I admit that this has been one of my favorite movies ever since it came out, so i might be a little biased. But once in a while, a movie comes along, that just hits all the right "notes" at once. Using Shaffer's stage play as foundation, it takes its inspiration, from the life of Wolfgang Amadeus Mozart and his supposed rivalry with the contemporary Viennese court composer, Antonio Salieri. As far as i know, this rivalry is largely fiction, but that is besides the point of the movie.
We first see Salieri as an old man, evicted to an insane asylum after a suicide attempt The priest arrives to receive his confession, but Salieri does not care for his religious routines, until he lectures him with ".. all men are equal in gods eyes". That sparks the fire in him and the rest of the movie is told through his eyes. I just love the scenes with the bitter old Salieri, who still struggles with his love/hate relationship towards Mozart ... which he, by the way, claim to have killed. We get the story behind why Salieri grew to envy and hate Mozart and the evil plan he executes, to get rid of his rival. But all along this red thread, we are spoiled with numerous little side stories and glimpses into 18th century life in the court and the extravagant lifestyle of the higher classes all bathed in glorious settings and off course .. music. The ass kissing, the gossip, the arrogance is so brilliantly weaved together, with the main themes, into a perfectly balanced and delicate masterpiece.
There are so many brilliant scenes in this movie, but there is one that stands out so strong, that i do not hesitate to call it one of the finest scenes, of its kind, in film history. Let me just capture the whole movie by describing that particular scene. Mozart is supposed to meet the emperor to discuss a commission of a new opera on the national scene. Ahead of time, Salieri has received some inspiration from his maker, to compose a simple welcoming march in Mozarts honor. The emperor, who has no ear for music or skill at playing, offers to play it as Mozart arrives. Salieri does his best to support the bad playing by the emperor, so that his music does not sound completely ridiculous. Mozart, the naive and childish person he is (seen through Salieri's eyes remember), greets one of the court members instead. When introduced, Mozart tells Salieri, expecting gratitude, that he has improved one of his old tunes, not realizing that he is actually ridiculing him. Now they discuss whether the opera should be in German or Italian. The court snakes all try to manipulate the emperor into getting things their way. Mozart is not aware of the intricate game that goes on around him. Neither has he the ability to suck up to those with power. He boasts out his opinion on Italian opera, to the amazement of the court, but succeeds in getting his way with a German sung opera.
Now comes the moment the scene is here to capture. The emperor hands Mozart the sheet of music. Mozart proudly proclaims, that he does not need it, the music is already in his head. In disbelief, the emperor challenges him to play it on his cembalo. Mozart plays it perfectly in one go and the emperor looks down at the belittled court composer with pride. Mozart plays it again, but in his naive genius, he then starts to improve it. The court looks baffled at Mozart and then ad Salieri, who' s face grows darker and darker as he is being ridiculed by the unknowing Mozart and unable to do anything about it. He is caught up in his own lies and and mediocrity. Mozart keeps changing the tune more and more, into something completely unrecognizable, but of much higher standard .. just on the top of his head. Then he finishes of with a third rate, da da da daaaaa on the cembalo and the most ridiculous grin in cinema history. Salieris god is laughing him right in his face, ridiculing him with his desire to make great music, with a mediocre talent, while he has endowed a ridiculous childish creature with eternal genius.
The thing that is so impressive with this movie is how effortlessly all parts seem to gel together. The humor, the caricatured characters, the music, the sadness, the joy.. everything just fits. Hulce does a great job as Mozart, but special praise has to go to F. Murray Abraham, who creates one of the most memorable characters ever, with such precision and downplayed expression. A truly great actor. The end of Mozart is elegantly weaved together with his requiem and returns back to the humble room where Salieri must linger on in obscurity, while the world around him praises Mozart. Some have criticized it for making Mozart too childish, but they do not get the point. We see the world through Salieris eyes, and this is what he sees, a small child mocking him but preferred by his god. A true masterpiece.
Rating: 10/10
Har misset noe her, skjønner jeg...må laste ned og se denne!
Takk!
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