Farhadi's most flat has always been a bright window for Iranian films, combining documentary aesthetics and dramatic aesthetics ingeniously, so that it can not only closely adhere to the spiritual connotation and value pursuit of realism style, but also maintain suspense and dramatic conflict, so that The works are not only highly ornamental, but also highly realistic. Under the system of dancing in shackles, the main image of the text is placed in the urban middle class who have received modern civilization education but are limited by traditional religion and national culture, revealing their struggle between modernity and tradition. life, and the irreconcilable and triggering contradictions behind this life.
"Fahati is not only obsessed with national allegory-style stories to flatter the cultural reverie of the third world in Western society, but tends to express more universal emotional dilemmas, and then inspire audiences from different nationalities and cultural backgrounds. Shared empathy ability.” If there are still many localized discussions on religious class, cultural education, laws and regulations and other issues in Iranian society in the famous “A Separation”, then the narrative setting of “Salesman” is even better. In order to simplify, what we want to convey is a generalized human emotional predicament - "others are hell". As a bottom-middle class, Amed lives a decent life, but was completely disrupted by the incident of his wife's humiliation. He fell into the dark web of public opinion where others seemed friendly but complicated, and fell into moral choices and dilemmas. Forgetting hurt can protect the wife and family, but it will bring humiliation of self-respect and slander from others; retribution of grievances can vent emotions and restore dignity, but it will cost the other party's life. "On the one hand, he was unable to withstand the pressure of public opinion and his deep-rooted male dominance ideology, and was aroused by his shame and the inviolability of private property, so he had to carry out a brutal revenge of an eye for an eye against the elderly intruder; Higher-level ideology such as self-cultivation and morality keep his actions restrained." Ahmed's moral dilemma does not just highlight specific choices made under the specific religious and cultural background of Iranian society, but a generalization applicable to any audience. Worldly empathy.
From the perspective of video style and narrative style, Farhadi's "Salesman" also presents a variation of video style and mixed narrative structure. The long-shot, hand-held photography in neo-realism, the natural life recording from the perspective of bystanders, the direct film technique, the open ending, and the restoration of the scenery are all inherited in the video, but at the same time, fast editing such as enhancing the drama is also added. , Conflict handling, giving priority to using variations such as professional actors to make compromises in style. At the same time, the exquisite doors and windows, mirror composition and well-designed ambient sound in the film are also enough to demonstrate Farhadi's steady directing skills. In terms of narration, "The Salesman" is also a nested mode of play within a play, which constructs the video text and the dramatic text (Death of a Salesman) together, and uses the play within the image to allude to the difficulties of the characters outside the image. situation. Life is like a drama, drama is like life, the connection between drama and film comes from the intertext of lines and the inner emotions of externalized real characters. The whole film starts with the lights on the theater stage and ends with the lights off. In the closing, the reincarnation and rehearsal of fate are repeated.
The predicament of life is shared, but the emotions are too strong during the selection, whether it is political correctness or ideological pawns, the universality of the image itself, the thinking about the common dilemma of human beings, is more worthy of understanding. , perception.
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