Release Year: 2005 Rating: R Duration: 100 minutes Director: Sally Potter Producer: Christopher Sheppard, Sally Potter, Andrew Fierberg Distributor: Sony Pictures Classics
synopsis
YES is the story of a passionate love affair between an American woman (Joan Allen) and a Middle-Eastern man (Simon Abkarian) in which they confront some of the greatest conflicts of our generation - religious, political and sexual. Sam Neill plays the betrayed and betraying politician husband and Shirley Henderson a philosophical cleaner who witnesses the trail of dirt and heartbreak the lovers leave behind them, as they embark on a journey that takes them from London and Belfast to Beirut and Havana.
cast
Joan Allen as She
quote
Cleaner: And, in the end, it simply isn't worth / Your while to try and clean your life away. / You can't. For, everything you do or say / Is there, forever. It leaves evidence. / In fact it's really only common sense; / There's no such thing as nothing, not at all. / It may be really very, very small / But it's still there. In fact I think I'd guess / That "no" does not exist. There's only "yes".
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If you haven't already heard then you should quickly notice it from Shirley Henderson's opening soliloquy: the script for Sally Potter's "Yes" is written in rhyme. Iambic pentameter to give it its more accurate definition--a common meter in poetry consisting of an unrhymed line with five feet or accents, each foot containing an unaccented syllable and an accented syllable--a style made popular, or at least championed, by the likes of William Shakespeare to name but one. Henderson plays a cleaning lady, a "dirt consultant" she refers to herself derogatorily, in the home of an unhappily married couple, played by Joan Allen and Sam Neill. Henderson, face to lens and voice to camera, plays the narrator in some respects, the unseen observer, Shakespeare's fool. The words are the focus, of course, but the idea is that Allen's character takes a temporary lover (a chef--played by Simon Abkarian--who used to be a surgeon in his homeland, Beirut, but who now slices fruit), to escape her claustrophobic open marriage to Anthony (Neill). It's hard not to concentrate on the dialogue more closely than you might ordinarily. Sometimes the rhyming couplets trip easily, like the closing of a Shakespearean stanza, melodic-like, and other times the pairing is off-center, cleverer than that. Writer/director Potter ("The Tango Lesson," "Orlando") frames her structured verse with swirling camera techniques and pulls off remarkably effective scenes in a kitchen, by a deathbed, facing-off in a parking garage in which the waging of global wars is personalized in succinctly human terms. Allen is splendid throughout and through her Potter has achieved a work that sings to us, sensually, angrily, and beautifully.
