Review: “The Salesman”

Posted by Michael Parsons on February 2, 2017 in / No Comments

 

Even if an exception were made to Trump’s travel ban, it’s safe to say that writer/director Asghar Farhadi will not be attending this year’s Oscars. Iran’s official submission for Best Foreign Language Film “The Salesman” has indeed been nominated along with the likes of Germany’s “Toni Erdmann”, perhaps fortuitous timing to bolster the backlash, but  how bittersweet it would be to watch a surrogate accepting the statue.

The movie involves Tehran couple Rana and Emad (Taraneh Alidoosti, Shahab Hosseini, respectively) who are forced to move when their apartment building nearly collapses. Currently co-starring in a production of “Death of a Salesman”—off, off-Broadway, you might say—Rana and Emad rent a space in a tenement from cast mate Babak (Babak Karimi).

The flat is still warm from its previous inhabitant, a woman they know nothing about who’s left most of her belongings behind. One evening when Rana is alone, she inadvertently buzzes a forushande_ver2stranger into her home thinking it is her husband, and is attacked while in the shower (not depicted), left with a bleeding head wound.

Emad pursues her assailant, playing detective against Rana’s wishes, as he tries to figure out who the previous tenant was and why someone might want to harm her. Between the fragments of information that Emad gets off the answering machine and the money left in the nightstand, she wasn’t exactly a model citizen. What happened during the attack? And  who was the attacker?

He gets the tags to the pickup truck the man left while fleeing the scene; he tracks it to a restaurant where the employees share the vehicle (and apparently never wondered why it was missing for days), and he suddenly finds himself with a big decision to make.

If you’ve seen anything of director Farhadi, you know that he’s tasteful, almost to a fault; what we might jump to assume of her attack is never mentioned. “The Salesman” is more of a thriller than its predecessors, “The Past” and the Oscar-winning “A Separation”, but what it has in common with those films is that the core relationship hinges on divorce. Farhadi’s temperance becomes a bit frustrating, though; keeping things cryptic draws more attention to the couple’s shifting dynamic,  but once it begins to go the way of a whodunnit it is far too sparing.  An ultimatum is made, one that promises to leave those myriad questions unexplained.

But then it aims to impress upon its audience that those answers might no longer be important when the very relationship you’re trying to protect is eroding because of them. By that token, “The Salesman” illustrates how selfish the idea of revenge can become when the victim’s well being becomes secondary.   Farhadi is a finesse filmmaker, and this is his niche, telling stories of distressed relationships with sociopolitical implications.

Select Theaters, Opens in Washington, DC on February 3rd at Landmark Bethesda Row

–M. Parsons 2017

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Michael Parsons

Father. Realtor®. Movie nut. After pestering my parents for their commentary on “Star Wars” when I was four years old, my mind went into a creative frenzy. I’d imagined something entirely different than the actual film, which I didn’t end up seeing until its 1979 re-release at the Uptown Theater in Washington, DC. This was my formal introduction to the cinema.

During that long wait, which felt like an eternity to a child, my mind was being molded by more corrosive stuff like “Trilogy of Terror” and “Rosemary’s Baby”, most of which I’d conned various babysitters into letting me watch on television ( I convinced one poor lady that “Jaws” was actually “Moby Dick”).

The folks were pretty strict in that regard, so the less appropriate it was for a kid to watch, the more I was fascinated by it. Horror staples like “Halloween” and “Friday the 13th”, as well as lesser-known low-budget fare like “Madman”, “Sleepaway Camp” and “Pieces” all ended up sneaking their way into the VHS on a regular basis.

Since then, I’ve developed an obsession with the entire film industry. Even though I watch and review a wide breadth of films these days, my appreciation for the campy, poorly lit micro-budgeters still lends itself to my evolving perspective on movies just as much as the summer blockbusters and Oscar contenders. As I recall my trips to the movie theater, I realize that this stuff is about much more than just a fleeting piece of entertainment.

A couple years ago, I was finally given the opportunity to lend my opinion on films to a publication, The Rogers Revue, with a subsequent run at Reel Film News. It's been both a privilege and a gateway to what we’re doing now. Most of my experience has come from interviewing independent filmmakers, who consistently promote innovation. The filmmaking process is grueling and relatively unforgiving.

Fellow film enthusiast Eddie Pasa and I have created DC Filmdom as a medium for film reviews, discussion, and (inevitably) some debate. And so, the creative frenzy continues.

(Michael is a member of the Washington, DC Area Film Critics Association).

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