I had to weigh in here. Everything was so dynamic for two simple reasons which you pointed out at some point. One, the overall theme of this masterful film relied on the human condition. The dichotomy of us with all the ups, downs, happy, sad, soft, firm. And second, Mozart figured this out and skillfully embedded into his music as you’ve noted. But music isn’t just notes on a page. It’s acting. The feeling comes with the artist that’s performing. I’m a cop for the human side and a musician for that side. Also good at psychology and sociology. And I appreciate you for this series.
The eating of treats shows to me that although he has donated his chastity he’s still, in his heart, hedonistic. He loves pleasure. What he truly wants the ultimate pleasure of recognition. The heart hasn’t changed for God, the chastity is just another exchange.
This is even better when you compare this to the Amadeus stageplay, where he lambastizes his family and community for seeing God as someone to bargain with, merely a heavenly Holy Roman Empire.. then through the story all he's trying to do is bargain with God.
Some of my favorite memories with my father was going to see this movie every Saturday for as long as it played in the theatre when I was 13. It was a big boost in my love of music and shaped my direction in life in untold ways. I'm actually preparing an all-Mozart piano recital for this September! So glad you are doing these insightful and fun videos - glad to know how it will shape younger generations for years to come.
16:11 Whilst technically true, Mozart’s manuscripts and drafts were remarkable with how little corrections and edits there were compared to someone like Beethoven(who studied composition under Salieri, since during his first stay in Vienna Mozart was busy and when Ludwig returned to Vienna Mozart was already dead so Salieri and Haydn had to do), who was known to be very messy when writing, so Mozart’s drafts being entirely without corrections is not entirely fiction, but an exaggeration.
I loved how Costanza soundend in that scene. I think it was deliberate by director. Trying to show how these people back then were just like us today, trying to earn cash to pay rent and get by. He is playing pool, something also modern, unexpected in a Mozart movie, she is in her plain normal dress, no makeup and no wigg. They were just like any 80s couple living in the big city. Forman wanted us to relate to their struggle.
I became obsessed with this movie before the director's cut came out, and in the theatrical version, it cuts from Constanze saying "So you will help us?" directly to Salieri burning the crucifix and saying to God "from now on we are enemies". You can find it on UA-cam somewhere. The whole "come back tonight" side-plot is gone (making the original rated PG instead of R). Anyway, while I think the director's cut ultimately works better as a whole (plus it explains Constanze saying "I regret we have no servants to show you out" near the end of the film, which seemed an odd point to make in the original theatrical cut), having Salieri go from this "staring through the cage" directly to "from now on we are enemies" was, I thought, a particularly effective emotional response in the original cut, from the "unfulfillable longing" to "I will block you." Might be worth checking out if you haven't seen it.
Am just loving your analysis of Amadeus, my favorite film of all time. Since I first watched it almost alone in a neighborhood theater in l985, I have been entranced and always rewatch with new eyes. Thank you for seeming to love and appreciate it as much as I do. It is “an absolute beauty.”
My favorite film of all time! Am 73 and have had faves through the years, always musicals. But this stands the test of time. Also love The Music Man!!!! There are parallels between them if you look😊. Thank you for this in-depth analysis.
Wait really? I’ve seen the 1962 and 2003 movies of the Music Man, I never thought there was anything similar to Amadeus, please explain this to me hahaha
The scenes with Von Strack demonstrates that Mozart's pride ultimately did sabotage him in the Viennese court - which is actually true. Sure Mozart knew he was a genius and was vastly overqualified to teach a 14 year old girl - but he also knew that the position entailed a vast sum of money, AND the emperor's favor in a court that was rife with politique. This would not be the first nor the last time that Mozart's indignations and outbursts would sabotage his career. It's documented many times in his life. I think Von Strack was trying to get him to realize that a little humility would go a long way for his future career.
