Episode 76 - Amadeus

[00:00:00] Do you swear to tell the truth, the whole truth and nothing but the truth so help you

[00:00:19] God? Welcome to Movie Mistrial. The podcast will be examined and no pine about how accurate

[00:00:26] I am TV Stop 250 movies of all time. My name is Johannes and I am Raji. Today we are discussing

[00:00:34] another film on this tremendous list. I am a DS, a movie which proved to be F Mora Abraham's

[00:00:42] breakthrough role and an award for best actor. Amadeus released on September 19th 1984

[00:00:50] received glowing reviews for its unique style, sparking discussions about the risk and

[00:00:53] pay off of such an approach and cementing its plays on cinematic history. For Don and

[00:00:59] a Divisky and coming up with a signature Nile Grit in Laf, I beg thee how is your day

[00:01:05] and what makes you happy? What makes me happy? I saw a play this week the world's first performance

[00:01:13] of this play, Big Data and it stars B D Wang who is fantastic. B D Wang is a great actor

[00:01:22] and so this play is very in tune with the current AI ongoing and basically what happens

[00:01:32] is B D Wang is playing an AI, a sort of a vacation over an AI. It's kind of about how

[00:01:42] AI is always trying to get more and more data about you, making your life easier, kind of

[00:01:48] on the other guys of that and then it delves into rebellion against that. That's basically

[00:01:56] it was really good especially for the first performance. Usually I think this stuff

[00:02:01] to be worked out but it felt very solid at the very good time. How about yourself, what's

[00:02:07] happening in your world? I mean depending on when this podcast comes out you know it's either

[00:02:15] getting ready for a new comedy show or catching up on some TV shows and particularly right

[00:02:23] now it's February 18th. You're looking forward to the season of Shogun and I have been watching

[00:02:31] a lot of good TV shows. I've seen I'm finishing up Mr and Mrs Smith this weekend. I decided

[00:02:38] to wait on the final episode today but I'm going to finish it up today but that season has been

[00:02:44] incredible, very artistic, very you know very so it's like a mixture of artistic, very intimate

[00:02:55] and very interesting you know acting between the two characters. It's such a good show and I would

[00:03:02] never have guessed that it would turn out to be that way but you know Danny Glover has been making

[00:03:08] some bangers on this so I appreciate how good it is. So I'm happy that we're unfortunately getting

[00:03:15] more TV that is remarkably good and fun to watch which means that I have little or no time for

[00:03:23] myself. When do I get to take a shower? By the way one of the things that I got was an iPad screen

[00:03:32] in my in my shower and I just left my iPad in there and then when I'm taking a shower I can watch

[00:03:38] TV shows. Got to watch your content. Got to give Netflix more information about myself.

[00:03:54] Yeah. But that's cool. Oh I another thing I've seen that I really liked nominated for best

[00:04:02] foreign film I think this year is Teacher's Lounge. German film. Really? Fantastic. I haven't

[00:04:09] seen that. I have not even heard of it. Teacher's Lounge? Yeah great film and it's so it's basically

[00:04:17] it's a school and it starts with kind of allegations of students stealing stuff.

[00:04:26] And at the center of it all is this teacher who to me felt like she's a relatively new teacher but

[00:04:32] she's a good teacher like she has good instincts she understands what the what the school does to

[00:04:40] that student is kind of it's not fair how they sing them out and whatnot. And then things happen

[00:04:49] and she films in the Teacher's Lounge she keeps her laptop open and films her jacket just to

[00:04:56] kind of see if stuff gets stolen from a jacket and that happens but you cannot really make out who

[00:05:02] it is but allegations are thrown out and it's just spirals. And as somebody who well everybody is

[00:05:11] with the school right but like that school is very very German school like so everything that

[00:05:16] gave me PTSD in a way. And then I was I was going for Teacher's degree for a while in Germany

[00:05:25] so I did a lot of internships in schools so kind of having both sides of that experience.

[00:05:31] perspective was was kind of was riveting but also like I said kind of PTSD is like okay that's

[00:05:38] really uncomfortable. It's just a great film great performance great film. I love it.

[00:05:43] 97% on writing tomatoes he just came out in December 25th Christmas day.

[00:05:48] Yep. All right so there's so many films all right that's Lera Zimmer.

[00:05:55] All right I will I'll probably check it out this movie looks interesting.

[00:06:04] I'll probably check it out. It's part of the Sony classics already that stuff didn't

[00:06:09] it just jumped into the Sony classics. All right. Cool so yeah I'm Adeos

[00:06:20] second time for me to watch this film. Second time for me as well. This film is older than I am.

[00:06:28] I'm sorry. And it shows but yeah let's hear some options.

[00:06:39] I'm Adeos is a historical drama directed by Milo Sforman depicting the rivalry between composers

[00:06:45] Wolfgang Amadeos Mozart and Antonio Salieri in the 18th century Vienna to the eyes of Salieri

[00:06:51] the film explores themes of envy obsession and pursuit of artistic excellence.

