I watched this move for the first time cause of your first analysis and holy smokes this is a truly a fantastic movie, and each one of those analysis are such a great look into this movie! fantastic work as always!
Schikaneder calls it "our little tune" as he was the one to revive DIE ENTFÜHRUNG AUS DEM SERAIL. Schikaneder had performed Mozart's "Abduction from the Seraglio" when the piece had already been cancelled at the court theater. As he had predicted, the audience came in large numbers to see Mozart's opera, which was no longer performed anywhere else. Even the emperor kept coming by surprise.
In high school they showed us the theatrical cut. and I was so confused at the end of the movie why Constanza hates Salieri so much. This scene is needed
I own the director's cut on DVD. I understand what the scene is trying to accomplish, but I still find the blackmail-strumpet scene incongruous and intrusive. You never play your cards that ham-handedly in Sun Tzu's _Art of War._
Now that I think about it, _Barry Lyndon_ has grown on me as I've aged, while _Amadeus_ has not, even though I adored it in first theatrical release. These movies are back to back, historically, with Mozart's early childhood overlapping the Seven Years' War, which formed the central backdrop of Barry Lydon's young adulthood. Edit:That's actually a pretty hilarious back story to Leopold's grumpiness: He's somewhat of an exact contemporary to Barry Lyndon, and all of that crap, which Lydon epitomized.
I agree. When I saw the film ( theatrical cut, off course) first time, I didn’t understand why Constanza was so rude and ungrateful to Salieri who had spent hours helping her husband writing off his music. I guessed because she didn’t like the work commissioned by that spooky client? Well, still it didn’t make sense. Only a few years ago I came across this director’s cut and suddenly everything made sense to me. It’s production team’s fault. If that possibly controversial scene of Constanza coming back to Salieri’s flat is cut off, they should have redone the scene of the reunion of Constanza and Salieri at Mozart’s death bed, as Constanza’s unreasonable hatred towards Salieri confused many viewers a lot. I actually prefer the simpler theatrical cut to the director’s one, with the scene causing the matters unnecessarily complicated.
“Our little tune” refers to the live-cover arrangement of Mozart’s tune. Our, as in “your popular tune that me and my cover band arranged to entertain drunk people o’ the day” This consort of musicians at the party is basically a cover band of the time, like the rock or funk band we now see in bars and at weddings
I am absolutely LOVING this analysis series! You have wonderful takes and I find myself being delighted every minute listening to you while watching back scenes I’ve seen dozens of times. I first watched this movie with my dad who watched it when it came out in the 80s. He showed it to me when I was around 14 or 15 because he knew how much I loved playing piano and especially Mozart’s music. I loved it back then and now, more recently, I’ve gotten into a ritual of watching it every so often. I was so happy to be recommended this analysis series and can’t wait to see more!!!
My man keep up the good work. I know it may not help much, but this is my favorite movie of all time and i love this analysis not only cause its well written but also cause it expresses so much I have thought but can't express (cause i cant write). Also, I want to draw your attention to the character representing the viewers in this movie...the priest
Schikaneder says 'Our little tune' just to refer to the tune that was currently being played, 'our' referring to the musicians in the masquerade. It happened to be Mozart's music so he was just downplaying the popularity of the piece. We later on see that Schikaneder is interested in making burlesque and parody operas that make fun of popular operatic pieces in the day. Parties like the masquerade would have been playing popular pieces everyone knows just like we do today at parties and concerts, music that everyone knows playing so everyone can have a good time together. Also, about the masquerade scene, some people theorize that the kid watching Mozart's performance might be Beethoven as a boy but there's not really any way to tell that at all from any context in the movie. It's noted that Mozart did meet child Beethoven at some point in history.
Although possible, there's no clear evidence that they ever actually met, only second-hand anecdotal accounts. And indeed, Beethoven was a teenager when he first went to Vienna, so the idea of that kid being Beethoven makes little historic sense, but perhaps it can be interpreted as more of a "spiritual reference".
I think the scene where Constance meets Salieri has a different meaning for him: Salieri doesn’t see a woman ready to use deceit and even prostitute herself out of love, but a message from God. God is saying, in Salieri's mind: you can have sex with Mozart's wife if that's what you want, but you cannot have Mozart's genius. That is the ultimate cruelty.
