If you were to ask me what film encapsulates the divine art of music, writing, acting and design, that has been moulded into a cinematic masterpiece, the answer would be: Amadeus. Indeed, this film has taken the audio magic of the master, Mozart, and combined it with stunning to visuals to create a work of art that is both bold and brilliant.
Amadeus was adapted from a successful play by Peter Shaffer and is a stylized fictional description of the life of Wolfgang Amadeus Mozart, perhaps the most famed and talented composer in history. The story focuses on the rivalry that existed between Mozart and Antonio Salieri. Whilst a "rivalry" did exist between the two, it is not known to exactly what degree it actually was. However, Shaffer and director Milos Forman give us a portrait of two men driven to the brink of insanity: Mozart by his ambition and overworking, Salieri by his greed and bitter jealousy. This film doesn't attempt to be an autio-biography, but conforms to the classic "myth and legend" plot that has been passed down over the centuries. What is known is this: Salieri WAS a successful, prolific composer, and was well respected during his time. Mozart was a genius, but whilst respected during his time, wasn't given the attention and acclaim that he deserved.
The movie begins after Salieri (F.Murray Abraham), now an old man, tries to commit suicide and is confined to a mental asylum. He is visited by a Priest who, upon hearing the rumor that Salieri confesses to "kill Mozart", promptly arrives at the asylum looking for a confession and redemption. Salieri doesn't give him this. Instead, he takes him on a journey back to the past: when he was a court-composer and Mozart a struggling musician. It starts off when Salieri was a boy in Italy, playing little games, while Mozart was touring Europe "playing for Emperors' and Kings'". Salieri then indulges on his life's mission and offers up a vow to God, begging him to give him the talent to "praise him with music". To some degree, Salieri is granted this: he is taken away from his small town to Vienna, "City of Musicians", and becomes Court Composer to Emperor Joseph (Jeffrey Jones). But its not enough. He desires more then earthly recognition, but rather a divine-like spirit to praise God through immortal music. He then meets Mozart (Tom Hulce), and slowly his deep hatred and jealousy grows to this man. He sees Mozart's talent, so effortless and childlike, and can not undestand why God chose Mozart and not him to be his "instrument".
Forman and his entire team transform themselves into the 18th century environment in which the story takes place. One only has to just sit back and watch the extraordinary design and attention to detail that went into this film: every aspect is meticulously planned and well-thought out. There is a methodness to Forman's direction and (as with "One Flew Over the Cuckoos Nest") he plants us directly in the environment in which the story and actors are in. We feel as if we are in 18th century Europe. When Mozart conducts his operas, we feel as if we are on the stage, there in the moment, feeling the passion and genius of the man. Forman chose to film in Prague, probably the most "classical" of the European cities. Immediately we are given the backdrop of the times. Technically, the film is a masterpiece with authentic looking costumes, amazing production design, skillful editing and breath taking cinematography. The make up in this movie is also impressive as the artists manage to transform Abraham from the young to the old Salieri with poignant ease.
But where this film succeeds it is incorporation of the original music of Mozart. It's only right to have the entire score devoted to the man. Mozart's music is actually another character in this movie: it takes us into the minds and emotions of Salieri and Mozart, what they're feeling, how they're going to react. Forman and Shaffer spent four months writing the script and listened to hours of music, incorporating music and writing scenes around it, and one can see in the final product of the movie and the actors performances how meticulous and successful they were.
The acting in this film is so convincing you see the characters for who they are. We truly believe we are seeing Mozart and Salieri on stage. The ensemble and supporting cast is great, from Jeffrey Jones to Elizabeth Berridge (Costanze, Mozart's wife), but the on-screen chemistry and distinct rivalry between the two main players, Hulce and Abraham, is what lights up the screen. Both are extraordinary in their roles. Hulce portrays the childlike aspects of Mozart with such grace, yet at the same time encapsulating the genius of the man and the seriousness he put behind his work. Abraham gives us a Salieri that is talented but so flawed that he could never really see it. He loses himself in the jealousy, the rage and the anger he has towards Mozart and the God who he believes "betrayed him". The words spoken from his monologues, so poetic, so lyrical, is delivered with aplomb by Abraham who elevates himself to an acting level that very few actors have reached. These two performances will go down in history as being two of the best ever put on screen. Tom Hulce received a well-earned Academy Award nomination, but it was F.Murray Abraham who deservedly walked away with the Oscar. His performance is definitely one of the most iconic in cinema history. Amadeus walked away with 8 Academy Awards, deserving of them all.
Amadeus is a film that delights in both a visual and auditory way. We fall in love with both the main characters, because they are both human and are flawed. But we also fall in love with the other main character: the music. As Mozart says: "I'm a vulgar man. But I assure you, my music is not." Indeed, the characters may have been flawed and imperfect, but this film (most definitely) is not.
No comments:
Post a Comment