Death of a Salesman (TV Movie 1. The salesman of the title is Willy Loman, a man in his early sixties, approaching retirement. Despite his long service, travelling from his New York base all over New England in the service of his employers, he has never enjoyed great success in his job. He is in financial difficulties, struggling to pay the mortgage on his house and the instalments on the consumer goods- refrigerator, vacuum cleaner, car- which were becoming popular in the forties but which represented a major commitment, even in middle class households. In order to make ends meet, he has taken to borrowing from his old friend Charlie.

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His sense of failure, however, does not derive solely from his unsuccessful career. He also sees himself as having failed in his private life. Although his marriage to his loyal wife Linda has survived, despite the fact that he has on occasions been unfaithful to her, his relationships with his two sons are strained.

President Donald Trump's Muslim ban makes Asghar Farhadi's "The Salesman" the frontrunner for the Oscar. That kind of ambivalence.

Biff, the elder, showed promise when young in both the academic and sporting fields, but failed to win a place at university after failing a maths exam at school, and since has become a rootless drifter, alternating between dead- end jobs and petty crime. Biff has been particularly alienated from his father since discovering one of Willy's affairs. Happy, the younger, has been more successful than Biff in his career, but in his private life is a selfish, cynical womaniser. Willy is much given to violent mood swings, alternating between exuberant over- optimism and despairing pessimism.

The younger Willy's optimism was largely focused on his own career, believing that he had a talent for making himself . The older Willy's hopes are mostly focused on his sons, especially Biff, whom he still believes (in the teeth of all the evidence) to be capable of great things. When his son disappoints him, Willy turns on him fiercely, accusing him of being a . Biff's lack of success in life does indeed derive partly from his own weaknesses, but Willy's unrealistic expectations are also partly to blame; Biff would probably be happiest working with his hands, but Willy tries to pressure him into taking a white- collar job.

The film follows the play in that on a number of occasions the action switches abruptly from the present into the past, as the characters act out episodes from earlier in Willy's life. Some of these episodes, in fact, may exist only in Willy's imagination, particularly those involving his wealthy older brother Ben, who is now dead although that does not prevent him from making several appearances. Ben, in fact, is not really a character in his own right, but rather functions as a symbol of the failures and missed opportunities in Willy's life. At one time filmed versions of stage plays were done in a similar way to theatrical productions (the Marlon Brando/Vivien Leigh . It not only keeps Arthur Miller's plot unchanged, but also follows his text almost literally to the word. There is no attempt to open it up; it is filmed entirely on stylised, deliberately artificial- looking sets similar to those that would be used in a theatre. Normally I would take the view that the cinema and the theatre are two different media and that one should not try to imitate the other.

This film, however, was originally made for television and based on a Broadway production, and works better on the small screen than it probably would do on a big one. It is, in fact, a very good film, despite its old- fashioned, theatrical look.

The main reason, apart from the quality of Miller's original play, is the quality of the acting. Dustin Hoffman called the role of Willy Loman his favourite acting experience; it is certainly one of his best, although not in my view his very best. He brings out all the complexities and contradictions in Willy's character, a man who is certainly difficult, perhaps even impossible, but at the same time also tragic and pitiable. The play has been seen as a critique of the capitalist economy or of the American way of life.

That is one possible interpretation, but there is more to it than that. It also deals with the plight of the elderly, especially those whom society no longer seems to value, with the human need, too often disappointed, to aspire to a better life, and with the gap between appearance and reality.

On a more personal level it is also a character study and an exploration of the relationships within a family, especially father- son relationships. This means that the supporting cast has to be strong, and Hoffman certainly receives strong support, especially from Kate Reid as Linda, Charles Durning as Charley and above all from John Malkovich as Biff. The result was an excellent production that brought out the various levels of meaning in Miller's play as well as the tragedy of its central figure.

Movie Review – Baby Driver (2. Baby Driver, 2. 01. Directed by Edgar Wright.

