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• W4256501382 abstract "Furūshandih [The Salesman] Babak Tabarraee (bio) Feature, Starring Shahab Hoseini and Taraneh Alidusti, 2015¸118 Minutes, Directed by Asghar Farhadi¸ and Produced by Asghar Farhadi, Alexandre Mallet-Guy, and Olivier Père The cinematic text of The Salesman and the sociopolitical context of its international reception have made this seventh feature of Asghar Farhadi highly controversial in and outside Iran. On the one hand, the film tackles universal themes like sexual harassment and revenge. On the other hand, winning the 2017 Academy Award for Best Foreign Language Film politicized it. The politicization was further intensified when the director refused to attend the Oscars ceremony in response to President Trump's Executive Order 13769 titled Protecting the Nation from Foreign Terrorist Entry into the United States, often referred to as the Muslim ban or the travel ban. This order suspended the entry of the citizens of several Muslim-majority countries, including Farhadi's Iran, into the United States. The deeply rooted ties of The Salesman to these historical moments makes it of high significance for the cultural histories of both Iran and the U.S.A. [End Page 104] The merit of the film lies in Farhadi's utilization of intertextuality beginning from the very title of the movie which is inspired by Arthur Miller's 1949 Pulitzer-winning play, Death of a Salesman. The play, which addresses the many social and economic challenges facing Americans after WWII, is set in Willy Loman's house in Brooklyn surrounded by towering angular shapes on all sides.1 Old Willy, the salesman, is unable to cope with the rapid economic and social changes of the late 1940s. He constantly vacillates between the present and the past. Another layer of suffering in Willy's life comes from his son's reluctance to forgive Willy for having had an affair during one of his trips. The Iranian film showcases a free adaptation of some of these elements. The Salesman begins with the image of an empty and unmade bed which prepares the audience for the subject of implied sexual relations. Despite neither mentioning Miller's play nor the name of Asghar Farhadi as the filmmaker in the opening credits, this stage-bed and the theatrical performance of the rest of this sequence invite the audience to think about the sub-textual parallels in the two works. The Salesman tells the story of Emad (starring Shahab Hoseini), a proactive school teacher of literature. He, his wife and some of their friends form a theater troupe; they are about to perform Arthur Miller's Death of a Salesman. Emad plays the role of Willy, and Emad's wife, Rana (starring Taraneh Alidusti), plays the role of Willy's wife. Early in the film, the couple experiences an unexpected change in their Tehran neighborhood, like the underlying change in the world of the play. Due to a sudden excavation of an adjacent property, Emad and Rana have to abandon their damaged apartment. The couple rents a new place, owned by Babak (starring Babak Karimi), another actor in the same theater troupe; he plays the role of Willy's brother, Charley. This congenial, but self-serving, Babak-Charley, does not tell the couple that the former tenant is a woman with several steady customers, including Babak himself; she also has stored some of her belongings in one room and locked it before disappearing. Babak gives permission to Rana and her husband to break into the room, take out all the former tenant's belongings and store them on the roof. A night shortly after their move, Emad stays longer at the theater to negotiate with the censor over three of six corrections (islāhiyyih).2 When Emad comes back home, he finds out that a man attacked his wife while in the shower. Neither Emad nor the audience comes to know the measure of this sexual assault, but Emad seems decided to retaliate. Tracing a number of clues left by the attacker—money, a condom, socks, cell phone, car keys—Emad finally finds him. He is a street salesman, very similar to the character that Emad plays on stage. Emad locks the salesman in his old vacant apartment..." @default.
• W4256501382 created "2022-05-12" @default.
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• W4256501382 date "2018-01-01" @default.
• W4256501382 modified "2023-10-14" @default.
• W4256501382 doi "https://doi.org/10.2979/jims.3.1.10" @default.
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