Critical Analysis Of Amadeus

Amadeus begins with an attempted suicide by composer Antonio Salieri, who is overcome with guilt about supposedly killing Mozart. His life is saved by his aids and he is sent to what looks like a mental hospital, where a priest is sent to council him. The whole story is told through the eyes of Salieri on his death bed, confessing to his priest.

Two films, both alike in content, set in fair Verona, where the directors laid out their scene, one created by Franco Zeffirelli in 1968 and the other by Baz Luhbrmann in 1996. Both cinematic, both staying true to the plot and dialogue, each one radically different than the other, Zeffirelli sets his film within historical actuality, while Luhbrmann presents his with a modern twist. A story of love, revenge and death, revolving around a pair of star-crossed lovers, interpreted differently, but presented in the same form.

?A Servant To Two Masters? is a complicated story, however the audience always know what is going on, this adds humour, as the audience are enlightened about the plot twist bringing them closer to the characters. Truffaldino grabs the audience?s hearts even though he is a fool, he makes the audience feel sorry for him when talking about being hungry.

Though extremely different in many ways, Amadeus was successfully translated from stage to film not as an adaptation but a parallel work. Peter Shaffer’s stage version is highly theatrical and unfortunately does not literally translate well to film, for multiple reasons. Shaffer and Milos Forman adapted Amadeus in a way that appealed to cinema audiences through cutting characters, expanding upon characters, altering language and narration, set and costume design, plot changes and taking full advantage of the dramatic powers of the camera. Milos Forman said “The fact that Amadeus was so stylized, so theatrical—well, so un-cinematic, was actually a blessing—it meant we wouldn’t be tempted to merely translate the play to screen, but would be forced to demolish the original, then totally reimagine it as a film.” One of the largest differences between play and film that make the film Amadeus its own piece of art, are the changes in narration. Though called Amadeus, it is really Salieri that occupies the center of the stage and “conducts” the action of the play. In the film, Mozart’s role is enhanced from the beginning.

The movie is an adaption of book written by Markus Zusak, who has won many awards and sold over a million copies of the book worldwide. Brian Percival’s movie adaptation did a wonderful job depicting the complex nature of the book and what it was like to live as a child during World War Two. What was interesting about the story was that Death was the narrator

Romeo and Juliet’s actions may seem rushed and immature, but Baz Luhrmann’s movie offers a compelling insight into their decisions. By setting this Elizabethan era play in the present day, the viewer can see past the differences in scenery and clothing compared to those of their lives, to analyze the unique characteristics of the lovers’ society and upbringing that may have led to their hasty love affair and violent end. Luhrmann creates a culture of violence and speed through careful decisions regarding cinematography, editing, and sound.

no tragic figure, there is no tragic plot or theme, and the ending is far

The choice of the “Three women of Don Giovanni” can give a good understanding of the type of music which was used to create an opera in the 18th century Italy. The opera buffa was a comic opera with a funny story line and light music. Mozart wrote at different levels.

Produced by Wolfgang Amadeus Mozart in 1787, Don Giovanni is regarded as one the best operas ever made. The piece is based on the legend of Don Juan, an illusory libertine and seducer of women (Kerns, 2010). At first, Mozart’s opera seems more like a story of the romantic adventures of a dissolute nobleman and his disgrace. However, there is much more to Don Giovanni than just a series of events and serious laughs, just as the protagonist is much more than a notorious, single-minded, and unprincipled seducer. Closer examination of the piece reveals its core themes of social classes and divisions as depicted by Leporello’s complaints about his servitude to his employer in the first scene (Mozart, Fisher, & Ponte, 2007). The play also touches on vital human traits and principles, including loyalty, faithfulness, and sincerity. More importantly, Don Giovanni centers on the ambiguity intrinsic to human relations, the intricate connection between life and death, and the interminable tension between love and the risk of its extermination.

This paper will take a look into the movie Amadeus, to see if the film accurately

Hamlet, one of the most intricate and influential plays by Shakespeare, debatably of all time. It has inspired not only appreciative readers and writing critiques but continuous generations of people. The inspiration led to the fabrication of many great movies, which wasn’t achievable until the 20th century. Before cinema was the prevalent method of sharing appreciation and spilling emotion for a specific subject, art portrayed what would fly through our minds such as the many interpretations of Ophelia’s death. With the imagery put into motion we can try and pick apart how certain people might view the play being portrayed and choose what best suits our expectation of this tragedy. Other things that only film has been able to present to

Wolfgang Amadeus Mozart: A Concise Biography. Films On Demand. Films Media Group, 2007. Web. 23 Nov. 2015.

Wolfgang Amadeus Mozart was probably the greatest genius in Western musical history. He was born in Salzberg, Austria on January 27, 1756. The son of Leopold Mozart and his wife Anna Maria Pertl. Leopold was a successful composer and violinist and assistant concertmaster at the Salzberg court.

Girard introduces a scene with the violin’s creator’s wife Anna Rudolfi, having her future read with the use of tarot cards. She is asked to pick five cards and as each one is turned up and read during the movie it adds to the suspense of what will happen in each story. The creative way of how each story connects the violin to the next story with the end resulting in a twist to the tale, captivates its audience.

The curtain rises on a rocky terrain with a frightened Prince Tamino crying for help (‘Zu Hilfe!). A terrible serpent is pursuing him, and the key of c minor emphasizes his fear. The orchestra lays the scene with descending scales and sudden dynamic changes until the Prince succumbs to his fright and passes out. Three handmaidens of the Queen of the Night slay the serpent and resurrect the key of Eb (‘Triumph!’). As they inspect the fallen Tamino, each maiden develops a love for him and a brief Allegretto in 6/8 time ensues. Mozart shifts to G major for this section, possibly because this key rests a third above Eb major. This forms a quasi-tonal triangle, which began in c minor, ascended a third to Eb major, and rose a third time to G major.