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This is a movie that I almost didn't watch because it was to be about a fat pizza cook. After watching for thirty minutes, it was obvious that the movie was about the very sensitive feelings of someone who is over weight. The performance by Pruitt Taylor Vince was very impressive, and I felt if not winning an Academy Award, should have at least been nominated. Few actors can express as much without saying a word, as he did in this very powerful and touching movie.

Solemn, but vivid, lovely mood piece about a shy, chubby cook in a river town restaurant who fantasizes about getting to know the new waitress, a perky young thing with long brunette hair and a big charming smile. Graceful film never goes the commercial route, neither injecting shady characters into the mix nor throwing in blatant jokes to give the film comedic uplift. The picture is all on one level, which may drive some viewers batty with impatience, but I found it quietly invigorating. The lead character, Victor (Pruitt Taylor Vince), daydreams, watches airplanes, has secret hopes; he's a loner, and the filmmakers are careful not to flood the screen with potential conquests. There's Debbie Harry as a loose waitress with weary eyes and Liv Tyler, the new hire, who brings fantasy into Victor's life; but, as with all fantasies, the advent of reality diffuses the passionate tension. Director James Mangold is observant and aware, putting this character portrait on film with admirable eloquence. It's his "Marty". *** from ****

Heavy is a film about sad and desperate people, all of whom seem to have nothing to look forward to. At the center of the film is Victor, played magnificently by Pruitt Taylor Vince. He's the cook at his mother's restaurant. Victor goes about his job and life almost mechanically, he rarely say a word and his movement is limited. Until a couple of major event in his environment happens. One the hiring of a beautiful young waitress named Callie(Liv Tyler) which represent to Victor something wonderful and unattainable. Yet it gives him hope for his empty existence. The second major event is tragic, yet Victor hides it from everyone around him because he wants things to stay the same. He has no sense of what else is there for him. Yet this event might give him the opportunity to go out and see what's beyond the front door of his mom's restaurant. The final reel shows that whereas the other character's lives seem to be continuing the same pattern of sadness and despair. Victor might try to move on with his. Particularly his interaction with a convenience store female clerk with whom he's never spoken to before. It's not much but it's a start.

"Heavy" is not the type of movie I would watch when looking for action, thrills, horror, or adventure. It's not about a fat guy making goo-goo eyes at a pretty waitress where he makes pizzas, either... although that could be seen from an outsider's glance.

The movie captures a period of time where our big hero, Victor, is experiencing a number of life-altering changes. From what we know, he has always led a sheltered life under the regime of his mother. When a new waitress, Callie (Liv Tyler), starts work at the bar, Victor's daily life is suddenly altered from a spark of curiosity. He's not a perverted horndog, but he is fascinated by this girl's kindness and beauty, watching her from afar and having visions of her as the drama grows. It's the quiet internal struggle Victor faces that really heightens the intensity of the movie. Those nervous eyes, the quiet voice, the big guy who won't fight back... he is a man trying to become a man. By the end of the film, we are at least given the hope that he is now on the right track.

It's the subtle moments in "Heavy" that really make the film. From the airplanes soaring overhead, giving transition to new points in the lives of the characters, to the Boston Terrier noticing important details, this movie is one to sit back and ponder. The more I think about this movie, the more I like it. It's a lesson on how the quiet subtle moments in life can be the most important.

"Victor" works in up state New York at a small bar/diner. He is painfully shy, depending to a great extent, on his mother's care and direction. A new waitress, played by Liv Tyler, is hired. Victor is charmed by her kindness and looks. Pruitt Taylor Vince gives a fine performance as "Victor". Shelley Winters plays Dolly, his mother. Debbie Harry is great as Delores, a co-worker who seems to have a chip on her shoulder. This movie tries to provide a meaningful character study and, for the most part, succeeds. I cared for the characters and felt that I knew them well. The problem is that Victor does not progress. He talks very little and I felt that the answers were very slow in coming. It was a frustration sometimes. Even so, Heavy provides us with a film that will stay with you. I gave it a 7 of 10. Good direction by and script by James Mangold. A memorable sound track that fits the film well.

