The narrator of the film, court musician Salieri said: God is with Mozart, and God speaks through him. Mozart's early training made his presentation mode so different, without inspiration or muse, everything becomes a tune. The emotions that stand out in his tunes are far from mediocrity and therefore breathtaking. I think he is not only described as "genius", his neurons may have a magnificent structure, and everything can be combined into a sheet of music. So when looking at his manuscript, Salière was shocked to find that he didn't need to revise it, it was a natural success-not like a mortal pen. Finally, the word genius, mere genius, seems quite correct.
It is sad to watch "The Biography of Mozart". Everyone knows his early death. He died before the sound was finished. Knowing the ending in advance, but not willing to let his youthful glory. I clearly remember the story of a musician told by my teacher in junior high school: Mozart was buried in a mass grave after his death. A few days later, someone wanted to find him for a thick burial, but he could no longer be found among the corpses wrapped in rags. At that time, I suddenly showed the picture of Lu Xun's "Grave". Although there is no political context, it should be the same gray and yellow sky.
I only know the name of the music, but stage fright is still the case if you want to go deeper... This movie is more than just music.
When the adult Mozart made his first appearance, he was wearing a college uniform. Dark blue uniform, regular white wig tied with dark blue velvet headband, and white stockings, coupled with his arrogant and silly bow, he was born an arrogant music student. At this time, he has not yet taken off his "prodigy" name. The arrogance of composing concerto at the age of 4 and opera at the age of 8 is still scorching. So he and Constance rolled and laughed on the ground, playing a game of words and sentences. Later, his wig loosened in the play, he smoothed his hand and went out to see the bishop. Being so proud when conducting a small band is like a child who has got a new toy. That expression is very cute. This was the first time I heard his iconic laughter that runs through the entire movie—somewhat empty, coming from nowhere, and a little abrupt. What is unforgettable is this laughter, confidence, sadness and embarrassment are all in it.
When he played for the second time, Mozart was received by the king. Mozart was really handsome at this time. I was even more surprised by the modernity in his costume (of course this has a lot to do with the art director). Mozart wore a snow-blue coat, purple narrow-leg pants, and a more exaggerated tousled wig under his exaggerated three-cornered hat. (Do you remember at the beginning of the Giant's Biography, narrow-leg pants and wide-leg pants, Mozart and Beethoven?) Unlike the traditional red, black, and brown, the purple he chose is very eye-catching, in line with its somewhat turbulent temperament, but Some palace gas. Before I saw him, he bought a wig in a wig shop, and said witlessly, facing the three wigs, oh, I like them all, why can't I have three heads? The costly "decoration" made Mozart's life so embarrassing that the old Mozart wanted to take him back to his former residence in Salzburg.
Mozart, who was already struggling in the later period, of course could no longer be so concerned about the facade, and his clothes became sloppy. He was at the piano, wearing a shabby shirt, and said to a visitor, "The manuscript...the manuscript is all in my mind. I suddenly see him as Shakespeare, who wears ragged clothes every day in "Shakespeare in Love", and also points to his head. Said that there are infinite creations inside. In the end, Mozart in the dead bed died with his eyes open and shirtless. Surrounded by the beautiful and exquisite furniture he bought back then, the shirt with torn edges and his pale, thin, scumbag face. In fact, this place is not as good as the clothing creativity mentioned in the previous two places, and it has fallen into the clichés of the literati's end, just like the description in the Ming and Qing novels, which means that the clothes are getting wider and wider.
In addition to audio and video, something I can't stand is the "American style" in this movie. The German musicians in my eyes are probably sane lunatics; the body language and eyes of Germans are too different from that of Americans. , They are supposed to act tightly, but burst into enthusiasm and contradiction. In the end, they speak English-it really shouldn't. How can Mozart speak English, he should speak Austrian German. But there is no way for Americans to make a film, and the huge investment in this film is also unaffordable by the small-language market. Also: Der Zauber der Musik, der Wannsinn der Einfersucht, der Mord aus Haß, das Genie und sein Todfeind—Amadeus!
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