Perhaps it’s better that a film like this is restrained in both its filmmaking and presentation. Its protagonists, Darrel (Martin Lindquist) and Alexis (Melina Gammersbach) are cloaked in mystery and intrigue for most of the film. Toward the end, we are shown the full skyline, giving away the city of Toronto, as well as little clues that piece together the mystery of its occurrences. But for most of the film, we are in the dark. A ferry that shuffles between the city and the island where Alexis is renting a room at an inn, and lonely cafes and parks where Alexis and Darrel meet adds to this intrigue.
In time, we learn that Alexis is a shamed journalist, taking the job to interview Darrel for her magazine as a punishment for leaking a source. We also learn that Darrel is the best salesman at his company, working for a man named Ken, though we never do learn the name of Darrel’s company. A series of events, such as a break-in at Alexis’ inn, and a man who seems to follow Darrel at every turn, round out the plot, even though little is told to us, with much left up to the imagination.
I was pleased by the acting in this film, especially given many of the scenes are dialogue heavy, with only Lindquist and Gammersbach to carry them. Gammersbach, in particular, really shines during the run-time of this film. A quick search reveals her to have grown up in Cologne, Germany, and she delivers her lines with slowness and purpose in this film, English prose mixing with her European accent to give her a unique characterization. While she has much less dialogue than Lindquist, I found her to be a real high point to this film, as she disappears quite easily into both her character and the film’s mystique.
Lindquist is effective, and manages to cement himself capable in carrying the film as he is tasked with the most dialogue (often long monologues) during “Salesman.” More than simply regurgitating dialogue, Lindquist makes the character work by drawing us in. Too often independent films paint their main characters in an ulta self-important light, and it’s a credit to Lindquist’s performance (and the solid script presented by Matthew Scott), that the effort is as seamless as it is. “Salesman” is a film that uses its main character well; not an over-indulging end in himself, as I’ve found with films like 1972’s “Children Shouldn’t Play with Dead Things.”
This film is also shot very well, taking place mostly at night, mostly in darkness, emerging only for its brief ending and the lights of hotel rooms behind closed doors. Scott also takes on the cinematography for the film, and presents some really neat shots, such as Alexis silhouetted on a fog-shrouded bridge, or shaky camera work that highlights her panic during a later scene. The music by Scott also matches the story nicely, a score of droning bass notes and shrill chords. Watching this film, it becomes apparent there are really three characters here: Alexis, Darrel, and the city itself. Each undergo transformation throughout, and we really don’t learn much more about them as the film progresses. Some additional plot details (and twists) present themselves during “Salesman,” but really shouldn’t be hinted at here. It’s quite easy to lose yourself in this film’s atmosphere, which is Scott’s greatest achievement here.
All-in-all, “Remember to High Five the Salesman” is a good first film by Scott. It is intriguing, features good performances, and is more introspective than chronological. This is a filmmaker’s movie, an innovative film that poses more questions than answers, and as such may appeal to a smaller crowd. At 82 minutes, it’s slightly overlong and presents some repetition, but honestly its all forgivable. “Salesman” is a good overall effort that should poise Scott well for future endeavors.
– by Mark Ziobro
B
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