"Heavy" focuses on Victor Modino, an overweight, thirty-something cook who lives a quiet life running a roadhouse with his mother in upstate New York. His small world is turned upside down when Callie, a beautiful, kind young woman, comes to work in the restaurant. What ensues is a rich intersection of emotion, yearning, and ennui between the cast of characters running the establishment.

Perhaps one of the most underrated (and under-viewed) films of the 1990s, "Heavy" is a quiet, small film that pulls the emotional strings of the audience with a gentleness that is endearing and that manages to avoid erring into unabashed pathos. The protagonist, brilliantly acted by Pruitt Taylor Vince, is a man of few words, riddled with buried insecurity and social anxiety. Playing opposite Vince is a fresh-faced Liv Tyler, appearing as an unassuming, genuine young woman attempting to find her footing in the world. The emotional core of the film lay between these two characters, and both Vince and Tyler play them with precise skillfulness. Debbie Harry is equally impressive as a cynical longtime waitress, while Shelley Winters turns in a characteristically eccentric performance as the ailing matriarch of the restaurant.

What is perhaps most staggering about "Heavy" is that it rings eerily true to the locale in which it is set. The characters each feel like people we've seen in real life in anywhere, USA--small town ,working class people facing off their demons and failed aspirations. Director James Mangold (in his feature debut) captures a restlessness in each that is authentic, and the narrative is supported by atmospheric cinematography and a lush, sometimes unearthly score by Thurston Moore.

Some audiences seeking emotional (or literal ) fireworks may be bored to death by it, but for cinema lovers who appreciate character portraits and feelings of places, "Heavy" is an absolute gem. It's a quiet, small film full of quiet, small moments, but each of them have a ring of truthfulness that is difficult to ignore. Mangold manages to string these moments together with grace, leaving us an authentic, sparse narrative that still manages to uplift without drenching us in syrupy poignancy. Each of his characters, as embittered as they might be, are not entirely forsaken. 10/10.

This movie had a lot of potential. The biggest issue I have with it is the main character seems to have more going on mentally than being overweight. The writing is not effective at showing us what this is. He hardly talks and has trouble being around people. They should have done a better job showing he was either on the spectrum or had some trauma to explain his odd behavior. The acting is fine but the story lacks depth in many of the subplots. There are too many holes in the story and by the end you are left with a feeling of disgust. At the main character and all other characters in the film.

This film is beautifully shot, and full of emotion. It is a character study. Very little action,of even the most basic kind. But you are drawn into the film, if you have even the slightest compassion, by the sheer loneliness and alienation of the characters.

The lead character, Vincent, is a middle aged man, weighing 250lbs. Heavy.

Our first introduction to Vincent plays upon our own bigoted perceptions of big guys: that they're all perverts. But through the film, we get to know Vince, and find that he is motivated, or rather paralyzed, by a fear of change and a painful shyness. His also a highly moral person. Not in the Christian sense, which would tend to make him seem truly perverse, but in the Human sense. He believes in Dignity and, despite the seemingly futility of it, Hope. These are hard things to find in the small town in which he resides; especially considering he works in the family pub. I won't give away the ending, but HOPE sums it up.

The film deals with the hardships of being an overweight man, without indicting anyone or blaming anyone; and without telling the audience that being a big boy is inherently evil. In fact, Director James Mangold has much affection for this lonely man. If you have ANY opportunity to watch this film on DVD with Mangold's commentary, please do, but only after you have watched the film once or twice.

Pruitt Taylor Vince is perhaps in this film better than I have ever seen him. He is a beautiful man, whose eyes are filled with every emotion imaginable. I can tell, he has been through these painful experiences before in his own life.

The rest of the cast is great too. You won't see glamorous people here. Shelly Winters plays the mother with a spareness that makes you think there's not much underneath, but as the film unfolds you find the exact opposite.

