Celebrating "Waitress": 10 Years Later
Tuesday, May 2, 2017 at 8:00PM By Spencer Coile
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Jenna (Keri Russell) knows pies. Caught in a dead-end marriage to an emotionally and physically abusive husband, Jenna dreams of the day she can finally save up enough money working in the local pie shop and escape her boring life... that is, until she finds herself pregnant. Giving insight into Jenna's mind through the use of potential pie recipes, Waitress follows Jenna as she (begrudgingly) agrees to have the baby, keeps working, and begins an affair with her new doctor (Nathan Fillion).
Indeed, Adrienne Shelly's 2007 film--released ten years ago to the day--was lauded for its down-to-earth nature, its humble storytelling, and the central performance from Keri Russell. There are no tricks up Shelly's sleeve here; she managed to tell a simple, heartfelt story that is imbued with messages of strength, female friendships, and the power of a good pie. What makes the film equally as affecting is the fact that, although Shelly wrote, directed, and starred in her own work, she was tragically killed before the release. Considering this complicated history, not to mention the film's eventual legacy, let's help oursevles to another slice and dive into the sweet and savory Waitress.
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At its core, Waitress is a "cute" movie. It is quirky and brimming with so much personality, a testament to Shelly's voice as a writer, director, and actor. However, in rewatching it for the sake of this article (a task I was happy to perform), I found that there is so much bubbling beneath the film's surface. While it initially plays out like a breezy little rom-com and that Jenna's story could happen to anyone, it is the quiet and deeply intimate moments where Waitress really soars. The relationship Shelly explores between Jenna and Fillion's Dr. Pomatter is the film's biggest breath of fresh air. Although both characters are married, the film never attempts to demonize the adulterous acts they commit. Sure, Jenna feels guilt, but she is also attempting to navigate her ambiguous feelings about motherhood, all while finding meaning to her life. And gone are the stereotypes we have so typically seen that focus on affairs. Dr. Pomatter never turns out to be a jerk who uses Jenna, their relationship does not end dramatically. Rather, in a moment of empowerment, Jenna tells him it is time to forge their own paths. When asked if he had a say in the matter, Jenna acknowledges this question briefly, and says, "No."
It is one tiny piece of dialogue, but speaks volumes to the ways in which Shelly defies the genre of her film. She plays with the tropes we have all seen before: unwanted pregnancy, smalltown living, dreaming of a better life. She does not capialize on these, though. Instead, she humanizes them and makes these moments real. In the end, we want Jenna to succeed. We watch as she makes tough choices; for herself and for her baby, a baby she does not even want. Through voiceover, she apologizes to her future child, wishing she could want this baby. Sure, the film does not dive into Jenna's other options, abortion is not uttered once. While some may find that troubling, there is something so rich in Jenna's journey. She makes peace with the fact that she is having a baby. So... now what?
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It truly is a shame that Shelly could not see the impacts her film has left. Within a seemingly simple story of one woman reconciling with her past, present, and future, Shelly has crafted a portrayal still as timely as it was in 2007. Perhaps this is why the film was later adapted into an acclaimed stage musical, with singer-songwriter Sara Bareilles writing the lyrics and score. Nabbing Tony Award nominations for Best Musical, Score, Actress, and Featured Actor in a Musical just last year, it is clear that Shelly's story has left a profound impact on those who come across it. In fact, Shelly's husband even gave the book writer some of Shelly's unfinished scripts to bring her voice to life.
To some, Waitress may feel slight and at times, too simple. But therein lies the beauty of Shelly's last work. Beneath the "cute" veneer lies a story of hope, passion, and what makes us keep waking up in the morning. It is so subtly nimble and aware of itself, that I can't help but just unabashedly love the film, despite some of its flaws. Shelly's work demonstrates the best way to make a pie and that the key to happiness is a baby, sure, but it also shows us that behind each of these moments is a beating heart and a story worth telling.
Reader Comments (8)
I love this movie! It came out around the time when I was starting to be more into films so for a while I thought I liked it because it was cute and simple, but it wasn't "good" (whatever that meant to little me). Then I rewatched it and found out it was good just because of those things It was simple and cute, and so charming and funny.
Always loved this film. Wish you said more about Russell's performance, though. It's her deft, hard-nosed, flinty touch that keeps it from tipping into sentimentality. Seems strange but...you can see in this film the seeds of her transformative, icy-tough work on The Americans.
Every time I watch a Keri Russell performance now, I think, "Man, this is another crafty Elizabeth Jennings disguise/character."
Ok, this is delightfully unexpected!!! I remember Nathaniel hated this movie back in 2007, so I was surprised to see it celebrated on this site (I wonder if he's re-watched it since). Anyway, I haven't seen it in a few years, but I adore this movie.
No mention of Andy Griffith? I know his character is kind of a cliché, but I thought he was delightful and my favorite scenes were always the ones where Jenna was waiting on Old Joe. Also, Jeremy Sisto as the abusive husband is terrific, loathsome but always grounded in something human.
I didn't think much about Waitress other than something the late Adrienne Shelly wrote, directed and starred in. But I like the quirky characterisations and the performances in general. The strange love affair between Jenna and Dr Pomatter curiously works: the writing and performances brought it to life.
I saw the Broadway version of this with Jessie Mueller as Jenna featuring the music of Sara Bareilles. The staging and scenery were eye-poppingly good but there was a crucial ingredient missing overall that seems to prevent me from embracing the production fully. Even Jessie Mueller (fantastic in Beautiful) didn't quite cut it for me but I like her performance better than Keri Russell's (I wonder how Sara Bareilles handles the Jenna role in the current Broadway run). Christopher MacDonald as Ogie nearly stole the show with his energetic numbers.
The movie slightly edges the musical for me. But the songs in the musical added a delightful dimension to the story. And made the story much funnier.
I treasure Searching for Debra Winger for the time capsule it is. Featuring Shelly and a host of now unmarried women who were married to other actors. At least two of the young participants from the documentary are now dead.
I remember disliking this movie. I can't remember a single thing about it, though, so I can't really quantify why.
I just remember that most of the pies looked very unappetizing to me.