Filed under: Columns, Cinematical
There are those who like to chide the moments when theater pieces hit the big screen, and to be fair, they often have a point. At times feature films are simply too grand of a scale for a world once defined by a stage and structured sets. It was something I never truly realized until watching Woody Allen’s ‘Whatever Works.’ Though that film wasn’t a play, it felt like one — so distinctly intimate in nature that on film it was as exciting as a flea aimlessly running through an empty gymnasium, a story too small to properly fill the confines of the screen.
But ‘The House of Yes’ is the exact opposite — a film that thrives on the big screen even though it has the simplest of sets, and only a small handful of characters to discover. Rather than being a jar too big for its contents, ‘Yes’ nestles snugly in every film cell, the intimate nature being perversely voyeuristic and claustrophobic, exacerbating the feel of the reclusive family and their unusual lives rather than ever feeling out of place.
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