History on Film: Amadeus - Essay Example

Amadeus Running head: History on Film HISTORY ON FILM: AMADEUS In APA Style Amadeus 2 Abstract Amadeus is an Oscar winning movie made in 1984. This is based on the life of Wolfgang Amadeus Mozart, who is one the greatest composers of the world. The movie tackles the themes of professional rivalry between Mozart and Antonio Salieri, the court composer of Emperor Joseph II, the notion of divine blessing and murderous jealousy. The filmmakers themselves admitted that this film is not a documentary biography of Mozart, implying that they have to make cinematic concessions to come up with a commercial and artistic film that would satisfy the general viewers. Also implied is the fact that there would be inaccuracies. MAIN BODY The first time I viewed Amadeus, and that was eons ago, I was absolutely bedazzled, awed and completely swept off my feet by the gripping story, the cinematography, the elaborate costumes, the art direction, the makeup, the magnificent acting of the two leads F. Murray Abraham as Antonio Salieri and Tom Hulce as Wolfgang Amadeus Mozart, and of course the impeccable direction of Milos Forman. But what makes it memorable through the years is the revival of the music of one of the greatest composers the world has ever known and the restaging of his operas. Here, we are treated to a glimpse to some of Mozart’s everlasting operas e.g. The Abduction From The Seraglio, The Marriage of Figaro, Don Giovanni and The Magic Flute. This movie gives free lessons on opera and music appreciation. We have to give kudos to Milos Forman, the director and the scriptwriter, Peter Shaffer for faithfully recreating and transporting all of us viewers to 18th century Vienna and Salzburg. This was specifically 1769, the time that Mozart displayed to all and sundry glimpses of his immense talent before the arrogant Archbishop of Salzburg and his court to the year 1791, the year of Mozart’s demise and Salieri’s confinement in a mental institution. Amadeus 3 Both Forman and Shaffer ensured that we, viewers, become a part of the excessive bacchanalian revelries of the aristocrats and people who matter in Austria; the pompous celebration of art, music and culture; that we view the ornate, majestic edifices of the 18th century Austria ruled by the Hapsburg royalty, which at this juncture in time was governed by the highly cultured Emperor Joseph II, the son of Empress Maria Theresa and Francis I and the brother of the ill-fated Marie Antoinette of France. We have to note that this is the heyday of the renaissance and thus, there is rebirth of classical art, literature, learning and architecture in Austria. Swept out of sight are the ways and lifestyles of the impoverished and the commoners. What is imprinted in the viewers minds are the elegance, the regalia of nobility and the ruling class and the sweeping panorama and splendor of an opulent Vienna, the “city of musicians”. This was also the Age of Enlightenment or the Age of Reason. After Europe endured the ‘darkness’ of the Middle Ages with its preset and rigid traditions, customs, morals and institutions, suddenly the minds of men were ‘lightened’ by overwhelming reason. Such rationality made men question their traditions, customs and mores. Suddenly “humankind moved forward to understand the natural world and humankinds’ place in it solely on the basis of reason….evidence and proof” (Lewis 1992). This concept played a big part in the movie because it caused Emperor Joseph II to be swayed to reason and nullify his rigid law banning ballet in operas as well as it made him rule out his own interdiction of the staging of the Marriage of Figaro in the whole of Austria. When faced with the problem of critiquing Amadeus, the movie and thereby compelled to read Mozart biographies which feature authentic letters written by Mozart himself or his father, Leopold, my whole view of the film drastically was altered. I am myself seized by the influence of the Age of Enlightenment and did question whether all along I had been taken for a ride by Forman and Saul Saentz, the film producer. I once had labored under the notion that the movie Amadeus 4 faithfully interpreted the life of Mozart and Salieri and accurately exhibited the historical background by which the characters breathed life. I believe I have now been disabused of these ideas and now forced to face the reality that this magnificent movie, which garnered 8 Oscars and some 43 awards, should have been viewed and suctioned off for all its entertainment value and worth. To view it otherwise, will result to utter disappointment. Saul Saentz movies had always hit the jackpot at the awards-giving ceremonies and he, like all other producers, should feel that all those millions spent for the lavish sets, costumes, photography and the works should be rewarded with a slew of major awards. Thus, accuracy should be sacrificed for brilliant cinematic considerations. After all, each filmmaker is allowed to take creative artistic license to maximize depiction of characters and events to produce a superior and magnificent movie. The bitter reality is, Amadeus, the