I love that transition of the crumpling of the letter, and the majestic elk startled by the royal riders. I really like your take on the possible allusion to God's/Father's displeasure reading of His sons nuptials. I adore this movie too, and recite it line by line.
5:00 What Mozart plays seems to be neither pool or snooker, but rather French billairds, also known as carom or carambole. Notice the table has no pockets. Which is by the way historically accurate, because this is the type of cue game one would play in this period.
The bite thing that you pointed out is quite interesting. I think you can draw a parallel between several things in the movie that Salieri wants but cannot have. The desserts/repressed sexual desire is pretty neat but the dessert/music link is equally as interesting. For instance the fact of Salieri feeling like he is 'in a cage, staring through the bars of those ink strokes at absolute beauty' just before he 'takes a bite' of the music. As you say, this implies that the dessert also symbolizes Salieri's longing for Mozart's music and talent but, as I see it, the parallel between these is also there to emphasize how Salieri's pain in large part is self-imposed. He chooses to be celibate, ie. he chooses to be jealous of Mozart rather than be content with what he has. Salieri's 'cage' where he is not able to touch women is completely voluntary/self-inflicted. Thematically, this also makes sense in relation to what you pointed out with the servant of Salieri's, who we see is envious of Salieri's lifestyle.
19:09 - Appoggiatura: (as per Wikipedia) "is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord... The appoggiatura is often used to express emotional yearning". Mozart uses chromatic passing tones and appoggiaturas as decoration in the melody of the soprano aria featured in the film (the Christe Eleison). Wagner would later greatly profit from this yearning/longing effect of the appoggiatura (or retardations, depending on how modern terminology you want to use) in his opera Tristan und Isolde where he would leave it hanging on dominant chords, diminished and half-diminished chords, never to resolve, exaggerating the yearning effect.
Mozart was an avid and, by all accounts, accomplished billiards player of his time. A billiard table with five balls and his collection of 12 cues was among Mozart's estate when he died.
Mozart's wife's name: you discuss it around 4:10 to 4:20 . Her name is Constanza, Stanzi is a nickname used for her by W.A.Mozart. People pick up on Stanzi and sometimes say 'Constanzi' but that isn't correct. Either Stanzi, or Constanza.
Other things the film got right: Salieri allegedly did have a sweet tooth and he was a reknown music teacher. Maybe the greatest in history in fact. He taught many future great composers, including Beethoven.
As for the bite you mention during the climax of These are originals, I think it has more to do with him mouthing the words of the Kyrie which at that moment was the word "eleison". I think that makes more sense, the bite is a bit or a stretch.
4:48 Billiards. Three balls (sometimes) no pockets. It's all about cannons (hitting the other two balls in one shot). Although I think Mozart his using the wrong ball as cue-ball (a bit hard to tell in with that lighting).
Wolfy isn’t ‘playing pool’… that’s how he wrote music (no mistakes). That’s also why he may be getting annoyed after shooting… (source; various music teachers)
Yes, once I’ve had to accept the convention of these characters speaking English, it’s too late to be concerned about accents. And I’m always amused when people are shocked . . . SHOCKED to find that fiction is fictitious. Facts of the drama exist by authorial fiat, such that being wrong is not an option.
I have always felt that Salieri's obsession with sweets was his only guilty pleasure because he denied himself all other worldly pleasures due to his religious vows.
Are there different versions of this scene? I swear that in the DVD I own, she kneels down to pick up the music but Salieri just walks over the sheet music and doesnt "quid pro quo " Constanze. Or Was this a Mandella effect?? If I pull out my DVD and this scene is the same as this video I am gonna freak out
Very few people realize that the original Amadeus was a play, later an opera, by Pushkin. Pushkin wrote it to ingratiate himself again with the Russian Hapsburgs, the Romanovs, after having been a freemason-like Mozart. That meant his bid to reenter the court circle was in vain; freemasonry was unforgivable.
