Amadeus (USA, 1984)
Directed by Miloš Forman
Starring F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Roy Dotrice
IMDb Top 250: #95 (15/11/13)
When I reviewed A Royal Affair last year, I spoke about the two big challenges that any period or costume drama has to overcome. One is the reputation of the genre as one obsessed with surface rather than substance, and clothing rather then character development. The other is the issue of pacing, needing to capture an historical period with its slower technology and pace of life whilst also needed to tell a story at an endurable pace for modern audiences.
š Forman to get on with the storytelling.
If...., pulls the audience in with a series of elegant, painterly images. But once the credits end and the action moves indoors, everything becomes very stagey. The framing device of the elderly Salieri, relating his story to a priest in the asylum, is not successful, and the film works better the less it is employed.
The Madness of King George.
Animal House, is a good actor who clearly threw himself into the part: having never played piano before, he practised for more than four hours a day upon landing the role. But while his skills are not in doubt, his Mozart is one of the most annoying and excruciating characters outside of an Adam Sandler comedy. Just as we aren't supposed to hate Salieri, so we are not expected to entirely like Mozart. But all his juvenile qualities are overplayed and repeated ad nauseum: it's not so much "too many notes" as too many laughs.
Rush, Ron Howard's thrilling drama about the rivalry between James Hunt and Niki Lauda. Both stories concern a rivalry between two talented men, but this rivalry is initially presented in a broad, overly playful way; the film is still entertaining, but we are conscious of how little is going on between its ears. Then something dark or unfortunate happens to one of the men which gives the drama a stake and the rivalry a meaning. Going dark is by no means a guarantee of a good story, but in both cases it is just what the films needed.
Gandhi. More importantly, Forman does succeed in making the creative process of writing and composing both cinematic and exciting. In one really special moment, Salieri flips through Mozart's portfolio, and hears the music on the page perfectly formed in his head. It's a wonderful moment which F. Murray Abraham superbly executes, keeping his character on a tightrope between envy and euphoria.
For a more in-depth discussion of storytelling and the role of darkness in drama and tragedy, check out JesuOtaku's review of Madoka Magica here. It contain some very good advice for writers about genre and audience expectations.
NEXT REVIEW: Captain Phillips (2013)