Death Of A Salesman [1985]

Willy Loman is a tired and heart-broken salesman who no longer lives in the world of reality. Instead, he is trapped in his world of delusions. Each day that passes by seems to be worse and worse for Willy. He spends way too much of his time in the past when he needs to be focusing on the future. His wife and two sons have no idea what they should do for him as they know that he is heading towards disaster in this unforgettable drama.

Like I said, to actually see this really made me appreciate the play more than just reading it from the text. It can get confusing when you only have the words, but when you see it performed it all comes together and make sense. The acting is terrific. Dustin Hoffman really does an outstanding job of playing Willy Loman. Not only does he just "act" the part out, he "becomes" Loman. I admit that I had my doubts at first, because I didn't see him playing the part. My doubts quickly fled from my mind after the first 10 minutes or so. Everybody else is also terrific as well. (Wow, look how young John Malkovitch looks!) I think the movie does a fine job doing Arthur Miller's play justice.

The DVD is pretty neat as well. The picture quality is good, considering the fact that it is an old movie. The DVD also includes a feature length documentary behind the movie, which is really entertaining, and a still gallery. While it may seem like this DVD doesn't have a lot to offer, the documentary really makes it worth-while.

"Death of a Salesman" is a powerhouse drama that hooks you from start to finish. Reading it is one thing, but to actually see it makes it much more enjoyable. If you just read the play from the text it can be pretty confusing at points. If you're looking for a great dramatic movie with great acting and writing, then this is something you should really think about checking out.


A fine but flawed version of an American classic   August 6, 2002
B. Lawes (Dorset, England)
22 out of 24 found this review helpful

Arthur miller's classic has stood the test of time, and is still pertinent today, especially with the increasingly temporary state of the employment market, and the emasculation of men within society. The tragic-heroic figure of Willy Loman, and his mental and emotional sparring with his son Biff still carry an incredible power, and any son or father will relate. This TV movie adaptation of a 1980's Broadway production is a brave attempt to bring the power of the stage play to the small screen.

Dustin Hoffman stars as Willy Loman. This is not really a good thing. The attention of the entire movie seems to be focused almost exclusively on Hoffman. Having read the play I noticed that there are some large cuts in dialogue, however Willy Loman's dialogue remains almost entirely intact. It is Biff who suffers the largest cuts, removing some of the most touching and delicate lines of the play, as he explains the draw of the country, and his constant springtime returns to Brooklyn. Biff's roundedness as a character suffers from these unnecessary cuts. I cannot believe they were to keep the running time down, but more to do with the irresistible performance of one John Malkovich in an early screen role.

Even in scenes where he does not appear, or takes no direct part in the action, Hoffman's presence is forced upon us. As Biff, or Happy or Linda deliver important lines, Hoffman suddenly laughs or shouts off-screen, reducing the impact of the other actors. In one glaring addition, as Biff explains his ill fated business meeting to Happy, Willy knocks on the restaurant window, destroying the rhythm and effect of the speech.

One wonders how much power Hoffman yielded off screen and this is revealed in the special feature making of documentary "Private Conversations," but more of that later.

Hoffman's Willy Loman is an unsympathetic character, tetchy, screeching and staccato. The human equivalent of fingernails down a blackboard. John Malkovich's Biff is a far more accomplished piece. Subtle, brooding and understated, with the perfect balance of fear and anger.

The strange sets are however confusing. It is as if the director was trying to escape from the stage roots of the play, but didn't want or couldn't afford to use real locations. The end is some kind of hybrid unreality, which may be trying to represent Willy's state of mind, but sadly just looks like a cheap set.

The Making of documentary "Private conversations" reveals the source of many of the problems with the film, and I lay it firmly at the feet of Mr. Hoffman. He appears to ride roughshod over the director Volker Schlondorff when it suits him, insisting that things are done his way. He is seen openly criticising the executives making the film and constantly harping on that "for eighteen months on Broadway I did it this way." He even has a scene rewritten in the presence of Arthur Miller because he doesn't like it!

The play is and will remain a classic. There are some fine performances and ideas in this version, but sadly the whole thing comes across as a rather overblown ego-trip.