BITTERSWEET "WAITRESS"

Under normal circumstances, “Waitress” is the most enjoyable movie of the year. It heralds the arrival of an immensely talented writer/director who also has carved out a career as an actor.

Unfortunately, the circumstances surrounding “Waitress” are anything but normal. Adrienne Shelly, the writer/director/actor in question, was murdered in her New York apartment last November. “Waitress,” a smart, zesty and heartfelt comedy, is her final film — and a triumphant parting gift for us.

Jenna (Keri Russell) is a “pie genius” who works at Joe’s Pie Shop and slogs through an unhappy marriage. She concocts outrageously delicious pie recipes in her head — all mirroring her current state of mind. She dreams of leaving town and getting away from her overbearing, brutish husband Earl (a riveting, oddly touching Jeremy Sisto.) Much to her dismay, Jenna discovers she is pregnant. She commiserates to great comic effect with her two co-workers — Becky (Cheryl Hines) and Dawn (Shelly).

Thoroughly uninterested in being a mother, especially to Earl’s baby, Jenna grudgingly goes to her gynecologist, Dr.Pomatter (Nathan Fillion). Right from the get-go, sparks fly and the two embark on a torrid affair that whiplashes back and forth between unbridled passion and sudden attacks of conscience.

Jenna tries to hide the impending bundle of less-than-joy from Earl. She immerses herself in the pies and Dr. Pomatter. At work, she has to deal with a foul-tempered boss (Lew Temple) and Old Joe, the cranky owner of the restaurant (brilliantly played by Andy Griffith.)

Meanwhile, Becky is having an affair of her own, only she won’t say with whom. And Dawn, the resident wallflower, is on a romantic path with uber-nerd Ogie. I just have to say that Eddie Jemison, one of the legions of dependably good character actors that you’ve never heard of but instantly recognize, makes Ogie the most memorable comic suitor of recent vintage. Jemison is sweet, hysterical and weirdly familiar.

As Jenna gets closer and closer to giving birth, everything, as it must, comes to a head. That’s all you’ll get out of me, except to say that every moment — even the ones you think you see coming right down Broadway — pack a wallop, or at least a belly laugh.

Every step of the way, director/writer Shelly surprises us. And this quirky character study never pulls it’s quirk muscle. It all feels right and real. You care what happens … to everyone. The film hits the perfect balance of satire, off-kilter comedy and a genuine feel-good vibe. It earns our affection honestly by taking the Official Maudlin Chick-Flick Handbook and setting it on fire.

Shelly has too much respect and sincere affection for her characters to settle for standard-issue — everything comes with a piquant seasoning, a bite that cuts the sweet.

And the performances are spectacular. As the pie-baking, baby-fearing Jenna, Keri Russell once and for all shakes off any lingering “Felicity” memories (not to mention the mess that was “The Upside of Anger”) and emerges as a bona fide movie star. She carries the film — with a grace and emotional depth that I’ve seen in precious few young American actresses.

And can we just anoint Andy Griffith a national treasure and get on with it? He takes what could’ve been a walking cliché — the lonely curmudgeon — and breaks your heart.

I read somewhere that Hollywood is bemoaning the dearth of young leading men who can “do it all.” Well, I believe that Nathan Fillion has a beef. (As does a certain Irish-American blogger/actor who shall remain nameless.) He can do it all. He’s been a soap star (One Life to Live), an action hero (Firefly) and in “Waitress” he is funny, romantic and goddamn charming. And he better stay away from my wife.

Cheryl Hines is a riot as dye-job, chain-smoking Becky. And Shelly’s Dawn is a gem of comic cluelessness and aching sweetness.

Shelly has left us with a minor classic in “Waitress.” The stylized dialogue and cinematography, the small-town eccentricities, the sneaky humor — we’ve seen parts of it all before. Just not with the kind of guts, smarts and emotional heft of “Waitress.”

Watching such a satisfying film was bittersweet. The fact of it’s excellence only magnified what we’ve lost. I remember the first time I encountered Adrienne Shelly. My girlfriend (now wife) and I went to see Hal Hartley’s “The Unbelievable Truth” at the Angelika in New York. It was her first film role. She was the lead — and she was great. I couldn’t put my finger on why she was great. She just was.

I’m happy (and sad) to report that Adrienne Shelly finished the same way she started.

Go see “Waitress.” You’ll laugh. You’ll cry.