In regard to the "our little tune" line, i always took it to mean that the guy was referencing the piece as part of a production he was once a player in. As he later shows up in The Magic Flute, it makes sense. He's a friend and actor that Mozart uses in his productions. At least that's my theory, and they're intimate enough where a line like that wouldn't be so out of place.
18:55 Or rather, taken with the religious zeal Salieri was portrayed to have - the middle candle represents God/The Son, and the candles to the left and right are the two Sinners crucified alongside Jesus. Salieri didn't blow out the thieves' candles, he blew out the one representing Jesus, his frustrations with God.
The 'our little tune' is just a way of saying 'the song we've been playing'. Similar to someone saying 'look at your man on tv there'. The possessive form of the phrase is to connote familiarity and immediacy rather than direct ownership or authorship.
I've loved this movie since it came out when I was in high school, and it remains one of my favorite movies of all time. I remember going to the theater to then see the Director's Cut and being absolutely floored by the addition of the scene when Constanza returns. It not only makes the story hit that much harder, but I think it also turns Salieri from a rival who takes advantage of situations and uses lies of omission and subterfuge, in to an actual villain who takes an active hand in publicly plotting against Mozart.
I like how Salieri mentions that his father prays for commerce, and this is exactly what he does, bargaining with God and getting vindictive when God doesn't hold his side of the agreement. Salieri was always an ambitious and vain man, at least in the film, never had deep relationship with God. If he had, he would try to understand Mozart. Why is he so childish and vulgar? Maybe because he remained immature because his demanding father took away his childhood? Mozart sacrificed far more then Salieri could ever imagine. Yet Salieri failed miserably even on this first test from God. Instead of learning from or helping Mozart, he decided to kill him.
14:45 Schikaneder, who knew Mozart from the Freemasons , commissioned from Mozart the opera The Magic Flute , and in fact wrote the text for it 17:10 Beethoven grew up in Bonn, Germany, not in Vienna. The only Viennese composer actually from Vienna was Schubert, but he was born 6 years after Mozart died ...
I always found the "Bach" reference curious - no one knew who J.S. Bach was outside of erudite circles until the 1830s. Handel on the other hand was a hero of Mozart's. Many themes of Handel find their way into the Requiem, Mozart arranged his Messiah, and wrote a fragmented piano suite K 399 in the style of Handel. Also note that he has a picture of his compatriot Haydn on the wall of his home at 20:57! Of course Haydn remarked of Mozart "I have often been flattered by my friends with having some genius, but he was much my superior." Mozart was (as can be seen here) greatly influenced by Haydn adored his music. Final little note, I don't believe Beethoven came to Vienna until he was about 20 or 21 so I think that fast edit of the boy was just a glimmer of how Mozart's music knowingly communicates to those who are open to it.
15:13 Schikaneder did stage a revival of "Abduction from the Seraglio" several years after its premiere (presumably with Mozart's consent). Maybe that's why he calls it "our" little tune ...
Yeah I had looked up whether he wrote the original libretto but he didn't. But disconnected from the actual history, in the context of the film it doesn't seem like Mozart knows Schikaneder very well in this scene.
I don't think Mozart knew Salieri was there simply because there was no shot of him other than that one half glance toward him when Salieri spoke up. I think Mozart respects him while thinking he's stuffy and trying too hard.
I think “our little tune” is like when someone playing music in their car calls it “my music”-because it was chosen by the person there’s a sense of ownership in that moment. That’s what it sounds like to me.
For “our little tune” it seems like the guy who says the line runs a troupe of performers. So they’re the hired entertainment and music for the party. Some of the songs they play might be their own. Not sure what the piece that plays is though.
Re: the blowing of the middle candle. I always thought the three candles as representing the Trinity. By blowing it, Salieri shows he liking Mozart to the Messiah. It would be a stretch by itself, but in the film, Mozart is often associated with Christ.
The weird thing is that Mozart was asked to play "in the manner of JSBach". Johann Sebastian is super famous now, but he was never promjnent in his time, and his fame waned a lot when Classicism came along. Baroque pieces were considered kitchy, too full of... Well, Count Orsini said it best, "too many notes". Bach's son though, he was mega famous at the time. Now he is barely remembered.
