Contrast and contrast the Salesman’s Death

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Introduction to Death of a Salesman Play

One Arthur Miller wrote the play Death of a Salesman in 1949. Since then, the play has been reviewed four times and re-released in new versions by various literal playwrights. For example, over 743 productions of the same play were performed on Broadway in February 1949 alone (Bigsby 120). Since the play received so many awards, especially for best revival, it became clear that it was among the best of its peers in the twentieth century. In the various adaptations of the play that have been published, it has been clear that there are many variations, with each version modifying, adapting, and resetting the play. Many elements are added while a lot more are further inculcated (Spalding 38). A good example of the versions of the play includes the Laszlo Benedek’s 1951 version starring the Broadway cast and a 1985 CBS made for television version starring Dustin Hoffman and John Malkovich. Therefore it is not only important to compare the two versions of the play, but also to contrast between the two and the original play.

Benedek’s Version of Death of a Salesman

Benedek did an extensive exploration to reproduce a new version of the Death of a Salesman play. He introduced a lot of new content. Nevertheless, the primary concept and the mission of the play remained the same as it had been done by the original playwright. The lines of dialogues and a few conversations with the many that are witnessed in the original work were edited. Nevertheless, the play was not as thrilling and captivating as many people would have hoped to be, as Benedek mutilated the climax of the primary scenes and reduced the general humor (Rosinger 61). The setting of the play was also adjusted to a middle-class setting. The author used smaller rooms and less advanced systems to produce the new version. As such, the aesthetic fashion otherwise witnessed in the initial work was compromised. The setting was not as diverse, as the geographical landscaping was limited to Brooklyn. Hence an explorative mind could not find much fun in this form of the new version of the play.

CBS Television Version of Death of a Salesman

The CBS television version was produced in 1985 starring Dustin Hoffman and John Malkovich. Nevertheless, it had many similarities and difference to both the original play by Miller and Benedek’s version. The CBS version was meant for the film of the Television. However, the whole play was redesigned, reinterpreted for the televisions, and restaged. Such new designs, unlike for the Benedek’s version, were meant to overcome common but tricky challenges (Emami 398). One of the problems to counter was to answer the question of how the play could be made to play as a movie on the televisions. The second issue was that video tapping made filming a problem, and the new version could not give a realistic and convincing setting, message, themes, and logical expectations of the initial play, just like it was the case with the Benedek’s version.

Differences in Character Portrayal and Themes

Unlike to the version of Benedek, the characters in the CBS version were given to play their fundamental roles in the original play. The expectations of the audience could be destructed from the mindset attention, as the anticipated following was almost automatic, hence the efficient delivery (Spalding 38). The death of the salesman is given a new touch in the CBS version, for instance, the cemetery is configured to appear like all the scenes were taking place in a flashback format, and when Willy makes up his mind to eventually move toward his final resting place to commit suicide. The picture created is both realistic and vivid, as the life of man is perceived elapsing before his eyes. This is one of the numerous occurrences in the play that are brought out more clearly unlike in the Benedek’s version. Furthermore, the use of non-naturalistic sources of light, few Expressionistic mechanisms, and the camera movements that seem uniquely configured make the whole play a new encounter and a different version altogether, as compared to both the original form and Benedek’s version.

The Impact and Success of the CBS Version

The CBS version is an eye opener to a new world of the playwright. The new and conspicuous, yet different scenes unfolded in the play bring the much-needed satisfaction to the audience. The climax is well constituted, and the prose significantly manipulated to give sophisticated outcomes. The unrealistic techniques are carefully engaged and critically utilized to mirror the real life situations. Therefore, the quality of work by Hoffman is a different taste, an allure that meets the uncalled for desires of the target spectators (Rosinger 70). The decision to make the play visible on television was the best move of the time. This is a valid argument because the audience’s attention becomes more realistic and of greater concern when the television expose is unveiled. Other suitable changes in structure and content on the play were meant to make it appear appropriate on television. Furthermore, the whole structure of the play was redesigned to make the new version appropriate for the changes in presentation. The roles of the characters remained more or less the same; however, the vigor, the sophistication, and the technicalities with which they performed are refined with eagerness and enthusiasm.

Criticism and Comparison to the Original Play

Nevertheless, it is critical to note that the version receives so many awards. The likability of the play was surprising, as much audience was attracted as could have been anticipated by the critics. Those opposed to the proficiency of Benedek’s version are of the opinion that he had failed utterly to portray anything equal to or greater than the original play. As such, despite the many copies that were unleashed into the market, the prevalence and the exposure of the play to a wider audience was limited. The essential element in the play, the American Dream, was not manifested as expected in the new version (Bigsby 112). Indeed, it is anticipated that everybody in America must have grant fortunes. The luck only becomes evident after hard work and consistent effort. With enthusiasm and many hours at it, one is expected to somehow finally become rich, “Why, boys, when I was seventeen I walked into the jungle and when I was twenty-one I walked out and by God I was rich! You see what I been talking about? The greatest things can happen” (Emami 643) The central position of the theme was conspicuous to the understanding of the audience. Therefore, the lack of the aspect in the new play did not appeal to the emotional desire of the audience. Whether by fate or design, the author of the play denounced it. He claimed that his drafted script was not the final product and that the actors did not do the responsibility bestowed upon them to deliver. Nevertheless, even though it appears Benedek worked on the play in a cinema format, a keen follower realizes that he has eliminated almost all the platforms of climax in the new version. Therefore, most of his characters seemed like they were fake models of the original piece, altering both the content and the mood of the play.

Conclusion

The transformation of the play from one medium of presentation to another was a big question to answer. Since the theater performance was very different from the television broadcast, even new directors who expressed passion and seemed more informed to meet the challenge appeared a primary need. These compelling factors make the new version very altered and of a different configuration from the version done by Benedek. The American dream is made clear in this CBS version; however, in Benedek’s version, the American dream becomes an entirely unresolved issue, without any foreseeable prediction to a solid culmination. For instance, it is expected that everybody who works hard in America must end up satisfied. However, this is not true even to the end of the play in the case of Biff;

BIFF: Well, I spent six or seven years after college trying to work myself up. Shipping clerk, salesman, the commerce of one kind or another. And it’s a measly custom of survival. To get on that passageway on the hot mornings in summer. To devote your whole life to keeping stock, or making phone calls, or selling or purchasing. To hurt fifty weeks of the year for the sake of a two-week holiday, when all you desire is to be out-of-doors with your shirt off. And always to have to get ahead of the next fella. And still—that’s how you build a future (Emami 415).

Benedek’s version, on the other hand, sets a naturalistic scene in the play. For instance, he presents the kitchen setup without any furniture or cutlery, rather, the fridge alone stands out as a conspicuous presentation. The cinema plays a role here, in enriching the scenes in the theater, and special effects are not manifested here.

Works Cited

Bigsby, Christopher. ”Death of a Salesman.” Arthur Miller, vol. 12, no. 4, 2004, pp. 100-123.

Emami, Khodambashi. ”An Anti-social Socialist: A Critical Reading of Arthur Miller’s Death of a Salesman.” Journal of Language Teaching and Research, vol. 2, no. 2, 2011, pp. 348-986.

Rosinger, Lawrence. ”Miller’s Death of a Salesman.” Explicator, vol. 22, no. 4, 1987, pp. 54-79.

Spalding, Peter. ”Themes and Issues.” The Death of a Salesman by Arthur Miller, vol. 4, no. 2, 1987, pp. 36-41.