Heavy

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 ****

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.

"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.

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 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.