And ein kleine nachtmusik wasn’t discovered until after mozart and salieri’s deaths im pretty sure, it’s just the films way of making everything more accessible and familiar, if movies were historically accurate we would have stuff like that boring historical play Spencer Rice made on Kenny vs Spenny
@@leoavantmusic "If movies were historically accurate they would be boring", I don"t believe you really think that. There are bad fictional movies and good fictional movies, it all depends on how it's written, adapted, directed and shot. Nothing to do with historical accuracy. If a director or writer can't make history vibrate with viewers and readers, it's because he is not a good enough director or writer. History is real stories, period. Anything else is imitation.
I disagree with everyone here. This Director’s Cut scene makes Salieri a totally unsympathetic character. Before then, Salieri seems a pitiable almost “Everyman”, if not underdog character.
oohhh . That is why I was so confused last video. I have never seen this version before ! so it wasn't a Mandella effect. Both exist on this time line I am on. whew.
18:50 - This might be far fetched, but now that you mention it, the candles might symbolize the Holy Trinity - Father, Son and Holy Ghost, forming a triangle. God is on the left, His Son on the right and the Holy Ghost at the top, forming this triangle. Supposedly, the candle in the middle should be the Holy Ghost, but, in this perspective of ranking positions, God is the center of everything and the most important of all, hence, God is the first to be mentioned in the Holy Trinity. So, the middle candle may symbolize God, as well as Salieri eliminating God's "light" and presence in the world by destroying Mozart. Ironically, Mozart's father (the Father) is the first to die after Salieri's vow and Mozart (the Son) is the next in line. I'm not sure about this either, but I think the Holy Ghost symbolizes things like physical and spiritual protection, peace of mind and hope, which are all things Salieri also ends up losing with his revenge. At the end of the film, he is a frail, useless old man with a neck wound who symbolically destroyed the Holy Ghost and so, he resigns himself to beeing the patron saint of mediocrity.
"our little tune" I think he calls it our little tune, because it is a song about naughty drinking and praising women as well as praising Bachus the god of wine and revelry, speaking for the crowd they are with :)
I can;t explain it but I prefer the non directors cut. I just been watching the original for quite awhile. Like Apocalypse now. The directors cut kinda threw me off.
Ok the “damn” was nothing more than being interrupted while composing. He was on a roll. Kind of like a basketball game when they call a time out on the other team to break their momentum. The interruption was going to break his momentum. It looks like fortunately he was able to go back and pick up where he left off. Remember that all of Mozart’s works were like dictation. He had to get it out of his mind and on the paper while he had it. Have you ever written a song? Have you ever written anything besides this? This thing is so full of distractions, it’s hard for me to watch. And you’re kind of over analyzing it.
It was just my own interpretation of what the scene could mean, there doesn't have to be one option. I have written a song. I have written other things. If it's hard to watch then don't watch it. I have autism and adhd, overanalyzing is in my dna.
I watched this move for the first time cause of your first analysis and holy smokes this is a truly a fantastic movie, and each one of those analysis are such a great look into this movie! fantastic work as always!
Saw Amadeus on premier 1984 in one of the best theaters in my country, absolutely adore this movie.
Schikaneder calls it "our little tune" as he was the one to revive DIE ENTFÜHRUNG AUS DEM SERAIL. Schikaneder had performed Mozart's "Abduction from the Seraglio" when the piece had already been cancelled at the court theater. As he had predicted, the audience came in large numbers to see Mozart's opera, which was no longer performed anywhere else. Even the emperor kept coming by surprise.
This series is amazing, definitely underrated channel. Keep em coming :D
Movie clip?
when his father opens up his arms to embrace mozart, it looked to me as if he was devouring him. one of scary scenes in the film.
