Amadeus Quiz

Respond to these rapid questions in our Amadeus quiz and we will tell you which Amadeus character you are. Play it now.

individuals who are content with their lives are happy individuals. Envy makes the unhappy sick. They support David Merrick and Gore Vidal who are credited with saying, “It is not enough that I achieve. Some must fall short. The focus of Milos Forman’s “Amadeus” is not Mozart’s brilliance, but rather Salieri’s jealousy. Salieri’s curse was to have the skill of a third-rate composer but the ear of a first-rate music lover, which allowed him to understand how inadequate he was and how excellent Mozart was. The most heartbreaking scene in the film is when Mozart, who was only 35 at the time, dictates to Salieri the final pages of his famous “Requiem” while lying on his deathbed. Salieri is seated at the foot of the bed with a quill and a manuscript as Mozart drags the notes from his fevered brain. This moment is heartbreaking not because Mozart is dying, but because Salieri, a rival who has known him all his life, is trying to coax a final masterpiece from him that will show how shoddy Salieri’s work is. Salieri despises Mozart, but he values music more. He is unable to live without one more piece of music that he can criticize for its excellence. Yes, Salieri intends to claim the work as his own, but that will just be another twist in the tale for a guy like him. “Amadeus” (1984) was a hugely successful success and won all the Academy Awards. It is incredible that Mozart managed to become a best-seller for a while, and not just because women were convinced by talk-show experts that his music raised the IQs of embryos, given that 98 percent of the American population never listens to classical music stations. The movie’s strategy of portraying Mozart as a goofy proto-hippie with a high-pitched giggle, an excessive love of alcohol, and a buxom wife who liked to pursue him on all fours, I believe, contributed to the movie’s success.

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By dramatizing how infrequently true geniuses take their own work seriously because it comes so naturally to them, this is not a denigration of Mozart. It reads like a play thanks to the great authors (Nabokov, Dickens, Wodehouse). Mann, Galsworthy, and Wolfe, three nearly great authors, make it seem like a herculean accomplishment. Compare Shakespeare to Shaw, Jordan to Barkley, Picasso to Rothko, and Kennedy to Nixon to see how true it is in every discipline. Mozart could write with such joy that it seemed, in Salieri’s opinion, that Mozart was “taking dictation from God,” whereas Salieri could strain, moan, and produce tinkling jingles. But you shouldn’t waste any more time and start this Amadeus quiz. Saul Zaentz, an independent producer known for “One Flew Over the Cuckoo’s Nest,” “The Unbearable Lightness of Being,” and “The English Patient,” introduced the play by Peter Shaffer and tasked him with adapting it with the help of Milos Forman. As you can see, Zaentz frequently films literary triumphs that on the surface seem unfilmable because they are too ambitious or specialized. “Cuckoo’s Nest,” “Hair,” and “Ragtime,” all directed by Czech-born Forman, who turned his back on the Russians and settled in America but not precisely in Hollywood. (1984). The crucial antecedent is “Hair.” He considers Wolfgang Amadeus Mozart to be a spiritual sibling of the hippies who snubbed convention, messed with their senses with drugs, and took pleasure in lecturing their seniors. In a movie where everyone is wearing wigs, Mozart’s wigs stand out from the rest, as I mentioned in my initial review. Just the tiniest pink coloring and the faintest punk hint are present. When you get to the conclusion, there’s something about Mozart’s Vienna apartment that makes you think of a newly-wealthy rock musician’s mansion: The bed serves as the focal point of life, while the rent is exorbitant, the furnishings are sparse and haphazard, work is dispersed everywhere, housekeeping has been ignored, and there are empty bottles in the corners.

Amadeus Quiz

The young blossom Mozart makes an unsuccessful attempt to live by the example of three older guys. Mozart’s father Leopold (Roy Dotrice), who raised him as a child prodigy to dazzle European courts, now looks on disapprovingly at the disorderly chaos Mozart has made of his adult life. Emperor Joseph II (Jeffrey Jones), his patron, enacts stringent regulations (no ballet in operas! ), but he is powerless to carry them out because, God bless him, he loves what he would forbid. Salieri (F. Murray Abraham), on the other hand, pretends to be his buddy while scheming against him by sabotaging performances and delaying appointments. The irony is that Mozart is so new and unknown that no one knows how talented he is, except Salieri, while Salieri is honored and idolized. Even the monarch, who indulges him, finds Mozart’s snobbery as amusing as his art. In Joseph II’s court, Mozart plays the part of the fool who speaks the truth while giggling. Constanze, Mozart’s wife (Elizabeth Berridge), is Mozart’s ally in his battles with authority. She acts like a child, sleeps in too late, nicknames him “Wolfie,” but she also has a good business sense and a keen eye for deceit. Also, you will find out which character are you in this Amadeus quiz. In a flashback sequence, Salieri, who is nearing the end of his life and is being held in a mental institution, confides in a young clergyman. He wonders if Mozart was murdered by him. Mozart most likely committed suicide by a lethal combination of cirrhosis and tuberculosis, but Salieri appears to have murdered Mozart’s art, and he feels regret for it. It’s all there in Mozart’s scene on his deathbed: the pain of the older rival who despises defeat, who would cheat and betray, but who cannot dispute the beauty of the young man’s music. In Forman’s native Prague, one of the few European cities that has remained largely unchanged since the 18th century, the film was filmed on location. A visual feast of palaces, costumes, wigs, feasts, opening evenings, champagne, and mountains of debt can be found in the movie. Salieri had money, but if you look at his expression when people snicker behind his back while he plays one of his compositions, you will see what little consolation it was. Mozart never had enough money or cared much about it.

About the quiz

In the DVD era, “director’s cuts” are a mixed gift. Many of them appear to be motivated solely by the wish to sell more videos. Forman claims that his updated version of “Amadeus,” which is 20 minutes longer than the initial version from 1984, is the authentic version: Forman and Zaentz made cuts out of practical concerns that a historical dramatization about Mozart would struggle at the box office. The sequence that explains in greater detail why Constanze has such disdain for Salieri is the film’s most significant addition. The court composer Salieri offers the young bride a lucrative position that will be her husband’s if she will do Salieri’s bidding. Since there is little evidence that Salieri is particularly interested in women (or anything other than Mozart), this favor appears to be driven more by the need to degrade Mozart than by any sexual urge. Constanze visits Salieri at his apartments because she is so determined to assist her Wolfie, and she even bares her breasts before changing her mind. Also, you must try to play this Amadeus quiz. Some of the best scenes in a movie with big gestures are very subdued. Observe how Jeffrey Jones, playing the emperor, strikes an equilibrium between his need to project seriousness and his enjoyment of Mozart’s impudence. Watch Jones’ expression as he considers whether his decision to forbid dance in opera was the right one. Watch Abraham’s expression as he harbors his anger, resentment, and jealousy. What a happy expression he gives his suffering! Watch his expression once more as he takes the last dictation at Mozart’s deathbed. He is aware of its quality. At that precise moment, Mozart’s music is the only thing he knows he cherishes more than himself.

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