In Asghar Farhadi's 2016 Iranian film "The Salesman," the audience is treated to a masterclass in suspenseful storytelling, where the dynamics between viewer knowledge and character understanding play a pivotal role in shaping the narrative. One particular scene that exemplifies this idea occurs when Rana the Wife of the main character Emad is home alone when she hears a buzz from the gate below for someone wanting to be let into her apartment assuming it's her leaving the door open for whom she thinks and we assume is her husband but as we see the shot of the door being left open it signals to the audience that something is going to happen and that Rana is unaware of the lurking danger. As viewers, we are privy to information Rana is unaware of creating a sense of tension and anticipation that ultimately alters the story's trajectory.
We then cut to Emad in a grocery store conforming to the audience that we now know that whoever got buzzed into the apartment is not Emad. in this moment we are ahead of both Rana and Emad as we know that something has happened before both Rana and Emad know or are aware.
As soon as we see the door slowly stay open and then we cut to Emad at the store we expect an audience that the narrative will be shaped by this action. stories are all around us and we have been collectively unknowingly or knowingly that we expect certain expirations from narratives. the door and foreboding tension that director Farhadi has presented for us tell the audience that this scene is going to affect the rest of the narrative.
As Rana navigates the space, seemingly oblivious to the threat lurking just beyond her vision, her proximity to the open door leverages the tension and reaches a fever pitch. Farhadi's use of spatial dynamics and framing techniques enhances the sense of claustrophobia, trapping Rana and the audience in a suffocating web of suspense. Every creak of the floorboards, every flicker of movement in the shadows, heightens the sense of impending doom further, leaving viewers on the edge of their seats.
However, just as the tension threatens to become unbearable, Farhadi deftly resolves the mismatch between viewer knowledge and character understanding, unleashing a moment of cathartic release that reshapes the narrative. “Movies that operate on suspense give the audience a more objective perspective. Sometimes, this objective perspective allows the audience to know more information than characters do.This is otherwise known as dramatic irony” DeGuzman (2022).In a sudden twist of fate Rana's worst fears are realized as the threat she had unknowingly been facing materializes before her eyes. The revelation sends shockwaves through both the character and the audience, shattering the fragile illusion of safety and normal Iranian middle-class life that had been seen
Until this point, The audience knew as much as the characters about their new apartment with vague clues about the previous occupant who was described as “Promusics' ' it is never outright stated but it is heavily implied that she is a Prostitute. It is a great shame and taboo subject in Iranian culture. Emad has suspension and concerns over the occupants because of her continued refusal to come back for the rest of her stuff. And a possible distrust or perhaps hatred towards Prsoutuisioes. Given how illegal prostitution is under Iranian law the characters and the Iranian audience
Her belongings cast a shadow over the house representing that the owner's actions still cast a shadow that affects the house and will be the catalyst for the rest of the movie despite her never interacting with the main characters once.
The resolution of the mismatch between the viewer and character knowledge serves to signal a shift in the story taking it down a new and unexpected path. No longer bound by uncertainty constraints, the narrative moves forward with renewed momentum, from its previous explosive opening then transitioning into a slow burn. Now the narrative is driven by the relentless force of consequence. As Rana grapples with the devastating fallout of the confrontation, the audience is forced to confront their complicity in the events that have transpired, grappling with the uncomfortable truths that lie at the heart of the human experience
In this way, Farhadi's manipulation of the viewer's perspective serves not only to intensify the emotional impact of the scene but also to enrich the thematic depth of the film as a whole. By inviting audiences to inhabit the world of the film and the objective realms simultaneously, he fosters a deeper sense of empathy and understanding, compelling viewers to confront the complexities of morality, shame in Iranian society, and consequences in the world of the film all without showing us the event.
Ultimately, this seamless fusion of form and content elevates the Apartment scene transforming it into a profound reflection on the nature of Iranian male pride and Shame. The film's meticulous attention to detail and unwavering commitment to the emotional authenticity of Iranian culture Farhadi invites audiences to witness the intricate tapestry of human experience, fraught with uncertainty, yet imbued with the enduring hope of redemption. And in the haunting echoes of Rana's Incident, we find ourselves irrevocably changed, forever.
But on the other hand, something happens in reverse at the very end of the Film when Emad meets with who he believes is the father-in-law of the man who assaulted Rana at the Apartment. bye this point he has only a hand of clues full to go off one of them being a sock a phone a pile of cash and a van . he manages to track down the assailant and gets in contact with his father-in-law who he invited to his old apartment which had become abandoned due to structural damage. But Emad wants a private and secluded place where he can confront Rana's attacker and the man who has caused all his hardship throughout the film. When the father-in-law arrives, the audience sees a small elderly man. Emad begins showing him around the damaged apartment. the father in law is confused about why he’s trying to sell a damaged building.
Emad then starts asking him about his son-in-law and to call him But the old man relents that he doesn't have his contact on his phone. this becomes the moment that Emad realizes that something is not what it seems. but we the audience don't yet know the significance of what Emad has just learned. Emad begins questioning the man asking him why he doesn't have his son in laws contact on his phone. the man soon relents and says it's a new phone after he lost his old one. and at that moment Emad is certain that this is the man who assaulted Rana in the apartment he left his phone in the van that was in his name. But the audience hasn't caught on just yet his actions seem to be strange and irrational lots of people lose their phones Emad is just pulling straws. maybe this is his downfall because the story ends with Emad losing himself so much in the quest for revenge that he does something terrible to an innocent man. We question is actions up to this point and ask if has he gone too far.
But then he asks for the man to take his shoe off a statement that baffles the father-in-law and the audience. He resists until finally he takes off his shoe and Emad and the audience see the scars on his feet confirming to Emad and the audience that this is the man from the apartment.
The ramifications of this go on to affect the rest of the narrative as we see how his quest for revenge ruins the life of this man and his family but also Emad's own life as this is the point of no return. it also shows how much Emad has become consumed by revenge that the smallest clue or even hint is enough for him to spring into accusations. he has remembered every little detail about the assault that was left in the apartment everything and the smallest detail of someone losing their phone is all the evidence that he needs to integrate who we assume is just a relative of the assaulter.
This scene is a perfect example of cinematic storytelling and mastery of showing without telling what the Salesman has mastered. we start the scene with what we assume is a normal interaction between two characters and end with the final reveal and build-up of the entire film of the Man who has caused so much pain and suffering throughout the whole film. and we see how much Emad has lost himself with him being ahead of us the audience who have followed him the whole movie. but when we see the scars on the old man's feet it is a shock to us the audience's shame and fear for the father-in-law and Reilf mixed with anger for Emad. this scene shows the lengths of male revenge and shame as both characters know something before the audience. And the lengths they go to uncover or Hide it.
References list
Bordwell, David, et al. Film Art : An Introduction, McGraw-Hill Higher Education, 2016. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/aut/detail.action?docID=5471263.
DeGuzman, K. (2022, September 19). What is Suspense — The Elements of Suspense Explained. StudioBinder. https://www.studiobinder.com/blog/what-is-suspense-definition/#:~:text=Movies%20that%20operate%20on%20suspense,character%20to%20learn%20the%20truth.