[00:06:56] As Salieri becomes increasingly consumed by jealousy towards Mozart's prodigious talent

[00:07:02] his schemes to undermine him ultimately leading to his own downfall. Amadeos is renowned for

[00:07:07] its brilliant performances particularly by Tom Holtz as Mozart and F. Murray Abraham as Salieri

[00:07:13] and his lavish production design capturing the opulence and decadence of Mozart's era with

[00:07:18] its captivating narrative and exclusive classical music score. Amadeos remains the

[00:07:23] timeless masterpiece in the world of cinema and we're back the what you mentioned in the opening

[00:07:30] or what you wrote out in the opening that that laugh that is quite something like how do you

[00:07:36] even come up with that? I can tell you that I read about you know after the movie finished

[00:07:43] that read about if the laugh was real and there were letters from you know women that he wrote to

[00:07:51] who were describing the laugh and they said that it's like listening to broken glass

[00:07:58] in generating a somershot like that some stuff like that and I was it it felt very annoying

[00:08:06] every time he did it I wanted to punch myself in the face you know what a candy wretched

[00:08:14] because he was a real laugh nobody really knows how we laughed but they people said he was very annoying

[00:08:20] so yeah they captured that mood for sure. We need to capture a mood as well and that is

[00:08:31] the mood of speaking for our against this film so let's go there the heads tails heads tails

[00:08:42] all right I'll speak for this one you want to speak for this film sure all right well

[00:08:49] I will speak against this movie and the witness will address this court as judge or your own

[00:08:54] ladies and gentlemen people who are listening to this wonderful podcast

[00:08:58] I'm a dare is a movie that popularizes a fiction and the compelling nature of the film does not

[00:09:09] does not um

[00:09:12] disclaim or remove the idea that what we are watching is pure and entire fiction

[00:09:19] and irrespective of how the costumes look the the the sound is the story every aspect of this movie

[00:09:28] is a fiction and the fact that you know we get to experience this work of fiction

[00:09:36] given the cloak of the music given the nature that it feels like an autobiography

[00:09:44] given the idea that this movie feels like it could have happened in reality does nothing but

[00:09:50] propagate a lie that the reality is it's different and the interesting thing is this is no different

[00:10:01] than somebody coming up on twitter and propagating or doing propaganda about something that is

[00:10:08] on true and that slowly catches fire because the idea of displays started up as a fiction

[00:10:15] um and the idea of the story started up as a fiction after the death of

[00:10:21] of of Wolfgang of Wolfgang uh Mozart um and it somehow propagated into plays and finally into this movie

[00:10:33] and the idea that this whole story irrespective of how interesting it is it's based on a lie

[00:10:41] should oh and it's also given the tropes of reality and then at no point in the director say this

[00:10:50] is a movie that is entirely fiction is is is an interesting way to propagate a lie that will be my

[00:10:59] main point against this movie but I do have a couple of other interesting points that I can bring

[00:11:03] out one of which is as a as a fake story why are you trying to imitate the laugh

[00:11:15] of Wolfgang Mozart I don't understand if this whole story was fake why are you fixated on

[00:11:26] making sure that the small details feel real right it's like the story is not true

[00:11:33] the the scenes are not true the music and the areas where all of this play out are not true

[00:11:40] salieri and Mozart never sat down to write the the mass the mass the funeral song none of the

[00:11:49] the points in that is true but then you did copious amount of work to get the laugh out

[00:11:56] and the laugh was one of the most annoying parts of this film every single time it came on

[00:12:02] it grated my ears it took me out of the film and it just makes me wonder why they were so fixated

[00:12:13] and gets in that right when everything else is false but it's the two points I'll start with

[00:12:21] it's one point in general but I am curious to hear what what are your harnesses has to say about this

[00:12:31] so yeah i'm a deos is a great film it starts with the fantastic music I think that's that's a given we

[00:12:39] have Mozart's terrific music to enjoy with terrific performance as well look at the end of the day

[00:12:50] this is a biopic and as we all know I think our lives are always not as exciting as the stories

[00:13:01] we tell about it right so I think there needs to be some some sprawl saying up and kind of

[00:13:08] tightening up and and kind of optimization to make a story and the compelling story at that

[00:13:15] what we're confronted here with is is a classic tale of a rivalry and in this case it's

[00:13:22] it's a rivalry of a genius versus kind of a pretty mid-level composer who happens to have influence

[00:13:34] and to think the interesting thing about this film to me was that I can see a lot of influence

[00:13:45] this had on even very contemporary works of art one stuck out immediately and it was this is basically

[00:13:55] Hamilton right like this is basically Burr and Hamilton you have a genius you have somebody who's

[00:14:02] jealous who's not as good arguably and then you know they kill each other or like one kills the other

[00:14:09] and I found that to be fascinating that you could see that another thing that you have you brought

[00:14:16] up the laugh I think what we learn here is that if somebody is perceived to be a genius they can