In high school they showed us the theatrical cut. and I was so confused at the end of the movie why Constanza hates Salieri so much. This scene is needed
Finally someone on my side hahah
I own the director's cut on DVD. I understand what the scene is trying to accomplish, but I still find the blackmail-strumpet scene incongruous and intrusive. You never play your cards that ham-handedly in Sun Tzu's _Art of War._
Now that I think about it, _Barry Lyndon_ has grown on me as I've aged, while _Amadeus_ has not, even though I adored it in first theatrical release. These movies are back to back, historically, with Mozart's early childhood overlapping the Seven Years' War, which formed the central backdrop of Barry Lydon's young adulthood.
Edit:That's actually a pretty hilarious back story to Leopold's grumpiness: He's somewhat of an exact contemporary to Barry Lyndon, and all of that crap, which Lydon epitomized.
I agree.
When I saw the film ( theatrical cut, off course) first time, I didn’t understand why Constanza was so rude and ungrateful to Salieri who had spent hours helping her husband writing off his music.
I guessed because she didn’t like the work commissioned by that spooky client? Well, still it didn’t make sense.
Only a few years ago I came across this director’s cut and suddenly everything made sense to me.
It’s production team’s fault.
If that possibly controversial scene of Constanza coming back to Salieri’s flat is cut off, they should have redone the scene of the reunion of Constanza and Salieri at Mozart’s death bed, as Constanza’s unreasonable hatred towards Salieri confused many viewers a lot.
I actually prefer the simpler theatrical cut to the director’s one, with the scene causing the matters unnecessarily complicated.
I was never confused
“Our little tune” refers to the live-cover arrangement of Mozart’s tune. Our, as in “your popular tune that me and my cover band arranged to entertain drunk people o’ the day”
This consort of musicians at the party is basically a cover band of the time, like the rock or funk band we now see in bars and at weddings
the comparisons to spongebob are honestly chef's kiss lol
I am absolutely LOVING this analysis series! You have wonderful takes and I find myself being delighted every minute listening to you while watching back scenes I’ve seen dozens of times. I first watched this movie with my dad who watched it when it came out in the 80s. He showed it to me when I was around 14 or 15 because he knew how much I loved playing piano and especially Mozart’s music. I loved it back then and now, more recently, I’ve gotten into a ritual of watching it every so often. I was so happy to be recommended this analysis series and can’t wait to see more!!!
My man keep up the good work. I know it may not help much, but this is my favorite movie of all time and i love this analysis not only cause its well written but also cause it expresses so much I have thought but can't express (cause i cant write). Also, I want to draw your attention to the character representing the viewers in this movie...the priest
Oh i'm aware that we are the priest hahaha,
13:13 Swan.
Trust me. Biologist.
(Symbolism still works though, as swans mate for life)
Really enjoying the series!
Shit yeah goose, swan, I get those mixed up
Schikaneder says 'Our little tune' just to refer to the tune that was currently being played, 'our' referring to the musicians in the masquerade. It happened to be Mozart's music so he was just downplaying the popularity of the piece. We later on see that Schikaneder is interested in making burlesque and parody operas that make fun of popular operatic pieces in the day.
Parties like the masquerade would have been playing popular pieces everyone knows just like we do today at parties and concerts, music that everyone knows playing so everyone can have a good time together.
Also, about the masquerade scene, some people theorize that the kid watching Mozart's performance might be Beethoven as a boy but there's not really any way to tell that at all from any context in the movie. It's noted that Mozart did meet child Beethoven at some point in history.
Beethoven was already a young man by the time Mozart met him. Or in his very late teens at least. Certainly not the age of the boy depicted there.
Although possible, there's no clear evidence that they ever actually met, only second-hand anecdotal accounts.
And indeed, Beethoven was a teenager when he first went to Vienna, so the idea of that kid being Beethoven makes little historic sense, but perhaps it can be interpreted as more of a "spiritual reference".
I think the scene where Constance meets Salieri has a different meaning for him: Salieri doesn’t see a woman ready to use deceit and even prostitute herself out of love, but a message from God. God is saying, in Salieri's mind: you can have sex with Mozart's wife if that's what you want, but you cannot have Mozart's genius. That is the ultimate cruelty.
A great analysis of a great movie, can’t wait the next part!
Schikaneder wrote a libretto for Mozart's magic flute. That's why he said our little tune. Schikaneder was an actor, impressionist and composer
Yes.
@@kaybrown4010 Yes.
