Line #4 Fridge/Amadeus


1	!! FridgeBrilliance
2	* While Salieri is telling his story, Father Vogler takes him seriously. You can even see him getting emotional at points. In a strange sense, Salieri got what he wanted in the end: someone who understood his viewpoints and possibly viewed him as being better than Mozart.
3	* The film does dramatize many events portrayed but considering that in real life, Salieri was suffering from dementia and [[UnreliableNarrator this could be the way he remembers them.]] Salieri's HistoricalVillainUpgrade could also be interpreted as his own guilt.
4	* At first glance, the contrast between Mozart's operas and their parodies appears to be a subtle depiction of the ComedyGhetto: the former is attended by proper people in wigs and fine outfits, while the latter is attended by boisterous people in drab clothing; the implication here is that "[[TrueArtIsAngsty true art]]" is reserved for the nobility, while anything too cheerful (and thus [[LowestCommonDenominator basal]]) belongs to the lower class. However, what's equally important is how their respective audiences respond to the works they've come to see. As mentioned under AtTheOperaTonight on the main page, the audiences for Mozart's operas aren't fully invested in the action onstage, and are even disruptive at points. Meanwhile, the audiences attending the parodies are fully engrossed in the work, laughing, singing along, applauding, and overall expressing pure joy in response to the action onstage; note how many times they point to the stage, urging their fellow audience members to notice what's on stage. With the behavioral differences between audiences, this turns out to actually be a {{deconstruction}} of the ComedyGhetto, demonstrating that the bias against comedies is strictly cultural stigma, and a work of any genre is only worth how much audiences are willing to invest in it.
5	* Mozart is clearly delighted by the [[AffectionateParody parody of ''Don Giovanni'']]. It calls to mind Stephen Hawking, another unquestioned God-given genius, and his legendary sense of humor and well-known enjoyment of similar [[AffectionateParody affectionate parodies]] of himself.
6	* The surface impression of the film is that Salieri is the humble craftsman toiling to produce his music while Mozart is the brilliant savant effortlessly tossing out works of genius. It's this view that causes Salieri's breakdown and descend into villainy. But in fact Salieri is subtly shown to be wrong - remember that at least two people (Mozart's wife and the servant sent to spy on Mozart) confirm how hard he is always working and Mozart tells his father he doesn't take pupils so as to have more time to spend on composing. THAT's the real difference between the two men, Mozart is willing to work damn hard at his compositions to produce genius despite the financial penalties while Salieri isn't.
7	* Somebody already pointed this out in [=YouTube=] comment section but early in the movie Salieri promises to dedicate his "chastity, industry and humility" to God. The first to he managed well (if he take his word for granted). Industry through teaching, chastity through staying out of women but subtly we se that he lacks humility ("Everybody liked me. I liked myself.") And what better way to test humility than meeting your hero your ''icon'' and finding that he's a brat who mocks you by his every step?
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9	!! FridgeHorror

Context Fridge / Amadeus