[00:14:24] get away with being abrasive and weird and out there like he dresses very differently than everybody

[00:14:32] around him his laugh is outrageous he I don't think he's portrayed as being arrogant that I think he's

[00:14:39] more portrayed as being oblivious a lot of times he's just kind of in his own world but he's

[00:14:48] just very abrasive but to support my claim I think even in real life we have the people that are

[00:14:56] perceived to be geniuses that get away currently get away with a lot of a lot of BS let's look at

[00:15:04] the owner of Tesla SpaceX Newerling boring company and Twitter right like that dude is is

[00:15:13] perceived to be a genius but this now and it has a whole huge cold for lowering but is it's now

[00:15:21] more outrageous than ever but people are still kind of fine with it because he's saving humanity

[00:15:28] so I don't think it's anything else and I think the laugh is there to

[00:15:35] to give us more of a level of like okay this person like on a human level this person is super

[00:15:41] annoying but it still doesn't discount effect that the music that he produced was magnificent

[00:15:47] right so he kind of gets like all past with that because the output was so great and you know

[00:15:55] arguably the same can be done with Musk you know controversial I don't know we don't have to go

[00:16:03] there but just to say I think this genre of biopic you know usually happens to be very formulaic

[00:16:11] um I feel like this breaks the mold quite a bit because a lot of biopics have kind of the

[00:16:22] last third kind of downfall and then come up herence we don't have this we just have the

[00:16:28] well I guess Salieri kind of has that but also not really right so it's just a very basic

[00:16:35] like I said like in Hamilton right where you have this this um going back in time and then

[00:16:42] working your way up to hey I killed this dude and um so yeah great film I think it's great film you

[00:16:50] should watch it um and enjoy it if only for the music the interesting thing is you bring up her

[00:16:59] melting as part of this and interestingly enough the play Hamilton is based on the biography

[00:17:05] of Hamilton that was written by Ron Chernow so it's not based on our work of fiction this movie portrays

[00:17:17] um

[00:17:19] um

[00:17:20] amadeus as a

[00:17:22] bumbling idiot with a mind of a genius and in reality he was a little bit vulgar

[00:17:31] he was a little bit immature um and he did have a great in laugh but he also portrays Salieri

[00:17:39] as mediocrity enveloped and that was not the case my Salieri was one of the leading

[00:17:47] minds in music at the time and the central conceits and the re-impoint of rivalry between um

[00:17:56] and they were never actually enemies in truth um was that Salieri had the post and the air of the

[00:18:04] king and most of that wanted that post and they argued about the fight about whether Italian

[00:18:13] Italian was the was the best way to portray opera in that time that was the main point of conceit

[00:18:21] and from that whole scenario they brought out a three hour movie I want to repeat that a

[00:18:29] three hour movie where the main point of the rivalry was continuously hammered into the

[00:18:37] air of the viewers um at no point did it become more complicated than one person

[00:18:44] uh being jealous of the other um and in the central point never went beyond that it was all around

[00:18:53] that's idea that you know um that there was a jealousy that the rivals between this pious man

[00:19:02] Salieri and this buffoon who is a musical genius brain um moton and the irony is the way to portray both

[00:19:13] characters in reality it's not the representation of how they were we see them being thrown into

[00:19:20] we saw most at the end of the movie for example being thrown into a poppers grave but in reality that

[00:19:26] was not what happened he was thrown into a mass grave but that was the the thing of the time for

[00:19:33] intellectuals that was what happened for intellectuals at that period that was what was the the

[00:19:39] rave of the of the time he didn't die of for writing that the mass euphoria song for Salieri

[00:19:48] he died because he had a bacterial infection in his chest that affected his heart and at the age of

[00:19:53] 10 he had that disease um and if there were there were antibiotics in that time he probably

[00:20:01] would have lived till the age of 19 because his wife died at age of 80 so he lived in a time where

[00:20:09] they didn't have antibiotics so it's like they created this fiction around the characters they

[00:20:15] created a fiction around Salieri and they created a fiction around Mozart both of which are on drew

[00:20:21] and then they use that fiction to create a three hour movie I repeat a three hour film

[00:20:30] where almost every single scene in that film has no basis in reality okay so we're basically watching

[00:20:40] the directors mind making up stuff as he goes um and all of it was um super imposed with the beautiful

[00:20:50] music of Mozart which gives it legitimacy right and then at the end of it we we are the whole

[00:21:00] country comes together and creates this thing called the Salieri syndrome where where folks who

[00:21:07] work together and have somebody who is nice to you um does stuff behind your back to undermine you

[00:21:16] and they basically take this man's whole legacy and then make it into a

[00:21:22] made him into the king of the mediocrities it's it's a very bold move to just whip something out

[00:21:32] and place um fictional characters in there and then mask them move you with the idea that is an

[00:21:40] autobiography right and you know from the very start of the film we're giving a totally different