Deborah Harry essentially revisits the "Wise Guy" character she played, but without the glamor. Lost and desperate, and too old to pretend she's not.

Liv Tyler, in one of her first roles, is also lost and desperate, but without the cynicism of Harry. Great counterbalance. She is also beautiful, and compassionate.

Mangold knows human nature. Here, he takes the brave step of challenging the audience to stop and think about it. The pauses in this movie are amazing, and say more than 30 minutes of a traditional narrative film do. This film is not just about a heavy guy...it is about all of us; how we react to those who are different, our own insecurities, our own sorrows, loneliness, and frail hearts. And yet, it defies becoming a "chick flick," Perhaps because it does center around the man's experiences, or perhaps because it does not cop out at the end with Cinderella fantasies.

WATCH THIS FILM.

Strong performances and great restraint make Heavy a deftly handled, beautiful and subtly moving piece. Despite the apparent futility of Victor's interest in Callie, they're both changed in ways which are worth seeing. Aside from Evan Dando's slight awkwardness, the acting in this film is understated and very believable - Shelley Winters is warm and careworn, even Debbie Harry manages to blend in to the low-key scenery. Beautifully shot and directed, with a superb score from Thurston Moore, "Heavy" is a piece of cinema rather than a story shoe-horned into a screenplay. This won't satisfy anyone looking for simple plot and resolution, but for the rest of us there's a lot to admire.

Life in small town America has been explored in many movies, but James Mangold's 'Heavy' has in its favour some distinctive characters, a subtle, low-key plot and fine acting from, among others, former glamour girl Debbie Harry who oddly seems to play only embittered old crones in the movies (see also 'My Life Without Me'). It's a pity, then, that the pace is so slow (the movie never really goes anywhere surprising from the original premise) and is laden down with heavy-handed symbolism, even when there's very little to symbolise. And for a film that is trying so hard to mean something, it's a bit disappointing that it makes some elementary errors (the bar, which never seems to contain more than one customer, is meant to be supporting the livelihoods of 4 people; while Liv Tyler's beautiful teenager is deep, enigmatic and troubled for reasons that are useful to the story but never otherwise explained). It's a shame, as there's a great short film somewhere in among the flabby tedium; but 'Heavy' is more the representation of an idea than a closely-observed vision of life, and at feature length feels self-important and overweight. The mere absence of flashiness does not itself make a film profound.

I'm not sure what's more remarkable - the excellence of this movie, or the fact that it could have come and gone in 1995 with so little broad notice, then or in the years since. It's a quiet, uncomplicated film, with no great drama beyond what may transpire in the average person's life. Yet it's endearing in that simplicity, and a marvel in consideration of all the pieces that come together to produce it. 'Heavy' isn't a masterpiece, but it's a wonderful picture that deserves to be seen much more.

Just look at the names involved: A cast helmed by Pruitt Taylor Vince, Liv Tyler, Shelley Winters, Deborah Harry. Music by Thurston Moore. The first feature of accomplished film-maker James Mangold, as writer or director. Moreover, 'Heavy' got strong attention at major film festivals upon release, and it's no wonder why; for all the low-key modesty and the clarity of vision, this is a fantastic movie.

Major themes stand out of self-confidence, loneliness, depression, and unreciprocated affection. Well before obesity and fatphobia became hot-button topics, the film touches on these notions through the personal struggles of protagonist Victor (Vince). Through it all, there's no small sense of awkwardness as we bear witness to the character drama playing out. The end result is a picture that's pointedly uncomfortable, and somewhat difficult for that reason - yet all the more rewarding.

It's so entrancing that before we know it 'Heavy' is half over, then three-quarters. It helps that the cast is so outstanding. That goes for Harry, as Dolores, a woman tired of dealing with other people, and Winters, as Dolly, personable and forthright. Tyler, as Callie, demonstrates a nuance and range that other parts have not wholly allowed her to express. Callie is a complicated character, with a laundry list of personal issues that could be the basis for a feature film all by themselves, and Tyler manages that complexity deftly. Yet it's Vince, as Victor, who stars as a man silently at war with himself over his desires and perceived inadequacies. Vince contains multitudes in his unmistakable gaze, and communicates as much in his expressions if not more than in his dialogue. Commonly seen in supporting roles, it's good to watch him in the lead here.

