1. Amadeus Movie Essay
The film Amadeus directed by Milos Forman in 1984 was a look in to the interesting and short
life of Wolfgang Amadeus Mozart. Mozart was considered a child prodigy and genius by possessing
qualities such as: composing his first concerto at the age 4, first symphony by the age of seven, his
first opera by twelve, being able to just hear a piece of music once and being able to play it back
perfectly from memory, playing the piano with a blindfold on, or playing the piano upside–down
and backward. The film was narrated by another composer, Antonio Salieri, who was portrayed has
having a love/hate relationship with Mozart.
Amadeus may have won best picture in 1984, but did not score as high with historians. There were
quite a few events or situations that happened in Amadeus that were portrayed inaccurately. A few
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The first inaccuracy of Salieri's feelings have been deemed as inaccurate. "In several of Mozart's
letters, there is evidence that the Italians (supposedly lead by Salieri) in Emperor Joseph's court
did get in the way of several attempts to advance Mozart's career, and some of these are portrayed
in the film. There is, however, no clear proof that Salieri hated Mozart or plotted against him or
planned his death" (Fact or Fiction). I found a wide range of views on Mozart's and Salieri's
relationship. Some say they were the best of friends, and some said they never actually meet in
person, but never once did I come upon any information that there was bad blood between them. The
second inaccuracy found was that the film only showed Mozart and Constanze having one
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3. a vulgar opera. Joseph again agreed to this opera, even do his subjects didn't agree. Then
during rehearsals there was ballet in the opera which was against the law to have in the
opera. This law was made by Joseph. Then after seeing the play without it, he wanted it
in because it didn't look right. He basically changed his own law, to the displeased of his
subjects again. Emperor Joseph showed enlightenment many times in this film.
Mozart can be viewed as an enlightenment hero. He stood against the opposition
of the church and the convention. For
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4. Essay on Amadeus
At the age of the Enlightenment, Antonio Salieri becomes the most triumphant musician in the city
of Vienna, however, without any warning his harmonious universe comes to an utter halt.
Salieri’s absolute faith in the world, in himself, and in God is all at once diminished
by this spontaneous child composer. When the two opposite ends meet, there emerges a fury, a
rage, and a passion in Salieri to sabotage the boy that has secured Salieri’s deserved
God given talent; to destroy the one pubescent child that has made him so mute and naked now in a
world of discordance. Salieri’s entire reputation and boyhood prayer to attain fame thus
rests on his ability to annihilate that child prodigy, WolfgangAmadeus...show more content...
He thus rationally and intelligently composes the operas in a meditative way. Salieri works on his
operas continually with many rewrites, drafts, and edits. Calling up to God, “You
know how hard I’ve worked!'; (1,12) Salieri indicates his agony. This exemplifies
the colossal dedication Salieri devotes in practicing this art. On the other hand,
Mozart’s operas do not appeal to audiences during the age of Enlightenment.
Instead, Mozart’s musicals exert offense, especially to that of the nobility, and in
turn his operas are failures during this age. For example, Mozart’s score of figaro
includes a ballet, that was expressly forbidden by the king. However, instead of immediately
apologizing and excluding it from his opera, Mozart attempts to go around the decree. He explains
that it is not an insertion of ballet, but rather it is a dance and the king does not disallow dancing
when it is a portion of the story. Mozart continues opposing the Age of Enlightenment and the
commands of the high society by abandoning them through language and themes of his operas.
Despite the fact that the nobility will be upset, Mozart aspires to do pieces about “real
people'; set in a “real place'; and in the real language of the people (2,4). He explains to
Van Swieten that he wants his operas in German in order to communicate with the majority about the
most exciting thing on earth, that is,
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