[00:21:47] perspective and I think it's one of the things that you appreciate that we're not seeing it from

[00:21:53] the perspective of Mozart and the director in a sense gives you gives himself an out because

[00:22:00] we never actually see anything from Mozart's perspective all of it is from Salieri's perspective

[00:22:06] and he's an is a is an unreliable narrator right because you only see his things from his perspective so

[00:22:14] if there is going to be an out for any of the things that happen in this film it's going to be

[00:22:20] from the the perspective of the person who is talking so you know it's it's a three hour film

[00:22:28] based on one central conceit that one man is jealous of another man uh for having a talent

[00:22:36] um and he doesn't have the talent that the data person has so he is mad with god

[00:22:45] um and uh he uses uh he uses the death of um Mozart to

[00:22:57] uh pork a finger into the eye of god saying oh my god um you have somebody who is pure and of

[00:23:06] heart but he is vulgar but i am not vulgar but i don't have his talent and amadis literally

[00:23:14] translates into love of god and i mean that's the whole central conceit so yeah the movie is

[00:23:20] stylistically great musically great because they use the music of Mozart but there's nothing

[00:23:26] in this movie that is based on reality so i find it hard to even call it an autobiography

[00:23:34] just the directors playing around with history well i think i think the first clue that it's not

[00:23:41] an autobiography is that it's called amadillos and on Mozart right i think that's that's kind of

[00:23:46] the first clue so is your beef with this that it's that it's three hours long is your beef with this

[00:23:52] that it's based on historical figures but not giving you the real real kind of history of that

[00:24:00] like what's your main my beef is that the movie has a very shallow conceit the the plot is very

[00:24:08] thin and then based on that's very thin plot it doesn't get more complex than the fact that

[00:24:15] you know this man is jealous that he amadillos has the talent and he does it and they created a

[00:24:23] three hour film where a lot of it is just based on that idea hmm because i think that like

[00:24:36] simmina argument you know can be made about other films that are long and kind of set into

[00:24:43] historical settings but not necessarily based on on two things right like like first film

[00:24:49] comes with my it's like englorious bastards right it's like it's kind of set in in history and

[00:24:54] in a place that it's kind of riffing on on things that that may you know like people that may have

[00:25:02] existed but it's like but it's not right it's not real it's all fiction but it's all very long when

[00:25:09] but when they killed Hitler and englorious bastards spoiler alert um we talked about that film

[00:25:19] spoiler alert uh we know that the whole movie is nonsense it's not i don't think that the movie ever

[00:25:27] takes itself seriously in that form the problem with this one and i think i know what you're

[00:25:35] trying to do is that you're trying to say hey we've watched long films uh but englorious bastards

[00:25:41] had multiple plots stories within stories um and progression there was no progression in this movie

[00:25:51] the characters at the very beginning stated their goal i am jealous of amadillos because he's talented

[00:26:00] and vulgar i am not vulgar but i'm not talented why has god done this to me halfway through the film

[00:26:08] if you start at any point what was the plot of the film our deus is so talented um and he's so vulgar

[00:26:18] i'm not vulgar but i'm not talented why has god done this to me and at the end of this film

[00:26:24] what is it saying oh amadillos it was so talented the fact that i'm repeating it three times it's already

[00:26:32] making you tired uh it's that's how the movie feels and just to think of that that whole plot

[00:26:39] happened for three hours nothing the characters didn't grow the story didn't change

[00:26:45] it was that exact story all of that was interspaced with music from Mozart and music from

[00:26:55] Mozart is undeniably good it elevates whatever it's been played on right but the central conceit

[00:27:02] is still the same nothing changed there was no growth in the characters amadillos was just as

[00:27:09] dumber the beginning as it was at the end not dumb he we we lacked the skills for politicking so

[00:27:15] he became abrasive just as it was at the beginning and at the end the characters did not grow

[00:27:23] there was no change in mode no change in mood it was the same central conceit that happened

[00:27:29] at the very beginning in the middle and at the end all of that was interspaced with great music

[00:27:36] great costume but the central conceit never changed and for some reason they made that into a three-hour film

[00:27:44] that is that point uh interesting because i think at the heart of this is is kind of a cat and mouse

[00:27:54] game right so so you sure you can interpret that as like the plot is not going forward but

[00:28:00] uh i do think it does because the stakes go kind of higher and higher um for for like various different

[00:28:10] different reasons motivations right like Mozart is running out of money so he needs to produce

[00:28:16] um a salieri has a pretty pretty kushigig right so he he is kind of comfortable i guess the

[00:28:26] the the risk that he sees is that he is losing his job so he's trying a lot to uh like behind the scenes

[00:28:33] to let Mozart fail but always under the guise of hey i'm your friend i'm you know i i can help you

[00:28:41] i guide you i'm because i have contacts i'm you know so there's a lot of a lot of that uh what we're

[00:28:48] seeing is that Mozart is seemingly unbeknownst to him because he's just kind of oblivious

