Death of a Salesman

This was my first meeting with the play. After finishing it, I felt satisfied, but also far from finished with the play itself. I immediately wanted to see other versions of this, both to compare with this, and to enjoy the great writing. As this is an abridged (by the author himself) version, I'm obviously curious as to what more there is to it. I never felt anything missing.

Lee J. Cobb was made for a role like this. The vulnerable, temperamental and old fashioned man that's grasping for happiness. I can imagine how intimate it must have been to see him act this on stage, and I'm happy that at least we have this TV version of his performance.

The touches done to make this a TV movie instead of a filmed play, did not really add much to the movie. The locations still felt like sets and the performances were good, but theatrical. The transitions, dialogue happening over each other, etc, that is only possible in an edited medium like this, did not add much to the story.

Seeing Lee J. Cobb as Willy Loman in this David Susskind produced version is as close as possible to seeing the original play on Broadway, and a far sight better than just about any live production one could find nowadays.

Mr. Cobb's performance is so absorbing, so powerful and so disturbing, that we, (the audience) feel genuinely dazed at its conclusion. It's as though, by the time of the final scene, that we too, are attending Willy's funeral, and all stumble away drained and awed.

The supporting cast are each and all superb, with Mildred Dunnock probably topping anything else in which she has appeared. Set design is also inventive in its combination of abstract and realistic interiors and exteriors.

As to the character of Willy, it is to Mr. Cobb's credit, that for all of his past moral compromises and shabby aspirations, the most honest of us, will admit that we recognize something of ourselves in him.

Theater and television at its best! Thank you Mr. Susskind. (Also interesting to note Karen Steele relegated to a bit role while still such a young woman--what a step down from "Marty.")

Alex Segal and Lee J. Cobb leaves a piece of visual art for the ages with Segal's 1966 made for television version of Arthur Miller's play Death of a Salesman. Lee J. Cobb's exceptional turn as a salesman at the end of his rope, in more ways than one, is one that will stick with audiences long after the film's conclusion. Telling the all too relatable tale of the lack of control we all have over our lives is one which will strike a chord with audiences whether they are in the spring or autumn of their lives.

Willy Lowman (Lee J. Cobb) is a salesman relegated to the traveling circuit after a series of failures. In his 60's and tired Willy begins contemplating his life, both its successes and failures. He begins to get hung up on his failures and loses control of his life. When Willy's sons come home, be spirals even further into his failures as a father. Willy is constantly criticizing his son Biff (George Segal) claiming that he has yet to make anything of his life. His demure and obedient wife Linda (Mildred Dunnock) is constantly trying to both soothe Willy's doubts and support her sons. Ever nearing a nervous breakdown, Willy begins to relive each of his many personal failures, from the affair he committed against his wife, to the failed business decisions he made with his brother. The family is reeling from Willy's current business failures becoming behind on the final mortgage payment on their home. Dripping further and further into self-loathing, the Lowman family seeps to the pit of despair each wallowing in their various missteps in life.

Life is full of transition phases, and each member of the Lowman family was experiencing their own unique life transitions. The boys were transitioning into adulthood which oftentimes requires one to abandon the way you thought adulthood would be and embrace what it is. Willy is transitioning in his career, not being as needed in his sales industry like he once was. Linda is transitioning into the autumn of her life, as she has stopped coloring her gray hair and seems to be accepting her decline in years. Oftentimes as we transition in our stages of life, we attempt to assemble a sense of control over things that we truly have no control over. One cannot stop the hands of time, and with each passing year comes a new reality of life. The more we try to control our lives, like Willy did, the more we realize we have no control. Another unfortunate truth we learn with each successive stage in life is just how little freedom we have. For most of our lives, human beings are chained to jobs out of necessity to make money to survive. We spend our lives away at jobs just so we can pay to have somewhere to live, even though we never get to spend any time there because we are always working. Willy worked his whole life only to die before the final payment on his house was made. Willy's is the story of so many everymen, living life for someone else only to be supremely disappointed by its outcomes because we never get to live our lives for ourselves.

I watched this version of Death of a Salesman for Gene Wilder, although Lee J. Cobb is always a treat. It is disappointing to watch the earlier films in a favorite actor's filmography, as they are often only relegated to a handful of scenes. The few scenes Wilder was in were wonderful, and his gentle presence commanded the screen. He enjoys a powerful scene with Cobb in which he calls him to question what happened at what turned out to be a fateful meeting between him and his son. In spite of his minimal screen time, Gene Wilder was fantastic in the role of Bernard, Biff's tutor. I came for Gene Wilder, and stayed for Lee J. Cobb, and one can't really be disappointed about that.

Willy Loman never realises until the end that he is a loser. Although his son Biff knows he himself is a loser, his father won't accept this. Son, Hap, like his father doesn't know he is a loser, either. Miller seems obliquely to imply that society is to blame for Willy's sad life. Maybe so, surely society doesn't cut him much slack, especially as represented by the son of his long time firm, for which he has been a fairly successful salesman much of his life. Whatever one's opinion on this subject, the play certainly portrays very genuine emotions and problems as the aging Willy more and more loses contact with reality and harkens back to nodal points in his life, especially contacts with his successful brother Ben. Or is Ben just a figment of his imagination. We can only guess. At the final funeral scene, Hap's losing philosophy continues. Could he and Biff take Willy's $20,000 insurance award and make it as ranching partners out west? We'll never know; Hap is determined to "make it big" in the Big Apple. Fat chance!

A better cast would be hard to imagine and the stage setting is beautifully photographed. The "fantasy" scenes are smoothly integrated with bits of "movie magic" that emulate what would be accomplished in the theatre with tricks of lighting. Cuts from the complete play are minor. This was TV at its best.

This is my favorite adaption of the play, "Death of a Salesman". The play itself is timeless and could be portrayed in a modern setting (with some updating). Willie Loman and his family will always exist as long as people in all walks or professions are perceived as being past their prime and a liability rather than an asset to society. It is a tragic episode in the life of a family that outgrow dreams and ambitions and must accept reality and human imperfection.

I have had arguments over the fact that I believed Gene Wilder played Bernard in this play before he became prominent in a movie career. This cast is unique with such excellent actors as Mildred Dunnock, Lee J. Cobb, George Segal, James Farrentino, Bernie Koppell and the remaining members of the cast.