Being overweight is a traumatic experience both physically and emotionally. There’s depression, lack of self-worth, loneliness and the fear that no one will love you because of your size. Even if you lose weight, it’s still hard to believe in yourself due to past limiting beliefs. Over the years, filmmakers have explored this sensitive subject, including John Waters (Hairspray, 2007), Jane Campion (Sweetie, 1989) and P.J. Hogan (Muriel’s Wedding, 1994).

Oscar-winning actress Anne Bancroft came up with the idea forFATSO (1980), her only feature film as a director, at AFI’s Directing Workshop for Women in the mid-1970s, where it was developed as a short film. The first film produced by her husband Mel Brooks’ Brooksfilm, FATSO is a comedy about Dominick DiNapoli (Dom DeLuise), an overweight New York shopkeeper whose late mother always fed him as a child whenever he was upset. Now, his eating is out of control. He still lives at home, and his nagging sister (Bancroft) and her family reside downstairs in a two-family brownstone, while Dominick and his brother, exasperated Frank Jr. (Ron Carey), live upstairs. When their 39-year-old extremely overweight cousin Sal suddenly dies, Bancroft’s Antoinette harps and nags her brother to see a diet doctor. When the diet doesn’t work, she enrolls him in a “Chubby Checkers” support group.  It’s only when he meets Lydia (Candice Azzara), a neighboring shopkeeper, that he tries to turn his life around.

Critics basically trounced FATSO when it was released 41 years ago. Roger Ebert actually gave it a one-star rating. Gene Siskel declared it “an emaciated script idea. Two basic dramatic approaches to fatness are to regard it as comic, or tragic. Anne Bancroft has somehow avoided both approaches in FATSO, a movie with the unique distinction of creating in its audiences an almost constant suspense about how they are supposed to be react.”

However, the film has grown in reputation over the years and was even included in a retrospective on liberating Hollywood women directors in the 1970s at the UCLA Film & Television Archive in 2019, describing the film as a “hilarious, heartwarming comedy.” That’s a bit of hyperbole. DeLuise, who rarely got a chance to really show his comic brilliance in film and television, is the best thing about FATSO. He’s funny and poignant and has chemistry to spare with Azzara.

And Bancroft does show just how hard it is to lose weight. In one sequence, Dominick convinces his brother to padlock the fridge and the pantry only to threaten him with a knife in the middle of the night to unlock them. Depressed at his behavior, he calls the Chubby Checkers (Richard Karron and Paul Zegler) for help. But when they start talking about food, the trio goes crazy in the kitchen and eats everything in sight.

When he decides to propose to Lydia only to discover she’s not home, Dominick goes crazy and eats $40 worth of Chinese take-out. Just as Siskel noted, Bancroft tries to make these scenes funny but, in fact, they are incredibly sad. Though Bancroft excelled at comedy as an actress and was married to a comic genius, she had problems writing and directing comedy. Though he’s considered fat in the film, DeLuise is just pleasingly plump. He’s nowhere near the 325 pounds he was later in his life. FATSO did change the lives of the two Chubby Checkers played by Karron and Zegler. They both lost a substantial amount of weight over the years.

Just like Bancroft, the shockingly riveting thriller THE HONEYMOON KILLERS (1970) was the sole film written and directed by composer Leonard Kastle. He actually wasn’t the first director on the film; however, Martin Scorsese was given the pink slip after the first week because he was taking too long. Noted as Francois Truffaut’s favorite American film, THE HONEYMOON KILLERS vividly depicts the self-esteem issues many have when being overweight.

A grim nurse, Martha (Shirley Stoler, the Nazi guard in Seven Beauties, 1975), lives at home with her nagging friend Bunny (Doris Roberts) who keeps telling her to lose weight. The more stressed Martha gets, the more she eats. In fact, eating has almost become sex to her whether she’s devouring chocolates, cookies or even a pretzel. But she desperately wants to fall in love but fears her weight will prevent her from finding a man.

Unbeknown to Martha, Bunny has submitted her name to a “lonely hearts” club and soon she gets a letter from Ray Fernandez (Tony Lo Bianco) from New York City. He soon visits Martha in Alabama where he seduces her and convinces her to give him a loan. After he leaves, Ray writes her a Dear Jane letter. Threatening to commit suicide, Ray allows her to visit him in New York where he reveals he’s a gigolo/con man who seduces and swindles lonely women. Because she is so lovesick and doesn’t want to lose him, she accompanies him on his jobs posing as his “sister.”

THE HONEYMOON KILLERS was inspired by the true story of Raymond Fernandez and Martha Beck, the legendary “lonely hearts killers” of the 1940s, who were executed at Sing Sing in 1951. Even 51 years after its release, THE HONEYMOON KILLERS is very disturbing. Not only are the murders gruesome, but Martha’s mistreatment as a “fat girl” has turned her into a psychopath. She will do anything and everything to keep her man even attempting to drown herself when she hears Ray trying to seduce one of his conquests at the riverbank. In an interview, producer Warren Steibel stated “we wanted to do an honest movie about murders. These are not charming people. They are sleazy people-but fascinating. You won’t come out of the theatre feeling sorry for the killers like in some movies. It is not romanticized.”

While these films aren’t necessarily positive portrayals of body weight, and it should be noted that each were made by directors who themselves were not overweight, both are iconic in their focus on fatness and its perception during the time in which these films were made.