I legitimately take your comments on my criticism to heart, but I do have to take issue with some of your mischaracterizations of my position. I specifically pointed out that no one in the film is affecting a period and regionally correct accent or manner of speaking. But Stanza's is stilted and modern in a way that is jarring and takes you out of the film. No one else, barring Cynthia Nixon, has that effect. You clearly disagree, which is fine, but I would appreciate if your description of my criticism was a bit more accurate. I'll add, again, that I enjoy your analysis, even if I don't fully concur with all of it. I would conclude that I did find it interesting that you concurred with my assessment of Stanza's acting as overly modern (for the 80's), but ascribed a different, purposeful, meaning to it. But, sincerely, cheers to your work and please carry on.
@@leoavantmusic OK. here goes. First off you intimate that I had a problem with her not speaking in a period and regionally correct accent. In fact, I stated no one in the entire film affects a period or regionally correct accent, but that hers was jarringly poor. You then stated that her lack of such manner of speaking was making her the "common person" of the film we are supposed to identify with. Your original position was that she was the most empathetic and "real' character in the film. Nothing about her jarringly American style of speaking was mentioned. Again, neither Abraham, Jones or Hulce even attempt a regionally and period correct manner of speaking, yet their performances flow perfectly with the rest of the movie. Berridge's performance is stilted and modern in a way in which none of the other characters, except Nixon, is noticeable. You clearly disagree, which I find odd given your otherwise very accurate analysis of this film, but that's fine. But you clearly added reasons for why her performance was good post criticism. Ending with, again, pointing out I enjoy your analysis. If we all agreed on everything the world would be a boring place.
@@baronbloodington Ok, I genuinely still have no idea what I got wrong about your opinion hahaha, everything you're saying, I was already aware of when I wrote my analysis and it doesn't seem like I mischaracterised anything, I stated she is the most grounded and real feeling character (in my opinion) and that's why it shows in her accent, compared to everyone else in the film who is less grounded and more trapped in some sort of delusion of social norms and cultures. All I pretty much said was "people think she is a bad actress" which si something you did say. And then everything else was me explaining how her accent is different from everyone elses, but that I don't see a problem with that. I'm really not understanding what I got wrong about your original critisim, but I have comprehension issues so maybe thats it. But I'm just gonna have to leave it at that cause this is really confusing me hahaha but thanks for sharing.
I think she speaks in a more halting, careful way when speaking with Salieri or sometimes with Leopold. When she’s with Mozart, she’s more relaxed and speaks in a more normal fashion. Mozart speaks the same way at times, depending on the situation and his mood. I think she’s fantastic and I couldn’t imagine anyone else as Constanze.
I was watching your full analysis since part I until you replayed the scene of the "desserts" and the opera singer like 20 times. so fucking annoying, man, couldn't stand it. congratulations on the rest, though.
I had to weigh in here. Everything was so dynamic for two simple reasons which you pointed out at some point. One, the overall theme of this masterful film relied on the human condition. The dichotomy of us with all the ups, downs, happy, sad, soft, firm. And second, Mozart figured this out and skillfully embedded into his music as you’ve noted. But music isn’t just notes on a page. It’s acting. The feeling comes with the artist that’s performing. I’m a cop for the human side and a musician for that side. Also good at psychology and sociology. And I appreciate you for this series.
The eating of treats shows to me that although he has donated his chastity he’s still, in his heart, hedonistic. He loves pleasure. What he truly wants the ultimate pleasure of recognition. The heart hasn’t changed for God, the chastity is just another exchange.
This is even better when you compare this to the Amadeus stageplay, where he lambastizes his family and community for seeing God as someone to bargain with, merely a heavenly Holy Roman Empire.. then through the story all he's trying to do is bargain with God.
Some of my favorite memories with my father was going to see this movie every Saturday for as long as it played in the theatre when I was 13. It was a big boost in my love of music and shaped my direction in life in untold ways. I'm actually preparing an all-Mozart piano recital for this September! So glad you are doing these insightful and fun videos - glad to know how it will shape younger generations for years to come.
