Lacking the astounding social complexity of his Academy Award- winning drama A Separation, the gears in The Salesman are not so hidden and a sense of contrived drama leads to some tedious sections. But all is forgiven when the final punches are delivered in a knock- out finale that leaves the viewer tense and breathless. At this point there’s not much doubt that Farhadi’s work has revolutionized new Iranian cinema, pulling it out of the much- beaten path of realism and self- reflection pioneered by directors like Abbas Kiarostami and Mohsen Makhmalbaf and onto a new, highly dramatized and theatrical road. The Salesman takes this tendency to its limits, even incorporating a theater play into its story of hurt pride and revenge. What’s most at stake here are the psychological weakness and moral vacancy of the main characters, Emad (Shahab Hosseini) and his wife Rana (Taraneh Alidoosti), who are working actors and part of Tehran’s cultural aristocracy. The film opens on their rehearsal of Arthur Miller’s 1. Pulitzer- winning play Death of a Salesman, with Emad playing Willy Loman and Rana his wife Linda.
From a general summary to chapter summaries to explanations of famous quotes, the SparkNotes Death of a Salesman Study Guide has everything you need to ace quizzes. Owen Gleiberman reviews the new film from Asghar Farhadi, the director of 'The Past' and 'A Separation.'. Salesman.Red and the Salesman Podcast has one goal, to help B2B sales professionals THRIVE in the internet age. Podcast; Daily Email; Sponsors; About Us; Contact.
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Directed by Asghar Farhadi. With Shahab Hosseini, Taraneh Alidoosti, Babak Karimi, Mina Sadati. Forushande (The Salesman) is the story of a couple whose relationship. Death of a Salesman is a 1949 play written by American playwright Arthur Miller. It was the recipient of the 1949 Pulitzer Prize for Drama and Tony Award for Best Play.
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It’s amusing, but not much more, to see such an all- American classic adapted into Farsi and performed in Iran, where such unexpected difficulties arise as having the sexy Miss Francis appear completely covered up when the dialogue indicates she’s hardly dressed. There’s also mention of the censors coming over to adjust parts of the play. Yet it is eventually performed under a big neon sign advertising gambling and booze, to a rapt audience.
Nieuwste aanwinst is The Salesman Who. Met een debuutplaat op zak klinken ze als een iets. A man who is a salesperson. Asghar Farhadi’s return to Cannes with his double prize-winning “The Salesman” comes after the Iranian auteur’s Paris-set “The Past” vied for a. THE SALESMAN Saturday, September 24, 2016
One dramatic night, Emad and Rana’s spacious modern apartment, which they’ve just rented, has to be evacuated when the building begins to collapse. They’re lucky to find another place to stay through Babak (Babak Karimi), who works in their theater troupe. What he doesn’t mention is that the former tenant was a prostitute, euphemistically referred to as a woman who had many acquaintances.
She also must have a small child, given the scribbling on the lower walls, and this small fact, so typical of Farhadi’s subtlety, reminds the viewer not to dismiss the woman out of hand. Though there’s another clue that Babak may have made use of her services, he has evicted her at the insistence of the middle- class neighbors. She has left behind some personal belongings, which greatly irritates Rana far beyond their intrinsic interest value, and this is the first time the film indulges in some wheel- spinning. We’re still in the first act when Rana returns home before Emad and is attacked in the shower.
Here again, the nature of the violence is handled with great care, but it becomes clear that she was raped. Alidoosti, who is coolly distant in the role, becomes almost dislikable when she comes home from the hospital traumatized and full of phobias. Sympathy then swings to Emad, who is doing his best to cope with her pain and unreasonable demands, but soon reaches his limit. Since they have decided not to go to the police to keep Rana from being grilled on what happened, he launches a search for the perpetrator. It is from this point that the story cashes in. As the tension mounts, Hosseini (who won a Silver Bear for his role in A Separation) subtly shifts Emad’s attitude from caring to frightening.
Hell- bent on humiliating the man who humiliated him, he seems much more enraged at the insult to his pride than the assault on his wife’s body. The cruel plan he concocts is both loopy and chilling and has unforeseen results on everyone around him.
The final scenes introduce a new group of characters, among whom Farid Sajjadihosseini is unforgettable. Keyvan Moghadam's production design also is a standout, in double apartments featuring Farhadi's trademark windows and doors as locations for social interaction. Venue: Cannes Film Festival (Competition)Production companies: Memento Films Production, Asghar Farhadi Production with Arte France Cinema in association with Memento Films Distribution, Doha Film Institute, Arte France.
Cast: Shahab Hosseini, Taraneh Alidoosti, Babak Karimi, Farid Sajjadihosseini, Mina Sadati, Maral Bani Adam, Mehdi Kooshki,Emad Emami, Shirin Aghakashi, Mojtaba Pirzadeh, Sahra Asadollahe, Ehteram Boroumand, Sam Valipour. Director- screenwriter: Asghar Farhadi.
Producers: Alexandre Mallet- Guy, Asghar Farhadi. Director of photography: Hossein Jafarian. Production designer: Keyvan Moghadam. Costume designer: Sara Samiee.
Editor: Hayedeh Safiyari. Music: Sattar Oraki. World sales: Memento International Not rated, 1.