[00:28:55] is um oftentimes directly working against salieri um but it is again it's more it's played as coincidences

[00:29:04] more than then um motivated uh versus salieri who's who's quite the opposite his his his actions are

[00:29:13] pretty much motivated but um he's he's just not getting there and he's not able to have other people

[00:29:21] see like how abrasive this person is um because again everybody else is kind of blinded by the genius

[00:29:30] that he is and it's it's kind of played in the sense that salieri is the only person who's kind

[00:29:35] of seeing through that and it's like can we just take a step back and just kind of look at this guy

[00:29:39] why he's he's a weirdo yes his music obviously great but holy crap to suit as a weirdo right and

[00:29:50] it's so going against the norm and the conventions and against god and you know so so there's like

[00:29:55] multiple things happening in their conflict uh because it's also kind of church versus versus the

[00:30:01] state in a way right there's like conflicts around uh different countries social norms right when he's

[00:30:08] writing that opera um based on a french play um and the word gets out to the emperor and it's like

[00:30:19] oh no let's let's not do that it's banned right but he still does it in a different format like

[00:30:25] there's all these little rebellions um just poorly driven out of that creative drive that that

[00:30:30] Mozart has and uh and out of the the need to produce because he needs to get money like he's

[00:30:39] he's living far beyond his means it looks like um and then we had we do have another conflict with

[00:30:47] his wife right at some point it just kind of goes to far and i think there's there's a lot of

[00:30:51] meat on this bone that is uh not easily reduced to um oh it's it's just the basic you know like these

[00:30:59] two just don't like each other for three hours i think there's a lot of nuance because um a deal

[00:31:08] has has a drive that salieri doesn't have and that might be the reason why salieri's music is not

[00:31:15] as good i think the first like there's so many scenes here that are

[00:31:21] this is so petty in a way but again it's it's kind of ambinones to Mozart right he's just kind of

[00:31:26] going through like like one of the the first time he he goes and then meets the emperor and the emperor

[00:31:32] plays that too let's say leery robe and then Mozart is like in front of everybody such a jerk

[00:31:38] he's like well this is good but you know we could do it better right right and then he does it

[00:31:43] and that kind of kicks off that whole rivalry it's the starting point of like you

[00:31:48] like come on like you you cannot just stab me in the back of our management here right so

[00:31:53] so there's like i think there's lots of levels in this that you can apply to current situations where

[00:31:59] you can find yourself on either of those two and again that's that's kind of where where Hamilton comes in

[00:32:04] too in a way right because i think um like when when that shall start at there there was kind of this

[00:32:09] this talk about oh i'm more of a Hamilton i'm more of a bird kind of thing just from the i don't know

[00:32:14] like work ethic or like principles or whatever right and i think similar things can be can be applied

[00:32:20] here uh where where people are more like there there's this genius in them but um but chaos there's control

[00:32:34] in others and mid you know perfectly fine performing like i don't think so he was mediocre

[00:32:42] like he's not portrayed as mediocre i think it's more in comparison to to Mozart this is just very

[00:32:52] basic stuff right so so he's not he's not terrible obviously he wouldn't have that the job that he has

[00:32:59] but in contrast like nothing compares right so so yeah i'm gonna count us some of the points you made

[00:33:09] number one you said it was uh it was like a cat-a-mouse story um and it really is not because if

[00:33:16] he was a cat-a-mouse story both of them would be playing the same game salieri was playing a game

[00:33:22] where he was trying to um take out uh Mozart and Mozart was playing a game where he was trying

[00:33:32] to expand his influence they were not playing the same game so it couldn't be they weren't they weren't

[00:33:37] actually from the book or whatever those people meet they were always cordial and nice to each other

[00:33:44] the only times they went on nice to each other was when they were um in disguise um and you know

[00:33:51] Ahmadiyya said some very weird things about salieri's music which was actually untrue um and Mozart

[00:34:02] and salieri did some things to Mozart that kind of hampered his progression but the thing about it

[00:34:08] is this movie simplified their whole life uh into this act of rich uh positional person versus

[00:34:17] up in common starter who wants to make it to the top because in reality

[00:34:23] Mozart was rich even when he died he died a rich man he died and was put in a communal grave which is

[00:34:32] what rich men in those days did. Mozart had a house that was seven stories and it had a packing garage

[00:34:40] for his carriage. Mozart was not a poor man but to tell the story in this way to make it an effective

[00:34:48] work of fiction you need to create a fictionalized fictionalized version of Mozart and a fictionalized

[00:34:54] version of salieri around one simple conceit salieri was jealous that god gave Mozart the talent

[00:35:04] and he and he was vulgar but he who was talentless and not vulgar was reduced to living in the shadows

[00:35:15] of Mozart and that's the interesting thing you talked about the fact that Mozart's music was well

[00:35:21] loved but from all expressions in this film his movie wasn't his music wasn't his king liked it

[00:35:30] every single time but don't forget the king yond when Mozart was playing his play uh the opera