These analyses continue to be fantastic! Great work, keep it up!
11:56 the actor who played Salieri's servant was roughly 21 when this film was being made. He looked so old to me when I was a kid.
16:11 Whilst technically true, Mozart’s manuscripts and drafts were remarkable with how little corrections and edits there were compared to someone like Beethoven(who studied composition under Salieri, since during his first stay in Vienna Mozart was busy and when Ludwig returned to Vienna Mozart was already dead so Salieri and Haydn had to do), who was known to be very messy when writing, so Mozart’s drafts being entirely without corrections is not entirely fiction, but an exaggeration.
I loved how Costanza soundend in that scene. I think it was deliberate by director. Trying to show how these people back then were just like us today, trying to earn cash to pay rent and get by. He is playing pool, something also modern, unexpected in a Mozart movie, she is in her plain normal dress, no makeup and no wigg. They were just like any 80s couple living in the big city. Forman wanted us to relate to their struggle.
Exactly you explained it better than me.
Mozart was very fond of billiards, although I don't know if the variant they show in the movie is anachronistic or not.
I became obsessed with this movie before the director's cut came out, and in the theatrical version, it cuts from Constanze saying "So you will help us?" directly to Salieri burning the crucifix and saying to God "from now on we are enemies". You can find it on UA-cam somewhere. The whole "come back tonight" side-plot is gone (making the original rated PG instead of R). Anyway, while I think the director's cut ultimately works better as a whole (plus it explains Constanze saying "I regret we have no servants to show you out" near the end of the film, which seemed an odd point to make in the original theatrical cut), having Salieri go from this "staring through the cage" directly to "from now on we are enemies" was, I thought, a particularly effective emotional response in the original cut, from the "unfulfillable longing" to "I will block you." Might be worth checking out if you haven't seen it.
Gonna go through this in the next part
Am just loving your analysis of Amadeus, my favorite film of all time. Since I first watched it almost alone in a neighborhood theater in l985, I have been entranced and always rewatch with new eyes. Thank you for seeming to love and appreciate it as much as I do. It is “an absolute beauty.”
My favorite film of all time! Am 73 and have had faves through the years, always musicals. But this stands the test of time. Also love The Music Man!!!! There are parallels between them if you look😊. Thank you for this in-depth analysis.
Wait really? I’ve seen the 1962 and 2003 movies of the Music Man, I never thought there was anything similar to Amadeus, please explain this to me hahaha
The scenes with Von Strack demonstrates that Mozart's pride ultimately did sabotage him in the Viennese court - which is actually true. Sure Mozart knew he was a genius and was vastly overqualified to teach a 14 year old girl - but he also knew that the position entailed a vast sum of money, AND the emperor's favor in a court that was rife with politique. This would not be the first nor the last time that Mozart's indignations and outbursts would sabotage his career. It's documented many times in his life. I think Von Strack was trying to get him to realize that a little humility would go a long way for his future career.
This feeling not to be able to enter the gate.... This is adrenaline
Yes I have seen these scenes before. Truly a masterpiece captured on film!
This analysis is great. Also my favorite scene
I love that transition of the crumpling of the letter, and the majestic elk startled by the royal riders. I really like your take on the possible allusion to God's/Father's displeasure reading of His sons nuptials. I adore this movie too, and recite it line by line.
Im going throgut a bit of an obsession with this film, so I'm here 100 percent for these videos.
I was obsessed when I decided to
make this series, not so much now hahaha
I love ❤️ your analysis. Brilliant observations.
5:00 What Mozart plays seems to be neither pool or snooker, but rather French billairds, also known as carom or carambole. Notice the table has no pockets. Which is by the way historically accurate, because this is the type of cue game one would play in this period.
You just learned what Carom billiards are didn't you?
@@crashburn3292 No.