Even given moments of sudden noise or emotional outburst, this is a film that's very subdued in tone, much more about the characters than a robust narrative, or technique. Yet in that focus it's easy to become absorbed with the marvelous screenplay Mangold concocted, and the scenes he orchestrates. One can see traces of his later films in the knack for personal crisis that he began to develop here, and it's a pleasure to watch.

Once more - I think this came and went with far too little fanfare upon release, probably in no small part on account of the filmmaker's lack of reputation at that time. That said, it's a mistake to not check out 'Heavy' now if one has the chance, because this is a superb drama filled with great character and performances, and I'd be hard-pressed not to recommend it to just about anyone.

Heavy (1995)

The cast here is telling, and pretty remarkable. First there is Deborah Harry—yes that one, from the group Blondie. And even better (as an actress) is Shelley Winters, who is fabulous. And then in a bit part is Evan Dando, another actual musician (from the group the Lemonheads), and he gets to play his guitar and sing (very well).

This is an odd tapestry for a movie that has no real music in it (besides some good old-style country, which is really out of place for the lower Hudson Valley). The two leads are Liv Tyler, who is good and a little self-aware (as usual) and Pruitt Taylor Vince, show is terrific though his role asks him to say little and be restrained.

The title refers to Vince, who as Victor is an overweight pizza maker. The women around him like him but he doesn't seem to find a way "out" of their influences (from his mother to a long-time waitress who has an unspoken incident in the background). And that's the set-up.

Slice of life movies by definition don't need a plot. They operate better by showing little details and developing character and place. This movie does that really nicely. There are holes here and there, implausible and thin aspects, but overall you accept and like what happens.

So this quiet drama is perfect for those who like believable and touching situations. What is says about being overweight (since that's the title) is dubious, but in a way it doesn't matter. Watch it for other things. Winters deserved some awards for her role. Some great stuff in here.

"Heavy" takes a self-conscious artsy approach to commenting on the noble premise that big people are actually very worthwhile, decent people. The film's flaw is that it is so very careful that the point could elude casual viewers. Pruitt Taylor Vince as Victor is perfect as a humble, kind, and thoughtful man. He is a delight to watch in many ways. Director Mangold, who recently featured Vince in "Identity", avoids cliches regarding large people. The people surrounding Victor are refreshingly free of "fat slurs". You can't help but feel for this man. And that's the strength of "Heavy".

In southeast New York, near the border of Pennsylvania, a shy tavern cook (Pruitt Taylor Vince) is concerned about his weight after finding himself attracted to the new server, a drop-out college student (Liv Tyler). The other worker, an aging blonde (Deborah Harry), naturally feels threatened by her. Shelley Winters plays the matriarch and Joe Grifasi a drunk that hangs out at the pub.

"Heavy" (1995) has been called the "Marty" of the '90s. I've never seen that one, but it stars Ernest Borgnine in a role similar to the protagonist here. While this is a character study of Victor, it also evaluates Del (Harry, aka Blondie); and the others to a lesser extent.

Del is closing in on 50 years-old, but was surely stunning back in the day. She's left to making a living at a small-time tavern with romantic options limited to a garrulous alcoholic and a quiet mama's boy.

Obviously, this is not a flick for people who require an explosion every ten minutes to keep their attention (not that there's anything wrong with that, lol). It's a mundane drama about regular people and the social dynamics thereof - their (boring) daily lives, hopes, fears, regrets, grievances and lamentations. In part, it's about people who have been caged so long they no longer know how to be free. It's similar in tone to other 90's dramas like "Sling Blade," which came out the next year, and "Limbo" (1999). While it lacks the survival element of the latter, does it really?