Starring Ansel Elgort, Lily James, Kevin Spacey, Jamie Foxx, Jon Hamm, Jon Bernthal, and Eiza Gonz? Shaun of the Dead and Hot Fuzz are both classics, as clever and inventive as they are hilarious; Scott Pilgrim Vs The World, as cool as it is, occasionally crosses the line between ironic hipster movie and actual hipster movie; and despite giving it several chances to grow on me I didn’t like The World’s End at all.

As the lights went down I crossed my fingers that this would be the film to buck that trend, and I’m happy to report that it most certainly is. Baby (Ansel Elgort) is a getaway driver for Doc (Kevin Spacey), a job he performs as payback for breaking into Doc’s car as a teenager. He has tinnitus in his ears from the car accident his parents died in when he was a child, so he constantly has his headphones in to drown it out. This has led to a habit of sound- tracking everything he does, whether it’s a high- speed car chase or a stroll down the street to fetch coffee (which he does in a great long take where the lyrics to the song he’s listening to appear as graffiti on the buildings behind him). With his debt to Doc soon to be paid off he plans to go on a permanent road trip with an adorable waitress called Debora (Lily James), but Doc isn’t about to let his lucky charm get away so easy. Edgar Wright has admitted that he wrote the script around the playlist of songs he had in mind, and although for some directors this technique can result in lazy film- making (Cameron Crowe is occasionally guilty of this), in Wright’s case it has resulted in a film packed with gloriously choreographed scenes – in the same way that Scott Pilgrim could be considered a !

It’s got the coolness of Drive (and an undeniably similar premise) and the energy, wit and (yes) romance of True Romance. The influence of Wright’s pal Tarantino is clear – the characters are all too- cool- for- school, the violence is stylishly shot, and the dialogue is full of quotable one- liners (my favourite involves a . The only scene where the dialogue feels forced and silly is one where a gun salesman compares his products to pigs, but at least it’s followed by a superb shoot- out.

Baby Driver has been billed first and foremost as a car chase movie, and people who go to see it expecting nothing more than that will definitely be satisfied – Paul Greengrass should really watch this film and take notes on how to effectively shoot and edit a great car chase. And Wright’s love of the original Point Break (as witnessed in Hot Fuzz) is once again illustrated in an exhilarating foot chase that rivals the one in Bigelow’s classic. However, this is so much more than a disposable popcorn movie – the characters are what keep you invested when the action dies down. Jamie Foxx and Kevin Spacey are both excellent, playing characters similar to the ones they played in Horrible Bosses (albeit more deadly and confident), Jon Hamm veers between laid- back and desperate to great effect, and despite being little more than the . The scenes where she and Baby fall in love discussing classic songs with their names in the titles are just the right side of cutesy, and their chemistry gives the audience a real reason to root for them. The only character who I felt was a little bit lacking was Baby himself – he’s certainly an iconic character (his black and white costume giving us a glimpse of what might have been had Ansel Elgort been cast as the young Han Solo), but his trademark silence means he’s more defined by his actions than his words – not necessarily a bad thing, it just means he doesn’t get as many memorable one- liners as some of the other characters.

Directed by Asghar Farhadi. With Taraneh Alidoosti, Shahab Hosseini, Babak Karimi, Mina Sadati. While both participating in a production of "Death of a Salesman," a. Night Shyamalan’s movie, starring James McAvoy. When Iranian filmmaker Asghar Farhadi’s latest film, The Salesman, was announced as part of last year’s Cannes lineup, very little information about it was.

The final third of the film, involving a bungled heist and a hostage situation, is both exciting and unpredictable, as everyone has to either flee or fight for survival. It’s exciting and unpredictable, but admittedly there were a few moments where the characters’ actions stretched believability – i. Also, I felt the epilogue was a strange combination of realistic and unrealistic – not quite the euphoric air- punching finale I was hoping for after two hours of build- up. Still, it shows that Wright cares enough about his main characters to see their story through, rather than to cheapen the whole affair with a flashy yet hollow ending. Minor niggles aside, Baby Driver is still one of the most purely entertaining films of the year – a return to form from one of the world’s coolest film- makers.

Flickering Myth Rating – Film.