The film is so original that requires time and serious reflection by the viewer. Private, quite contradictory impressions to sort out cupboards is quite difficult, though, as it turned out, all is not so difficult. The history of Mozart in the film, Forman’s “Amadeus” told the notorious Salieri, old and bad ends. The latter is not so important, but this clearly expressed position of the Director. Salieri, if not recognized their own ugliness, fully experienced bezvozvratno.
Of course, Mozart was a complete schmuck, we see the great composer through the eyes of his foe. People are adamantly trying to give a clear and unflinching assessment of their own enemies. Salieri it turned out fine, but even he could not avoid more or less objective assessments, when it came to the clear facts, attributable not only to biography but also to the music itself.
And that’s all tripe in the form of a cranky, neurotic rough, unbridled Troll, which Mozart has introduced Salieri, flies into the background, it is not so important. Most importantly the genius of Mozart is clearly and inexorably emerges even through envious verses dark images and mocking ratings. Mozart criticism. We know that Salieri is much better, because can not judge the music after two and a half centuries.
If you add the resulting dish quite a bit of self-love for the great composer (and its usually a lot of, as this film was initially able to interest mainly fans of his music), it will be very unusual, disturbing, controversial, but a great Eulogy in praise of Wolfgang Amadeus Mozart, which due to its originality is virtually no difference. Everything else is enough to refer to “eine Kleine Nachtmusik” or “Rondo” by Mozart, to immediately have the desire to watch a movie foreman.