[Film Review] Amadeus

Amadeus

Film Review

"Astounding! It was actually, it was beyond belief. But they showed no corrections of any kind. Not one. He had simply written down music already finished in his head! Page after page of it as if he were just taking dictation. And music, finished as no music is ever finished. Displace one note and there would be diminishment. Displace one phrase and the structure would fall."

Director: Miloš Forman
Release Date: 5 April, 1985
Running Time: 161 minutes (3hrs)
Country: United States
Language: English
MPAA Rating: R

A story told from the viewpoint of court composer Antonio Salieri, Peter Shaffer and Miloš Forman bring to life a tale about the infamous Wolfgang Amadeus Mozart. The faith of Salieri, a devout and serious man, is shaken at the arrival of Mozart in Vienna. Though Mozart appears to be an immature man-child, combined with practically divine musical talent, he simultaneously infuriates and inspires Salieri, who had to struggle to reach his position. Salieri is thus driven to undermine the rival composer, and even God, driving this classic 1984 film.

Which I happen to also be reviewing for a history class. So if you're surprised by the lack of cursing and random inserts, I've toned it down a lot here. Also for this I watched the Director's Cut.

Writing:
Based upon a stage play by Peter Shaffer, which in turn was based on an Alexander Pushkin drama, the film Amadeus is presented as revealing a hidden truth through Salieri. The story itself is highly fictionalized, but nonetheless well written. It introduces us to the tale through the framing device of Salieri himself, more specifically beginning with his elderly shouting for Mozart’s forgiveness near the end of his life. When confronted by a priest, he confesses and tells his tale of his relationship with Mozart, setting the stage for his viewpoint, narration, and obsession.

"My dear young man, don't take it too hard. Your work is ingenious. It's quality work.
And there are simply too many notes, that's all. Just cut a few and it will be perfect."

Though the title may imply that this may be some sort of biopic about Mozart, it may strike some as odd that it would use the man’s middle name. But it is not a film focusing solely on Mozart - rather it is about Salieri and his fixation on the boorish man who so perfectly fits his own dreams to compose worthy of God even better than himself. Salieri often goes back to referencing God, just as the name Amadeus means “love of God”.

"He was my idol. Mozart, I can't think of a time when I didn't know his name."

However, much of the plot was based off of an urban legend that Salieri claimed to have killed Mozart and that even if it were true, nobody would believe him. The premise is that the only one who knows the real truth is Salieri himself (barring the priest he told). From what is actually known in historical accounts is that the two were amicable (close enough friends that Salieri would tutor Mozart's son) and Salieri highly respected as a composer. In the film this is still the case as far as anyone other than Salieri knows, including Mozart himself. Some events have also changed, such as the commissioning of the Requiem Mass, which in real life was asked for by Count Franz von Walsegg, who had a history of claiming others’ works as his own. Artistic license was also taken in various details such as rain during Mozart’s funeral, and the most prominent divergence being Mozart’s compositional method. Still, these inaccuracies can easily be overlooked for the sheer quality of the story as a story, rather than as an account.

"I will speak for you, Father. I speak for all mediocrities in the world.
I am their champion. I am their patron saint."

Amadeus still delivers on its promise as a period piece, but diverges from many common issues that might prevent some non-history-lovers from enjoying it. It is not bogged down by many of the problems that arise in similar films that either require the audience to have significant prior interest, knowledge, or need to sit through extra exposition. There is a single comprehensive narrative start to finish, and it is all tied together through one man’s narration, preventing it from being sporadic, disjointed, or episodic.

"Lord, make me a great composer. Let me celebrate Your glory through music and be celebrated myself.
Make me famous through the world, dear God. Make me immortal."

Characters:
The performances from the actors also are what helps breathe life into the legend. F. Murray Abraham portrays a fully fleshed-out character of Salieri, grimacing and holding back contempt so easily as if it wasn’t acting for either him or the character. Despite Salieri’s traits of an insufferable genius, scheming, and “historical villain upgrade”, especially in his narration and confession to the priest, Abraham still allows one to sympathize with Salieri, who is still so haunted by Mozart’s death years later. Salieri’s role in the film is that of protagonist, whereas in the story he is instead the villain. This layered portrayal even gives a subtle sense that Salieri may in fact be going mad, at least in his old age, if not from his fixation upon Mozart. Even though he is, in a sense, the antagonist, he is perhaps the most human and complex of all the characters by the end of the film, leaving him a very human paradox by never condoning nor condemning his behaviour.

