We seem to have lost the traditional romantic comedy, or at least the kind we used to receive, which is unfortunate because even though these kinds of films were not particularly innovative or groundbreaking, they were certainly extremely charming, and they brought out a familiar sensation of joy that is often missing from more contemporary comedies. One of the finest I’ve watched recently is Waitress, a sentimental and moving little comedy that truly is as entertaining as such a film can be – it is warm, sweet and fills you with unrivalled glee, despite it not being particularly nutritious – much like the pies that take centre stage throughout the film. An adorable and quirky film, Waitress may not be particularly original, but it is an endearing experience and one that leaves the viewer with a goofy smile and a tangible feeling of sincere satisfaction, the kind that can only be derived from truly heartfelt independent filmmaking such as this.

The film is centred on the story of Jenna (Keri Russell), a young woman living somewhere in the American South. She is in a loveless relationship with her husband (Jeremy Sisto), who oscillates between being neglectful to outright abusive, and causes his wife frequent despair with his stranglehold over her. To make matters worse, she soon discovers she is pregnant, and she crosses paths with the charming Dr Pomatter (Nathan Fillion), who gives her the moral (and later physical) affection that she has been missing in her marriage, and he might be her route to escape, despite both of them being married. She soon learns that her small town is not used to this kind of drama, but with the help of her adoring co-workers and a variety of eccentric townsfolk, Jenna may just be able to find a way out of her unhappiness and realize the joy that has been missing from her life.

Keri Russell is a true star, and the fact that she remains so underrated is quite unfortunate – she is effortlessly lovely and manages to imbue any of her performances with such delicate grace and meaningful affection. Waitress is amongst her best film roles, and she is quite astonishing – taking on the character of Jenna is no easy feat – it requires a performer who is able to take a character who initially appears to be nothing more than a simple country girl and transform her into a captivating individual who we start to develop a strong relationship with. Russell is excellent, and this is a star-making turn in its most lucid definition. The fact that Waitress was made in 2007, and she hasn’t developed the film career her talents demand is disappointing, but it gives me hope, because there is very little chance someone this talented can be dismissed for too long and considering her critically-acclaimed tenure on the television drama The Americans has come to an end, she is free to lend her considerable talents to the big screen. Waitress is a great showcase for her talents, and her performance shimmers with the extraordinary understanding of an actress who is capable of constructing a character who is compelling and realistic. Nathan Fillion is also excellent as the doctor and main love interest, and while Waitress is focused almost entirely on Russell’s masterful performance, he gives a spirited and likeable performance. The cast as a whole is very good, and Cheryl Hines, Andy Griffith and the film’s director, Adrienne Shelly, were all excellent in their smaller but pivotal roles.

Waitress was the final film of independent cinema darling Adrienne Shelly, who wrote and directed this film inspired by her own pregnancy. This is clearly a very personal work (the role of Jenna’s daughter in the final part of the film was played by Shelly’s own child, who inspired the film), and in many ways, this is a progressive and subversive approach to more traditional films of this ilk, imbuing the story with a more feminist angle, but not being unrealistic about it either – this is a very heartwarming film, but it doesn’t lack the emotional gravitas that is often absent from these kinds of films – domestic abuse, marital infidelity and unwanted pregnancies are major themes throughout this film, and Shelly, clearly understanding the human condition, crafts something beautifully simple but extraordinarily moving, and while it is often very predictable, it is nonetheless wonderfully charming, and far more significant than just being a quirky, idiosyncratic comedy.

Beneath the quirky storyline and the abundance of pies, what is Shelly trying to convey with Waitress? There is a deeper intention throughout this film, and something that becomes increasingly clear after you watch the film and ponder the fact that this is not as simple a film as one would expect – there are a panoply of important themes present throughout this film, such as the very dire ones I mentioned above, and the film does an admirable job of presenting these concepts in a way that strikes a chord without being dour or unsettling. More than anything else, Waitress is a joyful celebration of life – we are introduced to a protagonist who lives a relatively simple existence, but one that is plagued with insecurity, abuse and unhappiness, which she remedies through her childhood fascination with pie-making, which has developed into her professional passion. We see Jenna navigate the world with the anxious uncertainty and optimistic hope that many of us feel, especially those who have dealt with individuals in our lives, whether professional or personal, that strive to bring us down. This is a gloriously touching tribute to the resilience of the human spirit, and it is only made more effective when you realize that Shelly never resorts to cheap emotional manipulation, and allows for everything to be relatively authentic, and its dedication to being well-meaning and genuine is precisely what sets Waitress apart from other films of its kind.

I found Waitress to be an absolute delight – it is meaningful without being heavy-handed, endearing without being saccharine, and hilarious without losing sight of its more serious underlying thematic content. Keri Russell is extraordinary, and turns in a wonderful performance as the young woman who knows she wants to improve her life – she just doesn’t know how. Adrienne Shelly was clearly a talented filmmaker, and her tragic death robbed independent cinema of one of its most exciting voices. Waitress is a testament to the power of the human condition, and how there are no limits to what one can achieve through a bit of tenacity and a lot of love from those around us. Waitress doesn’t set a new standard for the form, but it manages to tell a truly compelling story and one that is profoundly important and undeniably moving. Just like the pies appearing consistently throughout, Waitress is sweet, warm and a true pleasure to experience.