[00:35:37] the figure opera he yond um and his play ended and there were stories in the movie where they said some

[00:35:45] of um Mozart's plays would only last for a week or a few days uh and stuff because you know people

[00:35:53] were uninterested and then all the way to the very end where he's there to play uh for the common folk

[00:36:01] because he couldn't afford and he was struggling to get 50% of the people who came to watch the

[00:36:07] play every night so the movie also mischaracterizes the effectiveness of Mozart's music at the time

[00:36:19] making it seem like he only was appreciated after he died or in reality Mozart was appreciated

[00:36:27] when he was alive he died young but while he was alive his music was appreciated

[00:36:35] salieri's music was appreciated the main reason why they had a conflict was salieri sat

[00:36:41] in a position where Mozart wanted to be and the fact that salieri believed that opera should be

[00:36:49] written in italian and Mozart felt that opera should be written in German that was their main point

[00:36:55] other than that those two got along they were geniuses at the time of their life um but you know

[00:37:04] we get the Mozart music that elevates this movie and makes it feel like it's very good

[00:37:09] but this simple plot is uh was long and the movie was three hours

[00:37:18] keep saying that like that's a bad thing so the iVoma point and because you say

[00:37:27] you're saying that he Mozart is like the way they show him is like all his fame came after he died

[00:37:36] i don't think that that that's entirely accurate i think part of the reason why

[00:37:42] and another reason of the rift that they show in this film between the two is

[00:37:49] that Mozart not only does the music for the emperor but then he also does music for the

[00:37:57] commoners right and that other theater that is that he has a 50% share of seats

[00:38:06] and and that's obviously not the super high society there like that's more kind of the the common

[00:38:13] folk i would say so i think it's pretty clear that he's he's kind of towing the line between that

[00:38:20] which is quite remarkable for somebody like of his prowess right like um it would be

[00:38:31] a big star now would play a small of venues right um here and there and and the stars do that

[00:38:38] right like here and there they do that smaller more exclusive shows um for cheaper prices

[00:38:44] uh for for for the fans right for the real fans um

[00:38:50] and and on the other hand in contrast uh celieri is it's just doing his very corporate you know

[00:38:58] gig for the emperor producing his his shows that are fine but they're also not meant

[00:39:05] necessarily for the common people they're meant for the emperor for his entertainment so you

[00:39:11] you i think the conflict is it's not just that but it's also Mozart is staying standing for

[00:39:19] for so many other things that uh celieri secretly desires but doesn't dare to to get i think

[00:39:29] so i think there's there's a lot of layers to this that you can unpack and uh that makes this

[00:39:35] from great yeah but but like i said a lot of that stuff is uh fiction uh 90% of movies were watching

[00:39:46] our fiction my dude i mean that's that's that's that's that's fair i i i i do think that

[00:39:54] the way the movie portrayed them and i don't think there's any other contemporary story about

[00:40:00] Mozart and Amadeus umadeus Mozart that actually portrays him as the true person he was

[00:40:07] musical genius who i guess was immature and all that stuff um but he was successful in life he never

[00:40:16] he never begged for money like this movie portrayed to put all his work was commissioned

[00:40:23] before he started and dude lived in a seven-story house with uh

[00:40:31] a garage voice carriage i'm telling you man um if he actually looked at reality a lot of this

[00:40:40] i think the the envelope of using his music to kind of enforce the idea was uh was quite interesting

[00:40:49] as a story thing because he tried to elevate the film from what it actually is which is a man

[00:40:56] jealous of another man uh for being talented uh to something bigger but yeah i don't have much to add

[00:41:05] uh we can go to the uh the sidebar and talk more of the role sidebar guilty speculation here say

[00:41:13] they live briefcase disregard in my chamber stop beaver on the witness i rest look at totally be lawyers

[00:41:17] sidebar so i mean if you wanted to ask me the real question the real question is did i enjoy this film

[00:41:26] the answer is yes as a spectacle it's a really good film as a means of peering into the past

[00:41:35] it was a very good film the costume design was great the sound obviously is amazing because

[00:41:41] Mozart made great music um the set the way the characters effectively carried the story based on

[00:41:50] the central conceit which i say is shallow but it doesn't address the fact that the person who plays

[00:41:56] Mozart did an amazing job at it you pointed out at the end of the conversation that all movies

[00:42:04] are fiction and it's true it may be something a small reason to go against the film but i don't

[00:42:11] think the mood the the the what occurred i don't think the story was tight the movie was long i think

[00:42:17] that they could have nipped out maybe 15 20 minutes from this film and it would have been just as

[00:42:22] effective so um but i will say that it took you on a journey it took you on a journey um there were

[00:42:31] lots of good things like visual storytelling remember the first time we saw Mozart it was pippy

[00:42:39] he looked great he looked dressed really well compared to the last time we saw him

[00:42:45] stumbling through the city his face his pale um drinking alcohol all the time it wasn't really an

