The best musical biography of all time is quite inaccurate (and it’s ok)

Each year, Hollywood pumps at least one music. Only last year did the way “Back to Black” appeared, the portrait of the late Amy Winehus and nominated on “Oscar”, “Full Unknown”, the history of Bob Dylan, as James Mengold said. It is easy to understand why we continue to get these movies: they are quite popular. Of course, some of them clap, but most often, there seems to be an insatiable hunger from the public to watch the actors clap the wig and give the impression of the famous singer. And the studios often appear all, because at work not only dollars about the box office, but when directors and actors play correctly, the glory of the season of the awards comes to call.

“Bogemical Rhapsody”, the movie about Queen Freddie Mercury, made a boffo rental and scored several nominations, winning Rami Malek the best actors, and all this, despite the fact that the movie is there rather lousy. Until nothing is on its essence False By making a musical biography, they became so standard that the producers and directors took their mouths, a solid formula for their pumping. This formula is so rooted in the pallet that it was brilliantly paraditted by Jake Kasdan’s cheerful picture “Walk: Dyui Cox’s story”, a movie that so perfectly derives a biography that he must have killed a palch forever … If it wasn’t for the fruit.

Although here and there there are a few bright spots – everything is taken into account, “Full unknown” pretty good – Music biographies are often exposed, mainly because they all follow this damn formula: a musician is born, they arise with other famous musicians along the way, they suffer from some fall (usually from drug addiction), they have a triumphant return. It seems like the best way to break out of this vicious, often sad cycle is to completely ignore it, and so probably the best musical biography of all time is the brilliant “Amadeus” Formano as alsoD tell to the hell of historical accuracy.

I am ready to bet at least a few people who read it, at one time or another heard that the death of the famous composer Wolfgang Mozart emerged from his bitter rivalry with a colleague -composer Antonio Salier. But there is no truth at all. If you heard this at some point in your life, the source is very likely to be the movie “Amadeus”, Forman 1984, adapted from Peter Shafer’s play. The performance of the safar was, in turn, borrowed from a fictional rivalry prepared by playwright Alexander Pushkin.

Forman’s film is loaded with inaccuracies. Real Mozart and Saliers were not competitors, but instead of friends. Mozart died young, but his death had nothing to do with Salieri (there was no clear opinion that Mozart at the age of 35, but probably there was some fever or infection). On Top Of All That, Forman’s Film, With A Script by Shaffer, Fudges Countless Details: Mozart Operas that were actually huge succses are portrayed as flops, and salieri, a man. Children, Is Portrayed As Celibate (i’ve Seen a NEEN AEPLY Cheekily Refer to Salieri in the Film As An “Incel,” BUT INCELS DUE TO CRCUMSTANCES THEY BEYONDOL, Salieri intentionally makes himself celibate to devote all his life to music).

Historians have taken the question of how “Amadeus” has been bending the truth since he hit the screen, but Forman and Shaffer have always been open about how the movie twists the facts. The groomsman is even turned to work Like “Fantasy on the theme of Mozart and Salieri”. The film also gives itself a reasonable gap: the whole story tells the elderly, obviously humiliated salad. This is not a historical record; These are the memories of the small old death. Of course There will be inaccuracies.

Does the music have a biography (or biography as a whole) to be completely accurate? I guess it depends. Some true details must obviously be respected: “Bohemian Rhapsody” would be a worse movie if he was erased by Freddie Mercury, and if “Ray” Taylor Hakford threw a white man instead of Jamie Fox to play Ray Charles, it would, of course, pay hell. But the musical biopis does not need to fully follow the facts. In truth, I cannot come up with a single movie in the Podlasie, which can be considered 100% historically accurate – writers and directors will almost always condens, massage or change the truth in the name of a convincing story, and that’s exactly what they are worth do.

And yet, it seems, in years like “Amadeus” got into the theater and took a few Oscars (he won the best shot, the best director, the best actor, the best adapted script, the best art direction, the best costume design, the best makeup and the best sound), the backward shell of the knee. “You know, this movie is not accurate!” People quickly say they add a footnote to the movie itself. Before that, I say: to whom it does not care?

Warner Bros. Discovery Home Entertainment recently released “Amadeus” on 4K for the first time in the form of its original theater reduction (pre -releases of Home Media were presented only by the so -called director that adds 20 minutes and is considered a majority inferior). I used to see “Amadeus” countless times, but looked at this new 4K release, felt almost transcendent. I thought: for other movies that should be embarrassed, you need to know that they will never be so good.

“Amadeus” opens with ancient Antonio Salieri (F. Murray Abraham), who is trying to die suicide. Following this attempt, Salieri is visited by a priest who listens to the age composer tells how he killed the famous Wolfgang Amadeus Mozart (Tom Hals). In Salieri’s telling, he grew up by Mozart, a prodigy, who began to compete for kings at a young age. Saliers are obviously gifted by the musician, and he wants nothing more – and he says – what to create beautiful music as a way of satisfying God.

But as good as Salieri, it will never be as good as Mozart. And the horrible is what the Saliers knows it. He immediately admits that Mozart is not simple music, he is someone with a divine gift. To add an insult to the trauma, when an adult sallery is finally meets with an adult Mozart, he finds that Mozart is annoying, horn, vomiting.

Hucle, which takes a marvelous scary giggling, plays Mozart as a booze, a whiff genius with supernatural cruel cruelty and a tendency to scatoligical humor. It is the type of person that easily disable you if you met his giggles and the dump at the party. And yet … Mozart can make the most beautiful, wonderful music of seemingly real effort. It is not just talented or gifted or qualified – it is a border supernatural.

Hals here is wonderful, but “Amadeus” really belongs to Abraham who won the Oscar (he and Hals were both Isolated for a better actor, not in order for one of them to fit into the best category of actors). While Salieri sinks to the bitter depths, when the movie goes on, Abraham makes the choice not to play it as a villain, but as a pathetic, creature who knows about his restrictions. As Salieri himself says, he wants nothing more than making great music. And yet he is damned to be mediocre forever compared to Mozart.

Abraham perfectly embodies the jealous anguish of the character. One of the best scenes in the movie It occurs when the salad is saturated with some of the notes of Mozart and stunned when found that there are no corrections and that the music itself is beautiful. “It was a music that I never heard,” Salieri’s story tells us. “Filled with such an anguish, so unbridled longing, it made me tremble. It seemed to me that I heard the voice of God.” When he hears the music in his head, the saltie tilts his head up, the tendons that strained into the neck, closed eyes both in delight and just horror, the pages of the notes are rigidly sinking from his hands when he passed.

What happened from this? Probably not. In fact, no. And yet it doesn’t matter. “Amadeus” is such a brilliant, entertaining movie that it is a fact or fiction, ultimately, it’s a meaningless argument. It is only important that the movie burns with a strong passion. It’s funny, it’s sexy, it’s scary. He has almost everything you can want from the film (including the music score for which you need to die). And which of us cannot relate to such intense envy that burns in celery? We may not know the full -scale geniuses in our lives as Mozart, but we all know at least one person who seems to be floating; Flowering while we fight and clean, and ask for some blessing from above that will never come. Let it be a fact or fiction, “Amadeus” is truly film production. If you want a history lesson, go, read the book.