i are o intui\u021bie care \u00eei deschide multiple ferestre spre lumea spre care prive\u0219te.<\/p>\n\n\n\n

The Holdovers<\/em> este a doua colaborare dintre regizorul Alexander Payne \u0219i actorul Paul Giamatti dup\u0103 Sideways<\/em> (2004). Filmul lui Payne a primit 5 nominaliz\u0103ri la Oscar, iar Da\u2019Vine Joy Randalph a primit distinc\u021bia pentru cea mai bun\u0103 actri\u021b\u0103 \u00een rol secundar. Paul Giamatti este absolvent de Yale (\u00een 1994), asemenea actri\u021bei Da\u2019Vine Joy Randolph, care o interpreteaz\u0103 pe Mary Lamb, buc\u0103t\u0103reasa liceului-internat ce \u0219i-a pierdut fiul \u00een r\u0103zboiul din Vietnam \u0219i care r\u0103m\u00e2ne \u00een continuare s\u0103 le g\u0103teasc\u0103 celor \u00eenst\u0103ri\u021bi care nu pot ajunge de Cr\u0103ciun la familiile lor. De\u0219i cei pu\u021bini r\u0103ma\u0219i de-a lungul vacan\u021bei de iarn\u0103 se reunesc \u00een sala de mese, portretizarea fiec\u0103rui personaj nu restituie nicio bucurie, iar imaginea nu este nicidecum a unei reuniuni de familie, ci, mai degrab\u0103, omagierea singur\u0103t\u0103\u021bii absolute.<\/p>\n\n\n\n

Dominic Sessa (la primul s\u0103u rol \u00eentr-un lungmetraj) \u00eel interpreteaz\u0103 pe Angus Tully, un t\u00e2n\u0103r de 16-17 ani, care r\u0103m\u00e2ne la internat, fiindc\u0103 propria mam\u0103, odat\u0103 rec\u0103s\u0103torit\u0103, nu \u00eel mai vrea \u00een preajm\u0103. Dotat cu inteligen\u021b\u0103 nativ\u0103 \u0219i cu o intui\u021bie neb\u0103nuit\u0103, de fiecare dat\u0103 c\u00e2nd are ocazia, Angus Tully \u00eei for\u021beaz\u0103 m\u00e2na profesorului Hunham, \u00eens\u0103 \u00een ecua\u021bia inedit\u0103 a zilelor lungi de iarn\u0103, fiecare descoper\u0103 \u00een cel\u0103lalt valoarea prieteniei \u0219i bucuria de a \u00eemp\u0103rt\u0103\u0219i.<\/p>\n\n\n\n

Multe scene au fost filmate la colegiul Fairhaven din Massachusetts, \u00een vacan\u021ba din februarie 2022, iar furtuna de z\u0103pad\u0103 este real\u0103. Alte scene sunt filmate la Deerfield, mai ales cadrele largi \u0219i interioarele.<\/p>\n\n\n\n

Ca o anecdot\u0103, \u00een scena \u00een care Angus trebuie s\u0103 sune acas\u0103, actorul Dominic Sessa nu a \u0219tiut s\u0103 foloseasc\u0103 telefonul analogic, cu disc.<\/p>\n\n\n\n

Multe dintre spusele profesorului Hunham au ceva apoftegmatic, ca de vademecum<\/em>, p\u0103str\u00e2ndu-\u0219i for\u021ba oracular\u0103 \u0219i \u00eembog\u0103\u021bindu-se cu \u00een\u021belepciunea celui care a tr\u0103it \u0219i a v\u0103zut multe \u0219i care a \u00een\u021beles c\u0103 totul este de\u0219ert\u0103ciune, c\u0103 e o leg\u0103tur\u0103 str\u00e2ns\u0103 \u00eentre trecut \u0219i prezent: \u201eNu e nimic nou \u00een experien\u021ba uman\u0103. Fiecare genera\u021bie crede c\u0103 a inventat desfr\u00e2ul, suferin\u021ba sau rebeliunea, dar fiecare impuls \u0219i poft\u0103 a omului, de la dezgust la ce e sublim sunt prezente peste tot \u00een jur. A\u0219adar, \u00eenainte de a respinge ceva ca fiind plictisitor sau irelevant, aminte\u0219te-\u021bi c\u0103, dac\u0103 vrei cu adev\u0103rat s\u0103 \u00een\u021belegi trecutul sau s\u0103 te \u00een\u021belegi pe tine \u00eensu\u021bi, trebuie s\u0103 \u00eencepi cu trecutul. Istoria nu este pur \u0219i simplu studiul trecutului. Este o explica\u021bie a prezentului.\u201d<\/p>\n\n\n\n

Dincolo de dialogurile vii, fire\u0219ti, de explica\u021biile docte ale profesorului Hunham, reg\u0103sim o complicitate calin\u0103 \u00een reprezent\u0103rile suferin\u021bei, ale simplit\u0103\u021bii umane. Merit\u0103 v\u0103zut The Holdovers<\/em>, \u00een regia lui Alexander Payne, nu doar pentru umorul fin, pentru cercetarea atent\u0103 a rela\u021biei dintre profesor \u0219i elevi, ci mai cu seam\u0103 pentru bucuria de a vedea un basm al devenii, al sincerit\u0103\u021bii \u0219i al prieteniei. Mi-a amintit \u00eentruc\u00e2tva de filmul lui Christophe Barratier, Les Choristes<\/em>, fiindc\u0103 \u0219i \u00een produc\u021bia germano-franco-elve\u021bian\u0103 din 2004 era vorba tot despre o m\u00e2n\u0103 de b\u0103ie\u021bi cu tot felul de probleme de integrare, afla\u021bi \u00eentr-o \u00eenfund\u0103tur\u0103 a vie\u021bii \u2013 de altfel, ce era Fond de l\u2019\u00c9tang? \u2013, iar farmecul pe care \u00eel eman\u0103 profesorul, mentor \u0219i prieten, deopotriv\u0103, este la fel de magnetic \u0219i \u00een The Holdovers<\/em>, \u0219i \u00een Les Choristes<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cronic\u0103 de film de Irina-Roxana Georgescu<\/p>\n","protected":false},"author":21,"featured_media":15050,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[51,62],"tags":[142,141,2726,2733],"coauthors":[1223],"class_list":["post-15049","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","category-cinemascop","tag-cinemascop","tag-irina-roxana-georgescu","tag-nr-1-2026","tag-the-holdovers"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/03\/holdovers.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15049","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15049"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15049\/revisions"}],"predecessor-version":[{"id":15051,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15049\/revisions\/15051"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15050"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15049"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15049"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15049"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15049"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}