Review of Salesman (1969) by David H — 13 May 2010

An absolutely groundbreaking documentary in its day, Salesman still holds up wonderfully today. The Maysles are masters of their craft, juxtaposing scenes with the utmost care and grace. There are times when Salesman actually feels like a fiction film, and all the better for it; with the presence of narrative, spectators are drawn in to the proceedings seemingly effortlessly.

While the film looks to be cinema verite on its surface, Salesman actually presents a fascinating combination of verite and direct cinema. While the presence of the camera is sometimes acknowledged (typically something not done in standard verite), it's not done explicitly; the cameraman (Albert Maysles, in this case) feels as if he's part of the action, so the documentary becomes an interesting hybrid of the observational and participatory modes as defined by Bill Nichols.

That, and it's beautifully shot and photographed; based on the camera angles, the Maysles effectively draw spectators in to the world of the documentary's subjects. Also, what's explored here is still shockingly relevant.

Norman Mailer was right when he said that Salesman has a lot to say about American life. Thankfully, the film is still saying it loud and clear more than forty years later.