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 Barnes & Noble This daring little indie, not widely released, tends to polarize viewers: Some find the movie passionate and provocative; others find it pretentious and self-absorbed. One thing is certain: Yes is not a cookie-cutter Hollywood movie that proceeds along formula lines and plays it safe. Writer-director Sally Potter (Orlando) obviously wanted to take chances and force her audience to think while watching this film, which comments on love, sex, religion, class, and politics in ways guaranteed to provoke strong reactions. Joan Allen portrays a poised, elegant Irish-American wife who engages in a steamy affair with a Lebanese waiter and kitchen worker (Simon Abkarian) while her wealthy politician husband (Sam Neill) pursues other interests. We learn that the waiter was once a doctor who abandoned his profession after the politically motivated killing of man he had just saved from death. Drawn to each other following a chance encounter at a formal dinner, they find it easy to get physical but more difficult to take the affair to a more intimate level. To be sure, Potter tells her story rather self-consciously; the dialogue is delivered in rhymed iambic pentameter, a rhythm found often in the works of Shakespeare but rarely in movies with 21st-century settings. And eyebrows may be raised by the ten-minute sequence in which the wifes dying aunt, an unrepentant Marxist, laments the failure of Communism and what she believes to be an unhealthy fixation on the acquisition of material goods one doesnt need. Despite the films sometimes contrived nature, Yes compels interest by virtue of the unusually skillful performances of its two leads. Allen, in particular, is excellent; on the basis of this film and the recent Upside of Anger, she has taken her place at the head of any list of cinemas most prominent leading ladies. Ed Hulse Interested in the song lyrics? - Check out themostlyrics.com! Looking For A DVD? - Check out dvd-a-rama.com! |
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