The Salesman (Persian: ????????, translit. Forušande, released in France as Le Client) is a 2016 drama film written and directed by Asghar Farhadi and starring Taraneh Alidoosti and Shahab Hosseini. It is about a married couple who perform Arthur Miller's play Death of a Salesman on stage, when the wife is assaulted. Her husband attempts to determine the identity of the attacker, while she struggles to cope with post-trauma stress. Farhadi chose Miller's play as his story within a story based on shared themes. A co-production between Iran and France, the film was shot in Tehran, beginning in 2015.
The Salesman | |
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Theatrical release poster | |
Directed by | Asghar Farhadi |
Produced by | Alexandre Mallet-Guy Asghar Farhadi |
Written by | Asghar Farhadi |
Starring | Shahab Hosseini Taraneh Alidoosti |
Music by | Sattar Oraki |
Cinematography | Hossein Jafarian |
Edited by | Hayedeh Safiyari |
Production company | Memento Films Production Asghar Farhadi Production Arte France Cinéma |
Distributed by | Filmiran (Iran) Memento Films Distribution (France) |
Release date |
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Running time | 125 minutes |
Country |
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Language | Persian |
Box office | 16.1 billion toman (Iran) |
The film premiered in competition in the 2016 Cannes Film Festival, where it won two awards—Best Screenplay for Farhadi and Best Actor for Hosseini. The Salesman went on to receive more positive reviews, and won the Academy Award for Best Foreign Language Film. However, Farhadi did not attend the 89th Academy Awards ceremony in protest of the U.S. Executive Order 13769.
Screenplay
Emad and Rana are a married couple who both work in the theatre, currently starring in a production of Death of a Salesman by Arthur Miller, with Emad portraying Willy Loman and Rana playing Linda. Emad is also a popular instructor at a local school, where the youth joke about him being a "salesman." One night, their apartment begins to collapse and they flee the building with the other residents. Desperate to find a place to live, their fellow actor Babak secures another apartment for them, where a woman has recently moved out, although she left in a hurry abandoning numerous belongings. One night, Rana is home alone and begins bathing. When Emad returns, he finds she is missing and the bathroom is covered with blood. He rushes to the hospital, where he is informed by his neighbours about his wife's condition and is told to change the apartment's locks. It becomes apparent that Rana has not had an accident, but has been assaulted by an intruder. Emad also learns from neighbours that the previous tenant was a prostitute, who had conflicts with her clients.
Rana returns home, but suffers from trauma and is reluctant to go to the police. She does not bathe, fearing to go into the bathroom again, and in the middle of a performance, breaks down in tears and leaves the stage. Although she does not remember the face of her attacker, Emad finds the culprit left his car keys, which he matches to a pick-up parked outside. The attacker also left behind a mobile phone and money which Rana purchased groceries with, thinking Emad had left it for her. Emad increasingly blames Babak for hiding the truth about the former tenant, at one point calling his character Charley a degenerate in the midst of a performance, although this is not in Miller's script.
Finally, Emad turns to one of his students, whose father used to work in the police. He is able to trace the truck to a man named Majid. Emad consults Majid's prospective father-in-law, who says the truck is shared. Gradually, it becomes apparent the older man was himself the intruder, though he denies attacking Rana, implying he simply startled her. Emad calls the old man's family to the apartment, and locks him in a small room to wait, intending to reveal his true character to them all. When he opens the room the old man appears to be having heart trouble and Emad calls Rana in a panic. When Rana learns what Emad intends, she says it will be over between them if he pursues his revenge.
When the family arrives they believe they have been called to a medical emergency, thanking Emad for saving his life. Just before they leave, Emad insists on settling his account with the old man in private, returning the money he had left after Rana's assault. Unseen by the family, Emad slaps the old man, who then collapses as he is leaving with his family, and they call an ambulance. Rana and Emad return to the theatre together.