The bite thing that you pointed out is quite interesting. I think you can draw a parallel between several things in the movie that Salieri wants but cannot have. The desserts/repressed sexual desire is pretty neat but the dessert/music link is equally as interesting. For instance the fact of Salieri feeling like he is 'in a cage, staring through the bars of those ink strokes at absolute beauty' just before he 'takes a bite' of the music. As you say, this implies that the dessert also symbolizes Salieri's longing for Mozart's music and talent but, as I see it, the parallel between these is also there to emphasize how Salieri's pain in large part is self-imposed. He chooses to be celibate, ie. he chooses to be jealous of Mozart rather than be content with what he has. Salieri's 'cage' where he is not able to touch women is completely voluntary/self-inflicted.
Thematically, this also makes sense in relation to what you pointed out with the servant of Salieri's, who we see is envious of Salieri's lifestyle.
great analysis btw, I saw the others too. I believe Constanze's name should be pronounced Constanz-eh, if that makes sense
It's billiards! I'm enjoying your analysis! :)
19:09 - Appoggiatura: (as per Wikipedia) "is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord... The appoggiatura is often used to express emotional yearning". Mozart uses chromatic passing tones and appoggiaturas as decoration in the melody of the soprano aria featured in the film (the Christe Eleison). Wagner would later greatly profit from this yearning/longing effect of the appoggiatura (or retardations, depending on how modern terminology you want to use) in his opera Tristan und Isolde where he would leave it hanging on dominant chords, diminished and half-diminished chords, never to resolve, exaggerating the yearning effect.
Every time I watch Amadeus I notice something new. 😄
Mozart was an avid and, by all accounts, accomplished billiards player of his time. A billiard table with five balls and his collection of 12 cues was among Mozart's estate when he died.
I've never noticed he was trying to eat the music. That's fascinating
Mozart's wife's name: you discuss it around 4:10 to 4:20 . Her name is Constanza, Stanzi is a nickname used for her by W.A.Mozart. People pick up on Stanzi and sometimes say 'Constanzi' but that isn't correct. Either Stanzi, or Constanza.
Another detail the movie got right: Mozart did indeed love playing pool.
Other things the film got right: Salieri allegedly did have a sweet tooth and he was a reknown music teacher. Maybe the greatest in history in fact. He taught many future great composers, including Beethoven.
That's a small billiard table. Three balls, no holes.
As for the bite you mention during the climax of These are originals, I think it has more to do with him mouthing the words of the Kyrie which at that moment was the word "eleison". I think that makes more sense, the bite is a bit or a stretch.
Well, there it is. best analysis of this movie anywhere on youtube
I just called them "sweets" when i saw them but who knows
4:48 Billiards. Three balls (sometimes) no pockets. It's all about cannons (hitting the other two balls in one shot). Although I think Mozart his using the wrong ball as cue-ball (a bit hard to tell in with that lighting).
Wolfy isn’t ‘playing pool’… that’s how he wrote music (no mistakes). That’s also why he may be getting annoyed after shooting… (source; various music teachers)
Yes, once I’ve had to accept the convention of these characters speaking English, it’s too late to be concerned about accents. And I’m always amused when people are shocked . . . SHOCKED to find that fiction is fictitious. Facts of the drama exist by authorial fiat, such that being wrong is not an option.
I have always felt that Salieri's obsession with sweets was his only guilty pleasure because he denied himself all other worldly pleasures due to his religious vows.
I thought so too
I wanted this to go over the requiem!!!!! Bruh why??
Bruh it’s a series, im going through every scene in order.
Oscar winning scene for sure!!!!!
Fabulous analysis! Perfect sense❤
Are there different versions of this scene? I swear that in the DVD I own, she kneels down to pick up the music but Salieri just walks over the sheet music and doesnt "quid pro quo " Constanze. Or Was this a Mandella effect?? If I pull out my DVD and this scene is the same as this video I am gonna freak out
Your DVD is the theatrical cut, I am going over the directors cut.
