Salieri tells us that he is recounting history.
In the screen version, however, music creates the true texture and ambience of the film. Peter Shaffer admits that this effect would not be possible in a theatre: I n the picture, the music naturally becomes more prominent than in the play.
This is not just because on the screen one can show operas that can only be described on stage. The paradox is that in a live theater one cannot successfully play long stretches of music without subverting the drama and turning the event into a concert, whereas the cinema positively welcomes music in floods [ Even in the theatre version it plays a more important role.
In the film, though, "music almost becomes a character, the most important character" Shaffer, quoted from Kakutani T he importance of music in Amadeus results from Shaffer's esteem for Mozart's musical genius.
In his eyes, "Mozart's incomparability lies in the absolute nature of his achievements: The best of them cannot be even slightly rewritten without diminishment.
Shaffer's admiration of Mozart's operas is expressed in his description of The Magic Flute, in which he sees "destructive darkness dissolved in the sun of joyful humanism" Shaffer It is almost too good for human beings. Shaffer35 T hrough this "worship" of Mozart, "Shaffer has found in Mozart's music an evocative aural symbol of divinity equivalent to the sun and horse images of the earlier plays" Lounsberry Although the court society in Amadeus regards Mozart's operas as vulgar and showy, Shaffer sees and presents them as the composer's true masterpieces, which represent the voice of God.
In order to communicate this to an audience without musical education, he uses Salieri as a translator of music. When Mozart's music is heard for the first time, Salieri immediately puts it into words: Then suddenly -- high above it -- an oboe -- a single note -- hanging there unwavering -- till a clarinet took over and sweetened it into a phrase of such delight S alieri explains every important fragment of Mozart's music in a similarly expressive manner.
He is talking to the hospital priest, but the priest with his average musical knowledge represents the audience.
Through this device, even the most tone-deaf of viewers can understand the core of Mozart's genius and of Salieri's tragedy. T he music in Amadeus is not only prominent in amount, but also recorded with great attention to detail.
The musical director is the renowned conductor Sir Neville Marriner. Martin in the Fields. He had a great advantage in that the film was shot around the music, not vice versa, which is usually the case. Accordingly, the music becomes a perfect complement to the scenes shown on screen.
Another element that contributes to the musical and visual quality of Amadeus is the staging of fragments of Mozart's operas and including them in the film. M ozart's operas shown in Amadeus are not mere ornaments; rather, they are closely connected with the plot. They function as instruments of the Mozart-Salieri rivalry: Mozart uses them to assert his position as the best composer in the world, and Salieri to harm his rival and to turn his work against him.
Moreover, elements and tunes from the operas have a symbolic function throughout the film. From the very beginning, the dramatic opening chords of Don Giovanni become associated with fear and despair.
They are first heard in the opening sequence, when the screen is in distressing darkness and Salieri shouts Mozart's name begging his forgiveness.
Later in the film, they accompany Leopold Mozart, his portrait, and the masked messenger. A n extraordinary feature of the music in Amadeus is that it illustrates what goes on in Mozart's head.
He is depicted as the "magic flute" who takes dictation directly from God. He constantly hears music in his head, and all he has to do is to put it down on paper. This ability to create music so easily is used in a number of scenes. For example, shortly before the introduction of Lorl, Mozart is composing and we hear the music together with him.
Suddenly Constanze comes in and she has to shout at Mozart to make herself heard over the sound of music playing in his head. The music stops abruptly. Then Lorl arrives and Constanze starts to quarrel with Leopold. Mozart does not participate in the argument; he returns to his work, and gradually the sound of music rises again, while the voices of Constanze and Leopold fade away, leaving them in a pantomime of a quarrel.
In another scene, Mozart leaves the sleeping Constanze and his work on the Requiem and goes to a party at Schikaneder's cottage. · Peter Shaffer has described Amadeus as “a fantasia on events in Mozart’s life,” but such a description, while accurate, obscures the fact that the play is only ostensibly biographical.
Its feelthefish.com · The following analysis reveals a comprehensive look at the Storyform for Amadeus. Unlike most of the analysis found here—which simply lists the unique individual story appreciations—this in-depth study details the actual encoding for each structural feelthefish.com · What Amadeus gets wrong.
Arguably the finest movie ever made about the process of artistic creation and the unbridgeable gap between human genius and feelthefish.com · 2 The themes of Amadeus Amadeus probes universal, profound, sometimes disturbing themes that transcend the personalities of both Mozart and Salieri.
It is a play of ideas, in which Shaffer touches upon aspects of psychology, sociology, theology, and musicology, all of which are integrated into the Mozart-Salieri feelthefish.com The following analysis reveals a comprehensive look at the Storyform for feelthefish.com most of the analysis found here—which simply lists the unique individual story appreciations—this in-depth study details the actual encoding for each structural item.
This also means it has been incorporated into the Dramatica Story Expert application . · Amadeus Questions and Answers.
The Question and Answer section for Amadeus is a great resource to ask questions, find answers, and discuss the feelthefish.com://feelthefish.com