The frontman of The Pixies was approached to play the part of Victor, but he declined, saying he wasn't interested in playing such a character. Regardless, he would've fit the role.

The movie runs 1 hour, 44 minutes, and was shot in southeast New York at Barryville (Victor's house); five miles northeast of there in Highland Lake (the tavern); across the border of Barryville in Shohola, Pennsylvania (the bridge); and 80 miles northeast of that area in Hyde Park, NY, on the Huson River (Culinary Institute).

GRADE: B.

A brilliant, sad film with a beautiful performance by the lead actor, Pruitt Taylor Vince. He doesn't have many lines to say but the facial expressions are stunning. Also this man can express his emotions with his eyes!

The story centers on 'Vic', an overweight diner cook and his feelings towards the waiter, 'Callie'. However he is physically disabled to express his emotions by his lack of confidence, shyness and his overbearing mother.

This film is not just about a sad fat person because all the characters have problems. This a great film about love, sadness and the missed opportunities of life.

So much of the movie is the sad awkward trapped silence after someone says something to Victor. There are moments of poignant futility and desperation like when Callie leaves her job "because they don't seem to need her help anymore", and Victor almost voicelessly says "I do." His mom admits on her death bed he was a replacement for his dad who died young. Victor feels stifled, void of his own identity, without self esteem or hope. There are amazing images of the the empty, tragically sad restaurant contrasted with pictures of happier times, smiling faces. Liv Tyler is gorgeous but more so around so many withering lives in a vacant town in a dying business. It's a beautiful, forgotten movie that does require patience as the pace is consistent with the depressed theme of the movie.

The life of an overweight, unhappy cook is changed after a kind, beautiful college drop-out comes to work as a waitress at his and his mother's road-side restaurant.

James Mangold wrote the script for the film in 1991, while attending filmmaking seminars at Columbia University under the instruction of director Miloš Forman. In making the movie, Mangold was very focused on expression versus dialogue; Mangold stated that he was striving to create a "silent film, with sound" This film was a career launch for Mangold, and to some extent Liv Tyler, too. Mangold has since gone on to make one hit after another, if you forget about "Knight and Day" (though, to be fair, I have not seen it). This is very much a 1990s indie film with that 1990s indie feel, but let us be honest -- those were really good movies. Some of the best directors working today (Mangold included) came out of the 90s indie scene.

Not exactly a boring film but close. All the characters were just the most pathetic losers imaginable....especially the obese pizza slinger. Those jittery, wet eyes gave me the creeps; not to mention his mother dominated, go nowhere, do nothing, I have a need but don't know what it is and couldn't fulfill it if I did, screwball existence. Yes, he was a sad character, but mainly he aggravated the living hell out of me with his mopey, dragass, poor pitiful me attitude. I don't mind a way too slow movie but this one went nowhere having no apparent beginning, middle or end. Strange picture.

Victor Modino (Pruitt Taylor Vince) is the overweight cook working at his mother Dolly (Shelley Winters)'s bar and restaurant. Callie (Liv Tyler) is the new hire joining Delores (Deborah Harry) as waitress. Callie is a beautiful college drop-out with possessive boyfriend Jeff. She catches the painfully shy Victor's attention. Dolly lovingly keeps Victor suppressed. Leo (Joe Grifasi) is the local barfly who has feelings for Delores.

Victor is painfully passive. In many ways, the passivity infects a lot of the movie's tone. Its quiet and slow pace is endearing in some aspects and also frustrating in others. The acting is well-suited. This is an indie with characters pulled from a roadside café. There is a dark side to the movie but it's never really fully realized. It goes down a darker path but goes far enough with it. It's a very nice indie.

Static they entered the movie, and static they remained. I wanted Victor to change, to learn, to metamorphose, to do something... to go to the Culinary Academy.

Tensely quiet, this film lacked motion, although there were plenty of daring wordless "pensive" moments. (Actor Vince uttered barely 100 words the entire movie).

Tyler did a nice job...