German filmmaker Volker Schlöndorff's 1985 production of Arthur Miller's most famous play appeared squarely and quite hauntingly in the middle of the go-go economy of the Reagan-Bush years. Miller's story, set during the post-war boom period of the late '40s, concerns an aging, traveling salesman named Willy Loman (Dustin Hoffman), who despairs that his life his been lived in vain. Facing dispensability and insignificance in a heated, youthful economy, Willy is not ready to part with his cherished fantasies of an America that loves and admires him for personable triumphs in the marketplace. But the reality is far more pitiable than that, and the measure of Willy's self-delusion and contradictions is found in his two sons, one (Stephen Lang) a ne'er-do-well gliding on inherited hot air and repressed feelings, and the other (John Malkovich) a mousy, retiring sort unable to reconcile--or forgive--the difference between his father's desperate impersonation of success and the truth. Schlondorff's remarkable cast explores Miller's rich subtext to great effect, though Hoffman--despite giving us a new model of Willy to contrast with Lee J. Cobb's definitive portrayal a generation before--is a bit insect-like and shrill in his approach. Malkovich, Lang, and Kate Reid (as Willy's long-suffering wife) are perfect, however, and the production is atmospheric and strong. --Tom Keogh --This text refers to the VHS Tape edition.

REVIEW

Dustin Hoffman, John Malkovich shine in this now classic play. Like Nora in Ibsen's "A Doll's House," we have characters confined by prescribed fate looking to climb out into their own.

What is fate?

In this case, Willy Loman is bound by his belief that personality alone, of being liked, is enough to make it to the American Dream. Unable to reconcile that those days never existed, and that hard work involved more than a firm handshake and a smile, he becomes despondent as he thinks of the lost potential. He is reminded in flashbacks and visions of relatives and friends who have succeeded.

His two sons are also confined to Willy's delusions of grandeur. Biff, played by Malkovich, had a future as a football star, but was handicapped by his dad's inhibitions and lack of reality. When he realizes his dad is a failure without integrity, after idolizing him, he concludes he too will be a failure.

Hap, on the other hand, Bif's brother, played by Stephen Lang, is a young Willy. He thinks his dad is right, and although he lives in futile mediocrity, believes dreaming is enough.

Kate Reid plays Willy's wife, Linda. She knows Willy is a failure, but tries to exist within the lie. She never declares the truth, but instead allows Willy to dream without substance.

Willy's hopes are shown worthless when he meets up with those, like Bernard, the nerdy math geek when Bif and Hap were children, and now practicing law in front of the Supreme Court. Willy asks what the secret is. His dream is nothing but the puff of a distortion of a Horatio Alger story, but he won't accept it. Bernard's father, Willy's neighbor, offers him a job, but Willy refuses.

The conflict is about encountering reality, and who will meet the truth. Can Biff live his simple dream of working outside with his hands, but by doing so must destroy the family structure. He knows it, and so he struggles.

Willy Loman's failure is like the hope of an old spiritual show follower, looking for salvation, but not willing to commit to what gets paired with it. It is a search for meaning. Despite a pessimistic premise, there is hope resident in this amazing film.

I fully recommend "Death of a Salesman."

Anthony Trendl