[00:42:51] alcoholic by the way he had it was a sickly man so he didn't drink a lot of alcohol both the movie

[00:42:58] tries to portray that um it effectively showed you uh downfall true visual storytelling um i

[00:43:08] think that the costumes this i didn't even realize opera was so technically

[00:43:15] uh huge in those days there were there was explosions people breaking out from the walls

[00:43:20] people from popping in we saw small people showing up on horses it was all sorts of very interesting

[00:43:29] spectacle um and this movie does a good job of putting it all out there and as a spectacle as

[00:43:36] a spectacle the movie is great the sound is great the costume design is great um the plot is simple

[00:43:42] but the actors are effective f marie Abraham does a good job and he continues his role i wonder if

[00:43:49] he's like that in real life because he plays that creepy character very very well uh very convincingly

[00:43:56] but i do think that the movie is uh the movie is exceptional in that form um so yeah

[00:44:03] yeah i regret so did you watch the direct cut because you you keep saying

[00:44:09] okay i watched the how long was the movie you watched it's like a 160 minutes so it's like two hours and

[00:44:19] and change so i think the direct cut is over three hours

[00:44:23] yeah i watched okay i watched the i watched a theoretical version which is about three hours

[00:44:33] let me see i don't think i watched the director's cut yeah we watched it on DVD and i mean

[00:44:40] this movie is long which is underlined by the fact that we had to flip the DVD oh man

[00:44:47] it's like what are we doing with our lives um so yeah that is something of the past that we

[00:44:56] you know kids this generation will not understand

[00:45:00] i need to go to the DVD player flip the DVD um but yeah so so i read about the direct cut

[00:45:11] that it is like having our longer and it's a little concerning you know it's like the

[00:45:19] the set they said the things they said about that you know it's like well you know we filmed it

[00:45:25] so might as well put it in the film and yeah whoof um that i think that's a weird reasoning

[00:45:36] but yeah i think i think your concerns or your critique of it being long are pretty valid

[00:45:44] it is a long film and it's a film that it doesn't have to be this long because like you point it out

[00:45:50] um the conflict at heart is pretty simple and could be straightened out and you know

[00:46:00] uh resolved in the matter of 90 minutes to two hours i don't think it needs to be two and a half

[00:46:08] hours or three hours long because at some point it just goes into a vehicle to hear Mozart's music

[00:46:17] you know and okay i mean the music is great but it's also like do we do we need this

[00:46:28] uh there's this fluffy story around it i don't i don't know um

[00:46:35] uh it's it's a time period that personally i don't find super interesting too so it's not

[00:46:43] even catcher me on that end um it's it's interesting to see but like i said it's so fictionalized that

[00:46:51] the like what you get out of it is basically the music and the music is terrific

[00:46:56] but as a as a film it's it's a decent one-water but there's nothing that drags me back into it

[00:47:05] again like i don't have to watch this for a third yeah because the movie is uh the movie

[00:47:11] the underlying spectacle is very thin yeah i will say i will say that i just realized that i did watch

[00:47:18] the director's cut which added an additional 20 minutes to the film i didn't realize that he was

[00:47:24] the director's cut uh um yeah so i did definitely see the director's cut which added an additional

[00:47:34] 20 minutes i don't know i know one scene that was in the movie that was not in the director's cut

[00:47:39] because the original was rated pg um and the director's cut is rated r uh yeah so

[00:47:50] and i think this scene that stood out to me which is one of those very weird scenes

[00:47:56] that that's still placed in my head right now was one of the reasons why it was rated r uh so yeah

[00:48:04] i saw that version so yeah not not only did i watch the the version that is uh

[00:48:12] shorter shorter but also less exciting than i guess

[00:48:16] apparently i don't i don't i don't know i don't know what i missed

[00:48:21] i don't want to go back

[00:48:26] i would say that if you get a chance to watch it at least once i think the movie is good just

[00:48:31] for the fact that you can see i'm per most of the music being played in scenes that be fits the

[00:48:41] music so he adds context to his music but it does not necessarily mean that that was the

[00:48:48] context in which the movie music was originally written so it definitely adds context to the music

[00:48:56] but i would advise anybody who watches this film to not take anything they see in this film as truth

[00:49:03] even though the director made it seem like this could be true so that's that's the only advice i have

[00:49:12] or that it's a good spectacle as a film the plot is simple anybody can get it

[00:49:19] yeah but that goes with with with a lot of fictionalizations of real life people right that's

[00:49:25] that's what i was trying to get at very early in the beginning of like people's lives are usually not as

[00:49:32] streamlined and you know um a tight in the sense of um narrative right like there's a lot of

[00:49:43] boring stuff that happens like creative creative process is not necessarily like a straight

[00:49:48] like i i know a thing and then you'll just just write it out and then it's done like oftentimes things

[00:49:55] take time uh at least for me i don't know maybe for you too and maybe you know the most