movie, is primarily for entertainment and thus, should be viewed with blinders. We should content ourselves with the fact that all the main characters did really exist. It is in the presentation of the events that the filmmakers did make some twisting and turning all in the name of artistic license. But we have to admit that the music, from Eine Kleine Nachtmusik and the Requiem Mass to the operas were faithful to the original work of Mozart. Even the historical background was accurate. But the inaccuracies jutted out like a sore thumb. But there were redeeming factors, though. Had Salieri not been allowed to go through those angst-filled opening sequences with this priest, whom historians failed to identify, and had he been stopped from delivering those soliloquy where he vented his anger, disappointments, frustrations, his jealousy, his hatred to God, Murray Abraham could not have won the Oscar and Golden Globe best actor awards. Had Mozart not been transformed to this guffawing, giggling buffoon of a man, who is not only vulgar, licentious, vain and puerile but also a profligate genius, Hulce should not have won best actor awards of his own and a nomination for the Oscars. That Mozart was not what he was as Amadeus 5 depicted on the wide screen is shown in letters he wrote to his father Leopold and vice-versa. Mozart wrote: “Believe me, I don’t enjoy leisure, I love to work….yes, it’s true I had to make an effort….because my spirits were down” (Maddocks 2000). William, in his biography of Mozart, described him as a “studiously hard worker” (William 2006). In his father’s letter to Mozart: “As a child and boy, you were serious rather than childish and when you sat at the clavier or were otherwise intent on music, no one dared to have the slightest jest with you. Why even your expression was so solemn “ (Melograni 2006, p.5). Because the love-hate relationship between Salieri and Mozart was too melodramatic for comfort, I have begun to doubt Forman’s intentions. Nowhere in Mozart’s biographies or letters was there even a mention of Salieri’s all-consuming hatred based on professional jealousy nor the fact that Salieri was involved in Mozart’s death, which was listed as ‘severe military fever’. Many historians conjecture that the real cause of his death was rheumatic fever aggravated by work exhaustion and alcoholism. Salieri, as court composer, may naturally have been intimidated by this gifted neophyte whose talents make him feel mediocre. He may also have felt that because of Mozart’s genius, his own position is placed on a shaky ground. It is understandable that he would question God’s wisdom of choosing “an obscene child to be his instrument” to bear the voice of God. He felt that he deserved to be given God’s honor because he had dedicated himself to God and made the supreme sacrifice of offering his “chastity, industry and deepest humility” (Amadeus, the movie) to God. But I have to suspend belief when Salieri diabolically tried to crush Mozart’s aspirations and career by hindering his appointment as Princess Elizabeth’s music teacher because as such, Mozart would largely be taken away from court activities, thus Salieri would reign supreme therein. More ridiculous was the idea of a disguised Salieri commissioning Mozart to write the Requiem Mass so that he may poison Amadeus 6 Mozart once the piece of work is done and claim ownership of the Requiem which he will present to the whole world during Mozart’s funeral. This is already melodrama of the highest order. I suppose Forman’s intention is to make this movie more controversial and more appealing box-office wise than Ken Russell’s The Music Lovers, which was the filmization of the life of the great Russian composer Tchaikovsky. In the latter movie, Russell uncovered Tchaikovsky as having incestuous relations with his sister, as a homosexual having the hots with a Russian count and as marrying Glenda Jackson’s character, repelled all her sexual advances until she became insane. During the early 1980’s , scandal-driven and controversial movies were made and thus, Forman could have gone with the flow and tailored-fit Salieri and Mozart’s characters to impact the movie on the consciousness of viewers. In fairness to Forman and Shaffer, they never claimed that theirs is a documentary bio of Mozart and Salieri and thus based on facts. Shaffer himself was quoted as saying: “From the start, we agreed on one thing: we were not making an objective life of Mozart. This cannot be stressed too strongly” (William 2006). Since all of the above had not been proven and documented, therefore I can safely claim that my thesis that the movie is mainly for entertainment purposes although set in a genuine historical background, is on the right track. We can assume therefore that the movie may be a landmark for its beauty and finesse but it is steeped in inaccuracies and exaggerations. As for example, Mozart upon entering the court heard the welcome march composed for him by Salieri and when asked by the emperor to play it, did so without any guide at all , claiming that the notes are all in his head and proceeded to improve on