The name of József Timár is closely tied in social and theatrical memory to the last role he performed: Arthur’s Miller’s suicidal salesman. This 1959 performance was the first one to be recorded and broadcast on TV in Hungary, and the memory of Timár’s acting is preserved in Éva Keleti’s iconic photograph: it shows the actor bent double, carrying two enormous suitcases. After analysing the aforementioned details, my paper will examine the actor’s performance. I seek an explanation for the complete identification of Timár with this singular role in our collective memory.