[00:50:00] lots of the world just have everything in their brain and just write it out and it's done it's

[00:50:03] perfect great um that's what they lead us to believe here but i would think like even to get to the point

[00:50:10] right uh that there there had to be some kind of learning curve right he he was not born with that

[00:50:16] so i don't think like i think there's lots of just training that goes into it but um that's not

[00:50:21] comparing to watch right and and like my comparison with Hamilton is kind of similar like i think

[00:50:26] there's there's a lot of um accuracy but there's also a lot of inaccuracies in Hamilton um so the

[00:50:35] so i mean i give it to you're making this interesting because you're trying to say that you know

[00:50:42] all fictionalized movies do this but you think about it fictionalized movies is the days and the inflection

[00:50:48] point we watched Openheimer for example the inflection point was the dropping of the atomic bomb

[00:50:54] the fact that they worked at this particular camp um a lot of the things that happened within those

[00:50:59] stories are not true right but the the inflection points that existed the the the camp did exist

[00:51:07] the uh Manhattan project did exist the fact that they actually dropped the bomb didn't exist

[00:51:13] but nobody knows what was set in those rooms those are the fictionalized parts right the problem I

[00:51:19] have with this movie is the the inflection points that exist in this movie don't match the inflection

[00:51:26] points that exist in reality like he didn't write the massive Fourier song because somebody was

[00:51:33] knocking on his door and giving him money to write it that was not what happened right he didn't

[00:51:39] write he also had scribes that helped him write uh his music he didn't write his music on his deathbed

[00:51:47] with salieri there was a frank guy who wrote it for him after his death so who completed that's

[00:51:55] music after his death so it's like the inflection points for the main character don't exist in reality

[00:52:03] which is separate from other autobiographies like we watched the autobiography of a fee of

[00:52:11] of Salma for example of my dr. Martin Luther King you know you see him do his speech they have a

[00:52:18] dream speech that's an inflection point that happened we don't know what's going on in all the rooms

[00:52:23] but the problem with this movie is they don't know what's going on in the rooms and the inflection

[00:52:27] points I'm not accurate so that's the argument I was trying to make but again you know it's a film

[00:52:36] that's called Amadeus and Amotar so I think there's there's like even one separation between the

[00:52:43] demand the myth the legend and you know so I think I try his name is Wolfgang Amadeus Amotar so that

[00:52:53] well I know but he's he's more known by Mozart than by Amadeus right so there's kind of a removal of

[00:53:02] of like familiarity and I think you could you could make the argument of like

[00:53:09] not only instead every removal from that but this also somewhat of a removal from Mozart's

[00:53:16] real life

[00:53:17] yeah like I think that the fact that the fact that he called it Amadeus is just to play on words

[00:53:25] because Salieri was looking for the love of God and he never found it and Amadeus means

[00:53:31] love of God so the that religious overtone was what they were trying to play with with the

[00:53:39] you call in the booth here Amadeus the love of God God infused this love into Mozart

[00:53:46] but he's a it's a vulgar man but I don't get the God's love but I'm not a vulgar man that's basically

[00:53:54] what I think they're playing with so so kids what do we learn from this be vulgar and be loved

[00:54:01] yeah I mean I don't I don't know from the way things go you don't you don't get to choose who God

[00:54:05] loves so yeah just be you just be you

[00:54:12] um that's all I had that's all I have to cool we um we have a movie that's knuck in to the list

[00:54:25] you want to talk about the one 12 failed it's 12th fill just popped in

[00:54:34] uh it came out in 2023 it's an Indian film and this is probably going to be a first Indian film

[00:54:39] now you're gonna watch well it's doing very well on watching tomatoes it's a 9.1 out of 10 so

[00:54:47] it's uh we got it we got to catch catch catch this one it's one nine awards and it's been nominated for

[00:54:56] 11 nominations um so we've got to give that a look I don't know if we can find it

[00:55:05] I think that if we can find it that would be our next movie I don't know if it's available to watch

[00:55:10] it on DVD or pluré but if it is then maybe we'll do that next if it's not then we'll move on

[00:55:18] to the next movie on the list and come back to what do you think yeah yeah yeah it's on a list

[00:55:28] trying to find it let's see if we're gonna watch it anywhere oh doesn't look like it's available

[00:55:33] anywhere no I don't think it is okay well I guess in that case next up toy story

[00:55:45] yeah but wait is it available on hulu it is available on hulu do you have the

[00:55:55] lulu yeah yeah so it's available on hulu okay all right since we figured out where to watch it

[00:56:03] we could watch it on hulu so next up 12th fail yep and after that toy story all right cool uh

[00:56:14] until then though where can people find us you can find us an ex on facebook on instagram when

[00:56:20] our movie mistral or the consumers and email to contact that movie mistral.com

[00:56:25] all right well looking forward to hearing from you guys hope you guys enjoyed this episode it was

[00:56:30] most spirited and anticipated but it was a good conversation yep for sure all right take it easy