“How does a man become a cow?” a student asks in reference to a realistic story with one, odd, fanciful element being analyzed in class.
“Gradually,” Emad, the teacher (Shahab Hosseini) responds in a prescient scene in the beautifully layered, rightfully Oscar-winning Iranian domestic melodrama, The Salesman.
The better animal choice might be a pig…but the answer, crypto-Feminist writer-director Asghar Farhadi implies, is the same.
(SPOILERS AHEAD – READ WITH CAUTION)
No man is born a disgusting, sexist pig. You become one…gradually, based on the choices a misogynistic society forces you to make. When you live in a religiously repressed and politically oppressed society that systematically puts value on their women based on what their men do (or don’t do) to them, and in turn puts value on the men based on the value put upon their women, men will often too easily devolve into metaphorical pigs obsessed with shame, dishonor and possessions…even unwittingly sometimes.
Take for instance Emad, the teacher who brings to his students eye-opening Western literature and moonlights (along with his loving, lovely wife, Rana, played by the powerfully emotive About Elly alum Taraneh Alidoosti) as an actor, currently putting on a production of Arthur Miller’s “Death of a Salesman” where he is Willy Loman and Rana is Linda Loman. The play, by the way, is being threatened with censorship by the government. I loved how this threat of censorship is presented as a throwaway line, a common, all-too-everyday annoyance in Iranian middle-class society (and don’t think this couldn’t happen here…or anywhere, with the right strongman in place). This couple seems like a liberal bastion in a repressive society, self-aware and quietly trying to bring about enlightenment through education and the arts.
But the world they live in wants to turn women into objects and men into pigs. Continue reading