Day 6: Amadeus

This is a long screenplay. I haven't seen the movie for years, so I forgot just how long it is. It definitely took something like 3.5 hours to read. But it was really worth it, because it's so brilliant.

Amadeus

Peter Shaffer, 1980something

Armature: Are all men really equals?

7 Steps:
1. Once upon a time, Salieri left his home upon his father's death to study music.
2. And every day he composed all types of music for his patron, Emperor Joseph of Vienna.
3. Until one day, Salieri sees Mozart, a well-known musical genius, for the first time goofing off before one of his concerts.
4. Because of this Salieri swears to ruin Mozart.
5. Because of this, Mozart's life steadily spirals out of control after his father dies.
6. Until finally, Mozart dies while working on a funeral mass commissioned by Salieri himself.
7. And ever since that day Salieri has wallowed away, alone, resentful of Mozart and god's cruelty.

The best part of this movie is something Brian McDonald pointed out to me a year ago: the framing device. Old Salieri narrating the whole time allows the audience to understand some of his inner thoughts. It also, more importantly, allows the plot to be completely set up in the first five minutes, without the audience even knowing. Salieri plays some of his music to the priest, which the priest does not recognize. But when Salieri then plays something from Mozart, the priest instantly lights up with recognition.

BOOM.

The plot of the movie. Right there.

Now the audience knows exactly what is going to be discussed here. Exactly what's going to happen, exactly what the problem is. Before the plot has even started.

The following act 1 is also pretty impressive. There are a lot of scenes that show the contrast between Salieri and Mozart. In one scene, Salieri is shown using his free time to compose music alone in his study, which is then contrasted with a shot of Mozart purchasing elaborate wigs and laughing. In another scene, Salieri states that teaching Emperor Joseph's niece about music would be an honor, while the next shot has Mozart declaring that such a thing is beneath him.

The best part is the scene where the two first officially meet. Salieri composes a piece that Emperor Joseph plays as Mozart enters the room. Mozart then memorizes it after one listen, and proceeds to sit down at the piano and make it better. There is no practical reason Salieri would actually compose that piece on a spur-of-the-moment. The only reason that happens is to reinforce that Mozart is apparently a better musician than Salieri ever could be. If that isn't amazing writing, I don't know what is.

The audience is subconsciously told over and over again that Mozart is incredible, but a disgusting human being. This is exactly Salieri's opinion. It leaves the audience wondering, are the two men really equal? Is one better than the other? Does Salieri need Mozart's affirmation to be considered a great musician?

This is the point of the movie. This is its armature, to get the viewer to wonder that.

There a plenty of other things about this screenplay that contribute to its greatness. Tons of tiny details are equally well thought-out, but you guys can find those things on your own. I'm ending this post with some of my favorite armature-enforcing lines.

Old Salieri looks at him in contempt. Then he turns away back into the room, shutting the window with a bang. Through the glass, the old man stares down at the group of onlookers in the street. They stare back at him in confusion.

BYSTANDER
Who is that?

VALET
No one, sir. He'll be all right.

---------------

OLD SALIERI
Do you know who I am? You never heard of me, did you?

VOGLER
That makes no difference. All men are equal in God's eyes.

OLD SALIERI
Are they?

----------------

OLD SALIERI
I speak for all mediocrities in the world. I am their champion. I am their patron saint. On their behalf I deny Him, your God of no mercy.