Theme orientation and the inevitable outcome of structural flaws: Investigating the results of the dominance of theme over action in Farhadi’s The Salesman

In this article, we discuss the importance of unity in the feature film script and the mechanism of its development based on the two elements of dramatic action and theme. We investigate the consequences of prioritizing theme over the action on the foundation of the dramatic structure of the screenplay, considering one of the most famous Iranian films, Asghar Farhadi’s The Salesman (2016), the winner of the best screenplay at the 2016 Cannes Film Festival. In any form of drama, the chain of actions leads to a specific theme, and the theme in turn directs this chain. Therefore, to create an organic structure, the balanced development of action and theme is essential. Manipulating this balance in favour of highlighting the theme, and understanding the chain of actions based on the theme weakens the logical relationship of the actions as well as the dramatic structure, ultimately turning some actions into redundancies that can be eliminated. The study shows that in The Salesman’s screenplay, through prioritizing the theme over the action and disrupting the natural process of perceiving the theme from the chain of actions, a structure is created in which the presence of some actions are only justified by referring to the theme. Therefore, a number of events/scenes in the screenplay can be omitted without interfering with the unity of the narrative and the formation and expression of the theme. As a result, prioritizing the theme over the action in the foundation of the script inevitably leads to a flawed structure.