In regard to the "our little tune" line, i always took it to mean that the guy was referencing the piece as part of a production he was once a player in. As he later shows up in The Magic Flute, it makes sense. He's a friend and actor that Mozart uses in his productions. At least that's my theory, and they're intimate enough where a line like that wouldn't be so out of place.
18:55 Or rather, taken with the religious zeal Salieri was portrayed to have - the middle candle represents God/The Son, and the candles to the left and right are the two Sinners crucified alongside Jesus. Salieri didn't blow out the thieves' candles, he blew out the one representing Jesus, his frustrations with God.
This is what we were waiting for yessirrrr
The 'our little tune' is just a way of saying 'the song we've been playing'. Similar to someone saying 'look at your man on tv there'. The possessive form of the phrase is to connote familiarity and immediacy rather than direct ownership or authorship.
I've loved this movie since it came out when I was in high school, and it remains one of my favorite movies of all time. I remember going to the theater to then see the Director's Cut and being absolutely floored by the addition of the scene when Constanza returns. It not only makes the story hit that much harder, but I think it also turns Salieri from a rival who takes advantage of situations and uses lies of omission and subterfuge, in to an actual villain who takes an active hand in publicly plotting against Mozart.
I like how Salieri mentions that his father prays for commerce, and this is exactly what he does, bargaining with God and getting vindictive when God doesn't hold his side of the agreement. Salieri was always an ambitious and vain man, at least in the film, never had deep relationship with God. If he had, he would try to understand Mozart. Why is he so childish and vulgar? Maybe because he remained immature because his demanding father took away his childhood? Mozart sacrificed far more then Salieri could ever imagine. Yet Salieri failed miserably even on this first test from God. Instead of learning from or helping Mozart, he decided to kill him.
14:45 Schikaneder, who knew Mozart from the Freemasons , commissioned from Mozart the opera The Magic Flute , and in fact wrote the text for it
17:10 Beethoven grew up in Bonn, Germany, not in Vienna. The only Viennese composer actually from Vienna was Schubert, but he was born 6 years after Mozart died ...
I always found the "Bach" reference curious - no one knew who J.S. Bach was outside of erudite circles until the 1830s. Handel on the other hand was a hero of Mozart's. Many themes of Handel find their way into the Requiem, Mozart arranged his Messiah, and wrote a fragmented piano suite K 399 in the style of Handel. Also note that he has a picture of his compatriot Haydn on the wall of his home at 20:57! Of course Haydn remarked of Mozart "I have often been flattered by my friends with having some genius, but he was much my superior." Mozart was (as can be seen here) greatly influenced by Haydn adored his music. Final little note, I don't believe Beethoven came to Vienna until he was about 20 or 21 so I think that fast edit of the boy was just a glimmer of how Mozart's music knowingly communicates to those who are open to it.
I love love this movie I wish they will play it onU tube free
I can watch it over and over again
His music is so beautiful
13:20 bro that isn't a goose that is a swan.
Do me a favour read the description of the video I wrote when I uploaded the video
15:13 Schikaneder did stage a revival of "Abduction from the Seraglio" several years after its premiere (presumably with Mozart's consent).
Maybe that's why he calls it "our" little tune ...
My thoughts also, he had to be somewhat involved with the tune or opera in some way.
Yeah I had looked up whether he wrote the original libretto but he didn't. But disconnected from the actual history, in the context of the film it doesn't seem like Mozart knows Schikaneder very well in this scene.
The SpongeBob comparison is sheer brilliance. 👏
As a study of people he’s just putting on a show and that was a thing between two friends.
I don't think Mozart knew Salieri was there simply because there was no shot of him other than that one half glance toward him when Salieri spoke up. I think Mozart respects him while thinking he's stuffy and trying too hard.
Can't wait for that next part
I think “our little tune” is like when someone playing music in their car calls it “my music”-because it was chosen by the person there’s a sense of ownership in that moment. That’s what it sounds like to me.
Nicely done.
For “our little tune” it seems like the guy who says the line runs a troupe of performers. So they’re the hired entertainment and music for the party. Some of the songs they play might be their own. Not sure what the piece that plays is though.
