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Death of a Salesman (1966)

Not Rated | | Drama | TV Movie 8 May 1966
An abridged award-winning television adaptation of a famous play about an aging travelling salesman who's on the verge of a nervous breakdown. His job is gone, and his family hates him for never being there. He tries mending things with them.

Director:

Alex Segal

Writer:

Arthur Miller (play)
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Won 3 Primetime Emmys. Another 2 wins & 8 nominations. See more awards »

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Cast

Credited cast:
Stanley Adams ... Stanley
Edward Andrews ... Charley
Lee J. Cobb ... Willy Loman
Albert Dekker ... Ben
Mildred Dunnock ... Linda Loman
James Farentino ... Happy Loman
Marc Fiorini ... Stanley
June Foray ... Jenny
Bernie Kopell ... Howard
Joan Patrick ... Miss Forsythe
Marge Redmond ... Woman in Hotel
George Segal ... Biff Loman
Karen Steele ... Letta
Gene Wilder ... Bernard
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Storyline

An abridged award-winning television adaptation of a famous play about an aging travelling salesman who's on the verge of a nervous breakdown. His job is gone, and his family hates him for never being there. He tries mending things with them.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

8 May 1966 (USA) See more »

Also Known As:

La muerte de un viajante See more »

Company Credits

Production Co:

CBS Television Network See more »
Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Color:

Color

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

This television drama was video taped in Los Angeles, California, at the CBS Television City (studios), located at Beverly Boulevard and Fairfax Avenue. Tom John, an established New York City Television Designer and Art Director was hired to design the production. Tom employed his New York City assistant, Chuck Murawski as his Assistant Art Director, flying Chuck from New York City for the four-week prep period. The television play adaptation was rehearsed in the mezzanine rehearsal rooms adjacent the third floor Art Department. (This rehearsal hall was later used by Carol Burnett for her show's rehearsal, and for her private exercise club meetings during The Carol Burnett Show (1967) weekly schedule.) During the production period, Tom, and another "Hollywood designer friend", Jim Trittipo, who often visited each other during the production schedule, late one midnight, were in the CBS Art Department, an original gauche film production sketch from Gone with the Wind (1939) had graced the walls of the Art Department for years. The pair decided to steal the "burning of Atlanta" sketch, using a mat knife, slicing the illustration down the middle, so that each could have a "souvenir". See more »

Connections

Version of Der Tod des Handlungsreisenden (1962) See more »

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User Reviews

 
A Treasured Record of a Great Portrayal
29 March 2012 | by david-greene5See all my reviews

The only slight reservation I have about this TV version of the play is the fact that it was clearly shortened for the medium. The greatest thing about this recording is that it preserves Lee J. Cobb's interpretation of the lead role. I was enrolled in a drama school in the early 60s, a time when several of our teachers had actually seen him in the 1947 stage play. They would frequently speak, in reverent tones, of the scorching great performance that Cobb delivered. This 1966 television revival makes Cobb seem all the more remarkable to me due to the nearly twenty year interval that had passed since the New York run of the play. No matter how great a performance he might have initially delivered, many an actor would have lost a lot of the original intensity in that span. On top of this, Cobb had experienced a battering ordeal at the hands of the House on Un-American Activities Committee toward the end of the run of the play. There is a fascinating story behind Cobb's development of the role. During rehearsals, the director was considering replacing Lee, as his work was not showing promise. The story goes that, at a critical point, Cobb had been staring at a crack in a wall in the rehearsal space. Suddenly he was seized by a strong sense of the character which immediately endowed his reading with uncanny feeling and intensity. Late in the run, it is told that the characterization took such a pervasive hold on the actor that he started to take it home with him, unable to snap out of it.


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