Tom Hulce also does an entertaining job as Mozart, who is insufferable and a genius (in Mozart’s case one not exclusive to the other), and despite the historical inaccuracies in the relationship between the composers, Amadeus does seem relatively accurate in its portrait of Mozart. The man is obnoxious but his musical genius is undeniable. Joseph Haydn once stated he saw Mozart make a hundred enemies during just one party. Even his laugh was purportedly ridiculous, just like in the film (like a "braying jackass" according to accounts). Mozart is not merely a cardboard cut-out from a history text, however, and in an odd way becomes the star of the story, without taking the spotlight from Salieri in the film.

"Come on now, be honest! Which one of you wouldn't rather listen to his hairdresser than Hercules?
Or Horatius, or Orpheus... people so lofty they sound as if they shit marble!"

The other performances and characters are quite strong as well, Elizabeth Berridge as Constanze slowly revealing herself from a giggling girl to a shrewd wife, whereas Roy Dotrice is intimidating as Leopold, just as the real Leopold left a strong an impression on his son. The only things that may throw a few people off is the combination of accents which some people may find unusual if not accustomed to it, and the apparent age difference between Salieri and Mozart, as the actors had a much more significant age difference than their characters.

"My plan was so simple. It terrified me. First I must get the death mass and then, I must achieve his death."

Design:
Visually, the film is stunning. Meticulous attention to detail is clear in costume and setting, much of it filmed in 18th century buildings in Prague. It is easy to see much care was put into accurately portraying the period, irregardless of the story. The camera could rotate 360 degrees and not a single modern element would be seen. Costuming is beautiful and generally of the period, though perhaps the weakest link in terms of visual accuracy, but overall it is still a lavish treat. The cinematic craftsmanship is top notch and creates very memorable scenes, such as elegant opera houses and extravagant masquerade parties, and only a few other films attempt to create such an opulent vision of the 18th century.

"Your merciful God. He destroyed His own beloved, rather than let a mediocrity share in the smallest part of His glory."

Music:
Everything blends seamlessly with a soundtrack comprised of various works primarily by Mozart. Using works by these composers may seem like an obvious choice, but the subtle, clever decisions made in the film’s sound direction heightens many moments making them all the more moving. The use of music solidifies the almost operatic nature of the movie, facilitating the emotions of the storytelling. It also offers insight and perhaps even foreshadowing into various elements, the most pervasive being Salieri’s thoughts on Mozart’s work. Salieri may have the mastery to clearly hear compositions in his mind from just scanning the sheet music, yet even he is completely overwhelmed by Mozart’s work, the genius he could never reach. The film offers a new way of hearing the work of Mozart beyond it being mere background music to make something sound cultured or intelligent. Here it is an encompassing way to listen with the added emotional weight of the story and an insight to genius, allowing audiences a greater appreciation of the musical works of Amadeus.

"I heard the music of true forgiveness filling the theater, conferring on all who sat there, perfect absolution.
God was singing through this little man to all the world, unstoppable, making my defeat more bitter with every passing bar."

Final Thoughts:
A classic film of an operatic quality, accessible to many, instilling an appreciation for music and history even in those who did hold interest prior. Despite it’s inaccuracies, it was never meant to be a documentary, but rather a grand story. With impeccable craftsmanship that more than makes up for any specific faults, it is a vibrant film that, although dazzling the audience with Mozart’s virtuosity, is just as much about the man who sees genius, wants genius, and loathes genius. And perhaps, in the end, it not only gives even the most adamantly avoidant of classical music a love for Mozart's art, but also breathes life again into the forgotten Antonio Salieri, no longer doomed to obscurity as he once was.

Sailor's Rating: A+

"Forgive me, Majesty. I am a vulgar man! But I assure you, my music is not."