One of the most edible dishes on this year’s cinematic menu.
Keri Russell: Jenna
Nathan Fillion: Dr. Pomatter
Cheryl Hines: Becky
Jeremy Sisto: Earl
Andy Griffith: Old Joe
Adrienne Shelly: Dawn
Eddie Jameson: Ogie
Lew Temple: Cal
Written/Directed By: Adrienne Shelly
Release Date: May 2, 2007
Running Time: 107minutes
Rated PG-13 for sexual content, language and thematic elements.
When I learned of writer and director Adrienne Shelly’s death, and then had finished viewing her film Waitress, the first thought that came to mind was that the world lost so many potentially great films. Initially, the police ruled her death as a suicide after she was found hanging from a bed sheet in the shower of her Manhattan apartment. An illegal immigrant later confessed to killing her. What a shame that such a horrific and tragic end had to come upon a person who created such a sweet and delectable film. Waitress is filled with a menu where every plate is tasty and fabulous.
Jenna (Keri Russell) is a waitress at a small southern diner, and she has just discovered that she is pregnant. Others are delighted for her, but she is not very pleased. Her despicable husband Earl (Jeremy Sisto) is not exactly the type of man who should be raising a child. On the plus side, Jenna is an expert pie maker at this lonely diner, in addition to her duties waiting tables. Her unique and inventive pie concoctions satisfy every customer that walks in. Her quirky co-workers and friends, Becky (Cheryl Hines) and Dawn (Adrienne Shelly), admire her cooking abilities as well, but they are not envious of her life outside of the diner. Jenna is hoping to save enough money and enter a pie contest, but Earl is trying to prevent that from happening. The doctor who informs Jenna of her expected little one is new in town, and has taken over the local practice. His name is Dr. Pottamer (Nathan Fillion), and he has obvious feelings for Jenna, which eventually develop into torrid love affair. Jenna’s universe is spiraling out of control, and what makes it worse is that she is not looking forward to the baby at all.
Keri Russell is simply scrumptious in what is most certainly the best performance of her career thus far. Russell has gone from primarily minor material, to proving herself as a leading lady Hollywood can count on. She is sunny, bright, and beautiful even when she is depressed and glum. Her expressions are absolutely priceless. Take the scene where she has been forced into making love to her husband. She lays their motionless with an unresponsive look on her face. During her relations with Dr. Pottamer, Jenna’s demeanor does a 360, where a permanent smile is etched on her kisser as the song “Short Skirt/Long Jacket” by Cake is played. Jenna might be predominantly miserable, but Russell evokes this woman’s soul with such effortless passion and undeniable wit, that she is a constant vision of enchantment.
One actor, who deserves to be recognized, and needs to have his career jumpstarted to super stardom is Nathan Fillion (Serentiy, Slither). He continues to amaze and impress me with each passing part he has accepted. As Dr. Pottamer, Fillion is hilarious and utterly charming as a nervous, bumbling, yet intelligent OB-GYN who may be married, but has a definite school-boyish crush on Jenna. His interactions with her are genuine, funny, and most importantly, believable. It takes time for Jenna to begin trusting this new doctor, and Fillion perfectly aligns and nuances his portrayal so the legitimacy of their bond is made clear.
One of the wonderful supporting performances is delivered by Cheryl Hines as Becky. She is the middle-aged wife of an invalid husband. Her lines of dialogue are tremendously entertaining. Hines uses the accent, and overplays Becky just enough that it is not ridiculous or too absurd. What a joy it is to watch Andy Griffith supply this film with such an unforgettable presence. He is Old Joe, the man who owns the diner. He demands flawlessness with the serving and preparation of his meals. The only person who can tolerate him is Jenna. The conversations between these two are engaging, touching, and cunningly employed .
What I remember most of Waitress is the outstanding over head camera shots of Jenna’s pie creations. Each recipe is displayed for the audience, and each one appears more delicious than the next. Even if a particular pie formation doesn’t seem appetizing, it is impossible to deny the originality of the ingredients and the names. These desserts convey Jenna’s emotions with such ingenious humor, and all are placed throughout the storyline with precisely suitable timing. One specific pie mixture of strawberry and chocolate was pretty irresistible, I must say.
On paper, or in theory, Waitress could have easily suffered from clichéd turns, but it never once makes a decision that is predictable or formulaic. That is what makes it so likable. Some critics have said that it is too folksy and cutesy, but I disagree. Those elements are strengths, and lie at the core of the overall structure. The character of Earl is the prime example of the many brilliant touches. Jeremy Sisto excellently plays Earl as a disgusting and contemptible man, but not in the sense one would normally anticipate. His contribution could have been dismissed as mediocre at best, but he is understated when he criticizes, orders, and threatens Jenna. His incessant banging of the horn to pick Jenna up from work is terrific. Thankfully, I didn’t hate or judge him like a cartoonish villain.
Adrienne Shelly assumed multiple jobs for this project. She properly inserted herself into the supporting role of Dawn; the endearing and timid waitress friend of Jenna’s, who goes on 5 minute dates. Her direction is organic and wholesome, with a layout that is sure to startle and gratify around every corner. She put all of her heart and brainpower into Waitress, and it shows. She understands these people, and we subsequently sympathize with the situations they are involved in, especially Jenna. Shelly brings out the fears, anxiety, and pressures of parenting for a woman in such a skilled manner. Her dialogue is fine, but it is the execution of that script that is so extraordinary. She shapes her peculiar and strangely magnetic movie with a tangy homemade goodness.
Waitress is jam packed with mouthwatering scenes in which Shelly chooses the path less traveled. One could search for, and cite various filmmakers and techniques that Adrienne Shelly’s film resembles, but why bother? This is a distinctive, lovely, uncorrupted, palatable, and enjoyably melancholy Southern romantic comedy that sizzles with flavor from beginning to end. It’s so succulent it leaves an aftertaste that will make you want seconds, thirds, and fourths.
The 411: It may seem like I am giving too many high ratings lately, but it is only because I have seen some truly wonderful offerings. Waitress is one of those. I expected it to be average, and worth the price of admission, but not much else. I was wrong. The late writer/director Adrienne Shelly’s last submission to the world is an indisputable treat to be savored by everyone. From Keri Russell’s fantastic performance, to the precious sequences with Andy Griffith, and of course the matchless pie creations, this Sundance hit needs to be seen by more people. I have a feeling the popularity will grow when it is released on DVD. Just make sure this is on your list of movies to see at some point. It is sugar and spice and everything nice.