Babble on.....
I"'m the best of all time!
07:00 They are not German, they are Austrians ....
So, was the singer in the room the whole time?
legend says shes still there now waiting for that session to continue
Jättefin analys, men tona ner meme-skiten.
Very few people realize that the original Amadeus was a play, later an opera, by Pushkin. Pushkin wrote it to ingratiate himself again with the Russian Hapsburgs, the Romanovs, after having been a freemason-like Mozart. That meant his bid to reenter the court circle was in vain; freemasonry was unforgivable.
Leo, "anonymously" does not mean what you think it means. The word you want is "surreptitiously."
k
I legitimately take your comments on my criticism to heart, but I do have to take issue with some of your mischaracterizations of my position. I specifically pointed out that no one in the film is affecting a period and regionally correct accent or manner of speaking. But Stanza's is stilted and modern in a way that is jarring and takes you out of the film. No one else, barring Cynthia Nixon, has that effect. You clearly disagree, which is fine, but I would appreciate if your description of my criticism was a bit more accurate. I'll add, again, that I enjoy your analysis, even if I don't fully concur with all of it. I would conclude that I did find it interesting that you concurred with my assessment of Stanza's acting as overly modern (for the 80's), but ascribed a different, purposeful, meaning to it. But, sincerely, cheers to your work and please carry on.
Tbh based on what you’re saying here I really don’t think I misrepresented your opinion, what did I get wrong?
@@leoavantmusic OK. here goes. First off you intimate that I had a problem with her not speaking in a period and regionally correct accent. In fact, I stated no one in the entire film affects a period or regionally correct accent, but that hers was jarringly poor. You then stated that her lack of such manner of speaking was making her the "common person" of the film we are supposed to identify with.
Your original position was that she was the most empathetic and "real' character in the film. Nothing about her jarringly American style of speaking was mentioned. Again, neither Abraham, Jones or Hulce even attempt a regionally and period correct manner of speaking, yet their performances flow perfectly with the rest of the movie.
Berridge's performance is stilted and modern in a way in which none of the other characters, except Nixon, is noticeable. You clearly disagree, which I find odd given your otherwise very accurate analysis of this film, but that's fine. But you clearly added reasons for why her performance was good post criticism.
Ending with, again, pointing out I enjoy your analysis. If we all agreed on everything the world would be a boring place.
@@baronbloodington Ok, I genuinely still have no idea what I got wrong about your opinion hahaha, everything you're saying, I was already aware of when I wrote my analysis and it doesn't seem like I mischaracterised anything, I stated she is the most grounded and real feeling character (in my opinion) and that's why it shows in her accent, compared to everyone else in the film who is less grounded and more trapped in some sort of delusion of social norms and cultures. All I pretty much said was "people think she is a bad actress" which si something you did say. And then everything else was me explaining how her accent is different from everyone elses, but that I don't see a problem with that. I'm really not understanding what I got wrong about your original critisim, but I have comprehension issues so maybe thats it. But I'm just gonna have to leave it at that cause this is really confusing me hahaha but thanks for sharing.
@@leoavantmusic Ok, cool. No worries.
I think she speaks in a more halting, careful way when speaking with Salieri or sometimes with Leopold. When she’s with Mozart, she’s more relaxed and speaks in a more normal fashion. Mozart speaks the same way at times, depending on the situation and his mood. I think she’s fantastic and I couldn’t imagine anyone else as Constanze.
The narrator speaks too fast. I couldn't listen to it.
I was watching your full analysis since part I until you replayed the scene of the "desserts" and the opera singer like 20 times. so fucking annoying, man, couldn't stand it. congratulations on the rest, though.
um..........ok
and these cutaways from other films... yuck
@@margo6297 I know, there's not enough cutaways, thanks for the suggestion, i'm gonna really double down on the pop culture references next time.