You should do Schindler's List anyalist when this series end
Re: the blowing of the middle candle. I always thought the three candles as representing the Trinity. By blowing it, Salieri shows he liking Mozart to the Messiah. It would be a stretch by itself, but in the film, Mozart is often associated with Christ.
@18:49 Aye when he blows out the candle in the middle, I thought of it as a diss to Jesus who was crucified between two thieves.
MAKE MOREE it's only been 29 odd years and I need content lol
13:16 I think that's a swan.
The weird thing is that Mozart was asked to play "in the manner of JSBach". Johann Sebastian is super famous now, but he was never promjnent in his time, and his fame waned a lot when Classicism came along. Baroque pieces were considered kitchy, too full of... Well, Count Orsini said it best, "too many notes".
Bach's son though, he was mega famous at the time. Now he is barely remembered.
And ein kleine nachtmusik wasn’t discovered until after mozart and salieri’s deaths im pretty sure, it’s just the films way of making everything more accessible and familiar, if movies were historically accurate we would have stuff like that boring historical play Spencer Rice made on Kenny vs Spenny
@@leoavantmusic "If movies were historically accurate they would be boring", I don"t believe you really think that. There are bad fictional movies and good fictional movies, it all depends on how it's written, adapted, directed and shot. Nothing to do with historical accuracy.
If a director or writer can't make history vibrate with viewers and readers, it's because he is not a good enough director or writer. History is real stories, period. Anything else is imitation.
@@Ennio444 okay damn
I disagree with everyone here. This Director’s Cut scene makes Salieri a totally unsympathetic character. Before then, Salieri seems a pitiable almost “Everyman”, if not underdog character.
I'm with you.
G'day, Mr. Avant! I could be wrong, but I thought that Stanzi was costumed in a swan mask, not a goose.
oohhh . That is why I was so confused last video. I have never seen this version before ! so it wasn't a Mandella effect. Both exist on this time line I am on. whew.
This is gonna be 10-14 parts easy
Doesn't that guy Emmanu remind you of Shane from the Walking Dead?
18:50 - This might be far fetched, but now that you mention it, the candles might symbolize the Holy Trinity - Father, Son and Holy Ghost, forming a triangle. God is on the left, His Son on the right and the Holy Ghost at the top, forming this triangle. Supposedly, the candle in the middle should be the Holy Ghost, but, in this perspective of ranking positions, God is the center of everything and the most important of all, hence, God is the first to be mentioned in the Holy Trinity. So, the middle candle may symbolize God, as well as Salieri eliminating God's "light" and presence in the world by destroying Mozart. Ironically, Mozart's father (the Father) is the first to die after Salieri's vow and Mozart (the Son) is the next in line. I'm not sure about this either, but I think the Holy Ghost symbolizes things like physical and spiritual protection, peace of mind and hope, which are all things Salieri also ends up losing with his revenge. At the end of the film, he is a frail, useless old man with a neck wound who symbolically destroyed the Holy Ghost and so, he resigns himself to beeing the patron saint of mediocrity.
"our little tune" I think he calls it our little tune, because it is a song about naughty drinking and praising women as well as praising Bachus the god of wine and revelry, speaking for the crowd they are with :)
wo, its new
i came
I can;t explain it but I prefer the non directors cut. I just been watching the original for quite awhile.
Like Apocalypse now. The directors cut kinda threw me off.
The adultery scene was a terrible addition, arguably the worst part of the Director's Cut. It destroys all sympathy for the Salieri character.
cool
Ok the “damn” was nothing more than being interrupted while composing. He was on a roll. Kind of like a basketball game when they call a time out on the other team to break their momentum. The interruption was going to break his momentum. It looks like fortunately he was able to go back and pick up where he left off. Remember that all of Mozart’s works were like dictation. He had to get it out of his mind and on the paper while he had it. Have you ever written a song? Have you ever written anything besides this? This thing is so full of distractions, it’s hard for me to watch. And you’re kind of over analyzing it.
It was just my own interpretation of what the scene could mean, there doesn't have to be one option.
I have written a song.
I have written other things.
If it's hard to watch then don't watch it.
I have autism and adhd, overanalyzing is in my dna.