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Amadeus movie
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Milos Forman’s Amadeus is a 1984 historic drama that tells the story of Wolfgang Amadeus Mozart as seen through the eyes of his lesser-known rival, Antonio Saleri. This gives the audience a unique, insightful look into the life a Mozart. The film strategically switches between the narration of Saleri and flashbacks of his story (Forman). Paired with the exceptional filming, acting, and music, Forman and his crew make a patchwork masterpiece.
Antonio Saleri, played by F. Murray Abraham, is portrayed as a godly man devoting his life to good deeds in the hopes of becoming an adored musician. On the other hand, Wolfgang Amadeus Mozart, played by Tom Hulce, is portrayed as an immoral, obnoxious fool of a man. The two musicians meet at one of Mozart’s concerts in the court of Vienna, Austria, where Saleri is the beloved court composer (Forman). Saleri takes an immediate disliking to Mozart and questions how such an immoral man could be so talented when he, who only did good, was only mediocre (Forman). At the same time, Saleri deeply admired Mozart’s work and aspired to be more like him (Forman). As Mozart stayed in Vienna, gaining popularity, Saleri acted his friend, only to discredit him wherever he could without Mozart knowing (Forman).
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The filming is masterfully done. The camera seems to hit just the right angles in every scene. It gives the beautiful contrast between the bright, colorful scenes, to the dull, dark
...larly impressive was John Savarese playing the part of the Narrator with an engaging charm and likeability that makes his calculated betrayal of the Girl all the more cruel. There is much room to play El Gallo as an unsympathetic manipulator, but Mr. Savarese finds a way to balance his character's actions with compassion, which makes for some wonderfully poignant moments, especially in the signature tune "Try to Remember."
The Polanski version of the video consists of a huge variation in the chosen lighting. There is the bright, colourful, interior of the banquet and then are external shots of the castle that are very dark. This contrast is expected in this version of the video for it is designed to be a feature film, so there are enhancements to
In any film, lighting and colour are very important, as film is mainly a visual form of media. In film A (By Dustin Hoffmann), the colours are very naturalistic. They make use of pastel colours and scenic shots. It has a sort of fantasy world quality.
use of the camera the sound and the mise en scene. I will analyze the
...transition between each stage was flawless. I enjoyed that screens were used to create the background for each scene allowing for the smooth transitions. The screens gave the appearance of being three-dimensional making the scenes seem much more real. I also enjoyed the lighting being used as spotlights during some of the scenes and being used as a transition between scenes, or day and evening.
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
Most of the shots were used, except maybe Dutch Angle/Tilt. The editing was perfect. Everything seemed to fit together, and there weren't any major mistakes that I've noticed. They also used lighting to bring together the film. Like whenever Jennifer was standing in the house with the lights on, and John saw her. They could have just had the lights off, but it showed Jennifer's relationship with Marley.
Amadeus, the Tony-Award winning tale of 18th-century court composer Antonio Salieri's envy of Wolfgang Amadeus Mozart, is a mighty challenge for actors.
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
In Milos Forman’s AMADEUS, the scene involving Mozart’s Requiem is the most significant in the movie. Throughout the film the main protagonist is composer Antonio Salieri, played by actor F. Scott Abraham, who is retelling the story of his musical career along with that of well-known composer Wolfgang Amadeus Mozart, played by actor Tom Hulce, and how both composers intertwined. Both are seen as foils in terms of characteristics Mozart the more brazen and childish at moments. Salieri’s ambitions within the movie involve triumphing over God by making Mozart’s life a living hell. Salieri goes to great lengths to make Mozart look bad behind his back. For example, Salieri purposefully does not give him the post to teach the Austrian Emperor’s daughter even though Mozart’s music is more than sufficient. Furthermore, Salieri
There is then a time jump and we find ourselves observing an older Salieri. Salieri, now has made somewhat a name for himself in the city of Vienna, which is referred to as the “city of musicians”. Salieri is the court composer for Holy Roman Emperor Joseph 2nd, and he seems okay with the way his life is going and feels that his God has honored his part of the oath and so has Salieri. That all changes when Salieri attends a performance that Mozart is giving, hoping to meet the man he has idolized for so long. Salieri first observes Mozart without his knowledge and within minutes comes to the conclusion that he is a vulgar man and wonders how his God could gift a man such as Mozart with the talent that he has. As Salieri first hears Mozart 's music he himself feels as though he has heard the voice of God, but instead of wanting to believe that God gifted Mozart with such talents Salieri chooses to believe that such music was nothing more than an accident, he needs it to be an
The spectacle and melody in the movie are the “pleasurable accessories of Tragedy” in that, despite their minor roles, they are two parts of the whole in a tragedy (72). The thought and diction behind a character’s lines or lack thereof carry messages of significance to carry out the plot and convey the morals behind its actions to the audience. The characters of a tragedy are defined by the actions they take and act as a medium to convey their moral purpose in the plot. Finally, the plot must flow from its beginning to its end with a unified, cohesive series of events while revealing peripeteia and discoveries as the tragedy draws closer to its conclusion. In the end, Bruno, a boy stuck in-between his family and their country’s beliefs and his friendship with Shmuel, the Jew Bruno was supposed to be brought up to hate, would eventually lead to his untimely death whilst not understanding the gravity of the situation surrounding Nazi Germany during the World
The film score did an excellent job setting the mood and tone for the
Salieri’s jealousy and inferiority to Mozart’s music are proposed from the very first part of the film. In the scene of the opening part, old Salieri plays a few notes of his work on the piano and asks Father Vogler if he has heard of the piece. Father says he has never heard of the notes which Salieri played, then Salieri proceeds to play Mozart’s famous set of notes, and this time, Father recognizes it instantaneously. Through Father Vogler who does not recognize Salieri’s music but notice the melody composed by Mozart, the movie briefly shows Salieri’s amplified emotion of contempt for Mozart and foresees Salieri’s jealousy to the genius (J.H. Kim 24). As the plot of the movie is unfolded in earnest, Salieri’s jealousy to Mozart’s music starts to be revealed more clearly in the movie.
"Amadeus", a 1984 movie directed by Milos Forman is music, history, and drama all wrapped up into a whimsical and entertaining film. The charming places filmed in "Amadeus" were shot in Forman's home-country of Czechoslovakia. The movie was filled with luxurious costumes and gorgeous architecture. The role of eighteenth-century Mozart was given a new perspective as goofy and immature with a ridiculous laugh and is brought to life by Tom Hulce. It begins with a jealous musician, Salieri played by F. Murray Abraham telling the story, confessing himself in a madhouse to the priest after trying to commit suicide.