Similarities Between Mozart And Shaffer

Wolfgang Amadeus Mozart has been a topic of artistic, musical, and even psychological curiosity for eras. In the screenplay, Amadeus, Peter Shaffer not only sheds light into the charmed and mentally indignant life of the musician, but also uses a great amount of artistic license to enhance details concerning events during the period. By 1984, the film was modified from the screenplay and Shaffer oversaw the project under direction of Milos Forman. The director shaped an experience for viewers to become acquainted with historical phases of Mozart's career and life, but also created imaginings that aided in the embellishment of the musician's relationships. A variation of these historical events were glamorized for the sake of entertainment.

The movie begins in the setting of young Mozart's prodigy years, portrays his
constant and diligent youthful training, and mainly focuses on his adult career as a highly praised composer within Europe. The storyteller is competing composer, Antonio Salieri. Amadeus' plot, essentially, is Salieri's solemn account of his constant jealousy, rivalry, and determination to cause Mozart's eventual demise. The accuracy of two important relationships or events have been broadly criticized within the musical, historical, and entertainment community. Most noticeable is the dynamic of the relationship between Mozart and Salieri. In the movie, Mozart is portrayed as the misery of Salieri's existence. Disdain, jealousy, and an eventual hunger for vengeance flops on the angst ridden musician. Salieri uses his political standing to sway the courts to contract Mozart to be local musician, essentially working him to death (Amadeus). It is shown, in letters from Mozart's journal that Salieri did aid in getting him this position, but not out of vindictiveness or with in bad conscience. There is also a scene in which Salieri uses his position to keep Mozart from getting the job of being an admired music instructor for a European princess, but in actuality, Salieri actually occupied the position as a result of having more knowledge than young musician. Shaffer is said to have benefit from on Alexander Pushkin's poetic drama, Motsart I Salyeri, which describes Salieri poisoning Mozart to death.

Historically, it is documented that in the last hours of his life, Mozart wished for a choir composed of his dearest friends to privately perform his last piece, “Requiem”.
Even though he had been hired by a private messenger to compose “Requiem” for a patron's funeral, his own early decease kept it him from completing it. Letters show that Mozart requested prior student, Franz Sussmayr, to complete it if he passed. Conversely, the movie ends in a moment of total irony. Salieri is seated at Mozart's deathbed, taking signs and direction from the ill musician to help him finish what last actions he can muster. As well as being historically authentic, the portrayal of Mozart's wife, Constanze, portrays her in messes as she continuously monitors Mozart in his ill state. Fact and movie, alike, both show that the musician was overworked, but infatuated with his mission, and fought to keep up with an ideal standard of living. After the musician's death, Contsanze still tried to provide the same standard of living for her family, and contacted Sussmayr to finish the “Requiem” so she could receive the payment initially promised by the private
commissioner.

Interviews have provided understanding as to why Shaffer and Foreman claimed such independence with creativity concerning the precisions and untruths concerning the film:

“From the start we settled upon one thing: we were not making an objective Life of Wolfgang Mozart. This cannot be stressed too strongly. Clearly Amadeus on stage was never planned to be a documentary biography of the musician, and the movie is even less of one. Surely we have incorporated many real elements, new as well as true...” “...but we are also deliberately claiming the grand license of the storyteller to embellish his tale with imaginary ornament and, above all, to supply it with a climax whose sole defense need be that it captivates his audience and emblazons his theme. I believe that we have created just such a climax for the film of Amadeus.” -Peter Shaffer (Robbins).

Traditionally, the movie has made a well-known impact on the modern music scene. Fall out Boy, a popular rock band in the early 2000's, referenced a discussion between the character, Salieri, and God in their song titled, “From Now on, we’re Enemies”. A number of other heavy metal bands reference the pain and internal conflict between the jealous musician and God, in their lyrics. More familiar scenes from Amadeus have been parodied by many sitcoms and cartoons such as The Simpsons, 30 Rock, Family Guy, and How I Met Your Mother.

In 1985, sponsors of the film were awarded with eight different Oscar awards, along with thirteen nominations in total. It was nominated for eight Golden Globe awards and won four. Shaffer's and Foreman's Amadeus, has preserved a position in the top 250 movies of all time, on IMDb's website, at 88th place (IMDb). The film, rated “R”, stylistically comparable to a dramatic musical, and having historical importance, appeals to nearly legal through more aged adults who are also educated and have keen musical inclinations. Though younger adults may see the film through a little different vantage points than older adults, most could equally relate as a result of the subject matter being moderately dated to the even the elder of the viewers.