- Shahab Hosseini as Emad
- Taraneh Alidoosti as Rana
- Babak Karimi as Babak
- Farid Sajadhosseini as The Man
- Mina Sadati as Sanam
- Maral Bani Adam as Kati
- Mehdi Koushki as Siavash
- Emad Emami as Ali
- Shirin Aghakashi as Esmat
- Mojtaba Pirzadeh as Majid
- Sahra Asadollahi as Mojgan
- Ehteram Boroumand as Mrs. Shahnazari
- Sam Valipour as Sadra
Development
Iranian director Asghar Farhadi said he had conceived of much of the story for The Salesman years before production, but did not feel there was enough to make a film until he decided his protagonists should be stage actors. Part of this decision owed to Farhadi's own background in the theatre, and his desire to re-immerse himself in that atmosphere. He also felt actors had to think of themselves as other people and create empathy, and his male protagonist would be forced to feel empathy for another man.
Looking for a play within the film, Farhadi researched the work of Jean-Paul Sartre and Henrik Ibsen before finding Arthur Miller's Death of a Salesman, which he described as "a gift for me". In Miller's play and his script, Farhadi said he found parallel themes of "humiliation", and also compared the relationship between his characters Rana and Emad to that of Linda and Willy Loman. More symbolism was added with the crumbling buildings, which Farhadi said represented crumbling relationships.
Filming
Although he was planning to film a Spanish language-project abroad, Farhadi opted to delay it to return to Tehran to make The Salesman in 2015. He cast Shahab Hosseini in the lead role, marking the third collaboration between the actor and director. Farhadi praised Hosseini for crafting diverse characters.
Other actors from Farhadi's 2011 film A Separation are featured, and he explained the connection was because his films are about young couples. The final scene was shot to appear very theatrical, with lighting from lamps.
The film premiered at the 2016 Cannes Film Festival, included in the In Competition section. The film opened in Iran on 31 August, beginning in Tehran at an unconventionally early time of 6:45 a.m. It was also selected to play at the Toronto International Film Festival in September 2016, marking its first screening in North America. By 3 December, it grossed $4.2 million in Iran, the highest of any Iranian film to date.
The film premiered in London on 26 February 2017, with a free screening hosted by Mayor Sadiq Khan at Trafalgar Square. A general U.K. release followed on 17 March. Abramorama and Seattle's Northwest Film Forum made plans for a film series called The Seventh Art Stand, with screenings across the U.S. for May 2017, featuring The Salesman and other films from countries affected by the White House's second attempted travel ban, Executive Order 13780.
Critical response
The film received critical acclaim. It holds a 96% "fresh" rating on review aggregator website Rotten Tomatoes, based on 183 reviews with a weighted average score of 8/10. The website's critical consensus reads, "The Salesman takes an ambitiously complex look at thought-provoking themes, and the well-acted results prove another consistently absorbing entry in writer-director Asghar Farhadi's distinguished filmography." On Metacritic, it holds an 85/100 rating, based on 36 reviews from critics, indicating "universal acclaim".
After its Cannes screening, Owen Gleiberman wrote in Variety that, following Farhadi's A Separation and The Past, The Salesman "is another finely cut gem of neorealist suspense." Donald Clarke's review from The Irish Times stated that "The latest from Asghar Farhadi sees another family put under stress after a violent attack." Deborah Young in The Hollywood Reporter summarized the film as "Masterful particularly in the finale, but not so readily engaging." Time Out critic Dave Calhoun gave the film three of five stars, dissatisfied with the ending.
The film was supported by Iranian social media users, and after its screening and two awards at Cannes, some government officials and politicians congratulated Farhadi. However, conservatives accused the film of Siahnamayi (disparaging Iran).
In The New York Times, A.O. Scott wrote it was not initially clear why Death of a Salesman was selected, but Willy Loman's presence soon became felt, and favourably compared the use of the play to All About My Mother's use of A Streetcar Named Desire. Peter Travers gave the film three and a half stars in Rolling St
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