the work. Another instance was when his wife Constanze, offered his portfolio of work to Salieri, claiming that all these were originals that had never seen revision and editing. All these to us , ordinary mortals, are super human accomplishments. So many historians believe these to be exaggerations, all for entertainment’s sake. If those were true, how on earth, could Amadeus 7 those have escaped the emperor’s attention. As an enlightened despot, he should have immediately rewarded him with a permanent court appointment, something that Mozart dreamed of throughout his lifetime. That Mozart was drowned in an abyss of poverty despite those talents is so deplorable. But perhaps, life in Austria could have been on a decline since Austria was girding and immersing itself with the Austro-Turkish War of 1787-1791. Austrians could have been jittery on the possible future for them after the war. Also, his financial despondency was his own fault because as Constanze herself said i.e. “He’s not practical. My husband spends more than he can earn. Money simply slips through his fingers” (Amadeus, the movie). This movie can be better appreciated if we put into consideration that the Age of Enlightenment was raging throughout Europe at this time. As we mentioned, Emperor Joseph II is a fine example of an enlightened despot. He ruled firmly but always with an open mind and with reason and practicality. If he belonged to the Middle Ages, chances are he would forever be banning The Marriage of Figaro. Previously, it was unimaginable that a valet can win over his master especially over the love of a woman. Mozart proffered the message that it’s not one’s station in life that’s important, but the natural intelligence and the quick-wittedness. The emperor put his foot down because it might “stir up hate between the classes…and provoke the people” (Amadeus, the movie). And he had valid reasons because his sister Marie Antoinette had to contend with increasing mass dissatisfaction, which was riled by French intellectuals. But because he is a son of the Age of Enlightenment, he saw through the opera the beauty of an artistic work. Thus, he conceded that it be staged including the ballet, which he found ridiculous to be performed without the music. Because Mozart dared to conceive victory of a servant over his master, he himself should be viewed as an enlightenment hero who stands in opposition to conventions. As to Salieri, he cannot be regarded as an offshoot of the enlightenment because of his belief that everything that happens in this life is caused by God and not through human will. Amadeus 8 As for Mozart, his faith was never touched in the movie. But because he presented operas that were daring and novel in concepts, he should be regarded as an enlightenment hero. It is clear in this movie that one’s career is subject to the whims and caprices of the emperor. Thus if he had refused the staging of the Abduction from the Seraglio and The Marriage of Figaro, Mozart’s talents and works would never have seen the light of day. As Salieri said, “It’s what the majesty thinks that counts”. Again, when halfway the Figaro opera, the emperor yawned, everybody was frantic. It was because “with 3 yawns, opera will fail the same night” (Amadeus, the movie). Forman in this movie also pictured Vienna as the hub of culture in Austria and possibly the whole of Europe with Mozart, Haydn, Schubert and the Strausses as the living testament to its claim as ‘city of musicians’. That it was an international cosmopolitan culture hub, was evident in Mozart’s letter to his father i.e. “When you conquer Vienna, you conquer the whole world”. In this movie, the Austro-German nationalism was touched on when a heated discussion of which language to use for Mozart’s Figaro opera compelled Mozart to passionately bat for the use of German. The emperor himself chose the use of German. This is to be expected because German is the national language of Austria, it having been a part of the Holy Roman Empire, which was centered in Germany and mostly ruled by German emperors In conclusion, the movie Amadeus on its surface is indubitably almost a perfect movie. All the facets of the production combined to make it a memorable work of art, deserving of all the accolades it garnered. But on close scrutiny, there were holes caused by discrepancies between the scholarly biographies of Mozart and the script of Shaffer. We spotted several inaccuracies and exaggerations which brings us to the conclusion that Amadeus, the movie should be enjoyed for its mighty entertainment value. The moment we start scrutinizing, all original éclat of the movie would be tarnished and Amadeus would become Titanic. Amadeus 9 REFERENCES Amadeus, the movie (1984). Lewis, H. (1992) The Age of enlightenment. History-world.org/age-of-enlightenment.htm-142k Maddocks, F. (2000).Mozart’s letters, Mozart’s life/by genre. Guardian.co.uk Melograni, P & Cochrane, L. (2006). Wolfgang Amadeus Mozart: a biography. University of Chicago Press. Rushton, J. (2006). Mozart. Oxford University Press. William, J. (2006). Myths and controversies. www.celebratemozart.com Read More