Salesman

1968

Directors The Maysles Brothers

Salesman, The Maysles Brother’s 1969 documentary insight into the life of four door-to-door Bible salesmen, is harrowing viewing. We follow Paul Brennan, Jamie Baker, Raymond Martos and Charles McDevitt across the New England and Florida territories, as they try to meet their yearly quota.

This bleak tone is most prevalent during the actual sales process, as each salesman tries to talk various low-income residents into purchasing these expensive Bibles. The Maysles Brother’s skill is evident in creating this uncomfortable atmosphere, using the narrative into almost willing these poor individuals to spend their hard-earned cash, just so our heroes can succeed. It is the naked humanity of these men, Paul in particular, which is responsible for this clash of emotion.

The sheer destituteness of Salesman is not evident to begin with, as each salesman is introduced rather comically: Paul is ‘The Badger’, Jamie is ‘The Rabbit’, Raymond is ‘The Bull’, and Charles is ‘The Gipper’. This male camaraderie has the feel of the opening of Reservoir Dogs, and subsequent scenes do support this. Much of Salesman is of these men sitting in dingy motel rooms, lamenting, boasting and smoking the night away. In contrast to the sales, these scenes provide warmth. One is shown these individuals stripped of all the bravado, the pizzazz, and all is left is four lonely men. In one scene, The Rabbit and The Bull go for a midnight swim; it appears initially as an unnecessary diversion from the central misery, but it is actually the most genuine moment. Unfortunately, the sound in these scenes is a problem, as their broad, regional accents blend together, making it hard to distinguish.

Salesman is harsh viewing. The American Dream is stripped bare The Maysles Brothers and exposed. But there are moments of such genuine warmth and humour from these men that the experience almost feels worth the struggle.

*** ½ / *****