Rewind – 2007 in Film: Waitress

It’s difficult to look back on underrated 2007 gem Waitress without feeling an immense wave of sadness. The tragic murder of the film’s wildly talented writer/director Adrienne Shelly just six months before the film’s release, casts a sombre shadow over this piece of cinema. Especially given Shelly also stars in the film. But after 104 minutes of pure cinematic bliss, a smile forms on your face. As you realise Waitress ultimately stands as the gorgeous legacy of a rising female filmmaker cruelly taken in the prime of her career.

As warm and inviting as a slice of apple pie, Waitress is a delicious (I promise I’ll try to limit the food puns) and charming little film that subverts the typical cinematic representation of pregnancy. Exposing its audience to a slanted take on the impending arrival of a new bub, the film dares to portray its protagonist as decidedly anti-maternal with an entirely unwanted baby growing inside her. It’s a risky move that works thanks to an endearing and captivating performance from the film’s leading lady.

Jenna Hunterson (Keri Russell) is a smalltown baker/waitress at the local cafe, imaginatively called “Joe’s Pie Diner.” After spending her childhood learning the art of baking from her mother, Jenna has become a “pie genius”. Whipping up a variety of delectable goodies including a daily special pie of her own creation. Much to the delight of the local customers.

“Exposing its audience to a slanted take on the impending arrival of a new bub, the film dares to portray its protagonist as decidedly anti-maternal.”

Stuck in a loveless marriage with her possessive and controlling husband, Earl (Jeremy Sisto), Jenna dreams of one day running away from her physically and emotionally abusive partner by secretly hiding tip money all over their house. But her plan hits a snag when she discovers she’s pregnant, the result of a one-off night of alcohol-fueled sex.

While she decides an abortion is out of the question, Jenna keeps the pregnancy a secret from Earl. Still clinging to the hope she can make it out before her belly swells too large. Lucky she has her two best friends and co-workers around for support. Becky (Cheryl Hines) is a no-nonsense, sassy hellfire, whose stuck in her own disappointing marriage. Painfully shy Dawn (Shelly) is desperate to find love but winds up being fawned over by an eccentric man (Eddie Jemison), who fell in love with Dawn after a five-minute date.

But it’s in presence of her new obstetrician Dr. Jim Pomatter (Nathan Fillion) that Jenna begins to find true solace. With the pair sharing an intense attraction to each other from their first appointment. A married man himself, the two attempt to deny their explosion chemistry. But, soon enough, they engage in a passionate affair. Which is further complicated when Earl finally discovers the real reason his wife has been gaining weight.

“But it works so wonderfully well because Russell and Fillion are so damn electric together.”

The idea of a romantic comedy centred around a pair of adulterers may not sound particularly appealing to some. But it’s ultimately one of the ways Shelly’s screenplay sharply defies the familiar well-worn tropes of this genre. While we’re clearly understanding of Jenna’s desire to cheat on her deadbeat husband, particularly after we witness Earl physically assault his wife after foiling an escape attempt, cinematic adultery can still be a tough sell.

But it works so wonderfully well because Russell and Fillion are so damn electric together. Leaving the audiences equally as desperate for Jenna and Jim to get together as the pair themselves. The two lovers are polar opposites. With Jenna unashamedly frank and candid, while is Jim is effortlessly sweet and terribly nervous. He’s the complete antithesis to Earl, providing Jenna with the blissful escapism she so desperately needs. Shelly wisely never demonises this adulterous affair, creating a strange love story that’s entirely accessible and understandable.

Russell absolutely shines in this role. Creating a complicated and deeply-layered character whose self-confidence has been damaged after years of emotional manipulation from her domineering and jealous husband. Jenna has no issue taking charge in every other aspect of her life. Yet she’s incapable of finding the strength to rightly fight the crippling control Earl has over her.

While the baby may be entirely unwanted, Jenna never once does anything to harm her unborn child. And it ultimately provides her with the courage to find her voice. Russell is captivating to watch here. Both gutsy and vulnerable, there’s immense light and shade to her performance that should have earned Russell attention come awards season.

“Knowing Shelly is no longer with us makes Waitress a tough and bittersweet film to revisit.”

What makes Waitress so refreshing is how Shelly seeks to highlight the often-ignored fact pregnancy is not always an entirely wonderful moment in every woman’s life. Not every mother-to-be is gushingly joyous of the impending birth of their child. It can be a downright terrifying time for many women, particularly for those who will bring a baby into a love-free marriage.

But it’s the instant connection between mother and child that becomes this film’s true calling card. That moment when the newborn baby is in her arms and suddenly everything changes. The fear and the anxiety fade away, as a mother’s fiery protective nature kicks in. A mother herself, Shelly captures this maternal bond with sweet care in a finale that’s simple, sweet, and downright beautiful.

Knowing Shelly is no longer with us makes Waitress a tough and bittersweet film to revisit. It hinted at the greatness to come from this writer/director, who was also a terrific actress to boot. We’ll never know what films Shelly may have given the world. No doubt she was already cooking up her next delicious creation before her untimely passing. Thankfully, she left behind an enduring work that continues to live on.