"The Family Instructions of Yan Zi" says: "The superior is not taught, although the next stupidity is useless to teach, and the moderate is not to be taught." There is also the so-called theory of genius in modern times in the West. Talent cannot be replaced by hard work. Most people, like you and me, are the golden mean of "don't teach or know". The golden mean doesn't understand genius the least, but it is also the golden mean, who likes torturing genius the most.
At the beginning of the film, the director gave this shot: under the guidance of his father, the child Mozart, who has not yet taken off his childishness, performed his skills to the nobles, playing the piano blindfolded, composing on the spot, playing the piano on the violin, and singing himself after the violin. Don't really think that the nobles around you admire him. Although the movie has joking elements, looking at the preserved list of Mozart's fourteen-year-old concerts, the six programs designated by the nobles were all improvisations and performances on the spot. One of them is an aria. Read the lyrics on the spot, compose it on the spot, and sing it by yourself. At that time, Baron Grimm, who was close to Diderot and other "encyclopedia" celebrities, had this recollection: "The musician put forward all the hardest tests he could think of." Even the King of England personally tested the child. Even the notorious Archbishop of Salzburg put the child under house arrest for a week in order to verify that there was no cheating during the composition process. The talent display of the child prodigy Mozart is a performance, rather than a performance, a toy story for the nobles to relieve their boredom.
After many hardships, Mozart finally made a name in the European court. Every boring nobleman has to call this living toy over to make a long face. Wandering around, he gradually became more confident in his genius, and at the same time, naturally learned to deal with mediocrities. He even said to the Austrian Emperor: Your Majesty, there are not many notes at all. I really go to where to sing what kind of song, what kind of customer to give what kind of goods. Such a sensitive child has realized the cruelty of life early on, and sentient beings are stupid.
The bright stars in the history of classical music were mostly reduced to arty tools of the upper class. Yushu Lingfeng’s gifted scholar had to grind off the edges and corners, cut off the branches, issued a uniform, and gave a number. Haydn endured his grandson for a bite; while the madman Beethoven walked away; although Mozart didn't say anything, moths came out of his back. The archbishop couldn't bear it. He gave an order and ordered his supervisor to give him a record of ups and downs and drive him out of the court.
The director of the film, Milos Foreman, is best at creating a contrast between the strong and the weak in the biographical film, and arouse the audience's emotional substitution for the weaker. In his another business card "Flying Over the Madhouse", he created a very controlling head nurse, Rachel, who can be called the incarnation of mainstream social values. The protagonist Murphy's bumping into a wall in front of Rachel can be seen as a microcosm of social prejudice. In this film, the director used the same technique to create the No. 1 villain—the imperial composer Salieri. This role carries the admiration, jealousy, resentment and even harm of the "Mediocre" of the entire era towards Mozart. In fact, it is just a misunderstanding made by the director to create an atmosphere. In history, Salieri was an excellent musician. Liszt, Beethoven and many other big cows were once his students.
In the movie, Mozart played by Tom Hulce, he attracts bees and butterflies, laughs constantly, is full of swear words, and has a sloppy shape. He doesn't really look like a "genius". But it is rumored that Mozart is so unreliable. He doesn't like reading, he has been accustomed to traveling by car since he was a child, and he has tasted the warmth and coldness of the world. This immortal son of God was as mature as an adult at the age of five, but as naughty as a child at the age of 30. He prefers to dance to music, and there are swear words in his family books. Not only did he play good marbles, he also participated in the secret Freemasonry Society. Such a person who is not too "pure" writes music as innocent as a jumping child.
A hundred years after his death, he was a little bit cold for the world, and then he became hot again and has been hot until today. Bernard Shaw believes that the cold is due to excessive heat in the past and poor performance and conduct. To be fair, it was Haydn who influenced him and in turn was influenced by him. As for Beethoven, who was a dozen years younger than him, Mozart's shadow was apparently circling in "Symphony No. 1", but a new heroic spirit was secretly bursting out. Mozart's brilliance is that he is both accountable to the insider and meets the pleasing requirements of the outsider. In his own letter, he talked about the piano concerto that had just been composed: In many places, only the insider knows the best, and the outsider will also like it, but the good thing is inexplicable.
The famous kick of the archbishop's supervisor turned Mozart into a beggar peddling his brains along the street. Many of the music manuscripts left by him, some only started, wrote a few sections and then put them aside. Some people think that this is Jiang Lang's talent, but in fact, because no one orders and can't change the bread, the genius is too lazy to record the natural whims in his mind. Someone customized a duet concerto to him, and the orderer only paid half of the reward after it was written. The reason is that it is a big deal to ask you to teach in the house.
When he was alive, people always regarded him as an unconventional man. A hundred years after his death, Bernard Shaw and other talents realized that Mozart is actually a summary of a generation of music, just like Raphael to painting and Shakespeare to drama. As for the cause of Mozart’s death, the theory of poisoning has long since clarified that it is a fiction. The scene of the burial of the poor in the snow and wind in this film is also artistic. It doesn't matter where he was buried. It's a pity that those songs have disappeared with the death of the genius body. At the end of the film, the director gave Mozart a strange laugh abruptly, but the audience burst into tears.
The mediocre people have long been used to complaining to God in a half jealous and half agitated tone: He is a son of God, loved by God, and we are all fucking abandoned souls. The majority is justice, and the public has never considered themselves innocent. The more heinous the crime, the more it is full of rare grievances. Is it that no matter what kind of art, it can't be left alone and independent? Is it true that no matter what kind of genius, it is inevitable to be tricked by mediocrity or even stupid? No wonder the ancients said: "Those who are the first will kill without mercy, and those who are not in time will kill without mercy." Those born earlier than the times will undoubtedly die; those born later than the times will undoubtedly die.
There are many talks about "child prodigy" in this world, but it is just the subjective projection and obscenity of adults' shameless faces and vulgar aesthetics on the innocent object of children. Suddenly I remembered that someone called to the concert that day: "Let’s go and see a child prodigy!" "Which child prodigy?" "Lang Lang!"
[Tujia Thousand Characters Club Special Article]
PS: Douyou added, translated by Amadeus The "Biography of Mozart" is an obvious misleading that deviates from the main theme: it should be translated as "God's favor" or "God's favor." I have written too many comments from the beginning, so I didn't mention it in the main text, so let's attach it to the back.
The OST of this movie is still great, I suggest you come and listen to it.
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