Amadeus Film Scene Analysis

Amadeus Film Scene Analysis

by

Niamh Gallagher

I will be analysing the 'Marriage of Figaro' sequence from 'Amadeus'.

The scene begins with the a mid shot of Mozart conducting his opera. He is central in the shot and multiple candles are placed either side of him. Alongside the candles, Mozart is framed to look as if he is preaching to a congregation in a church in front of an alter. These two religious symbols are important because on multiple times Salieri refers to him as 'vessel of God' and that 'God speaks through this little man' so the religious connotes help further this. Mozart is dressed in bold, vibrant clothes which could be considered outlandish. This reflects his eccentric personality and also basically that he is the binary opposite towards Salieri. The high key bright goodness surrounding Mozart is starkly contrasted Salieri who is low key lighted and dress in blacks in his shadowed booth. This is a visual signifier for the audience that simply Mozart is good and the protagonist whilst Salieri is bad and thus the antagonist of the picture.The mise-en-scene of the scene shows that it a period piece, specifically set during the 1700's which we can tell by the wigs and clothes of the actors. The opera hall is grandiose and lavish, showing the audience that it is a grand and important affair to go to the opera. and be in the presence of royalty and only the socialites of Austria can be attendees.

In the frame Mozart is in the foreground with focus open him whilst the audience is blurred in the background behind him. The director did this because this type of shot ensures that our attention as an audience is placed on the object in the foreground. Also another reason the director did this is because it shows Mozart's superiority above the rest. The shot then cuts to an older Salieri recalling the event. It switches back to a younger Salieri, the camerawork as tightening in upon him as if he trapped. Salieri believes he is becoming insignificant and irrelevant, becoming ensnared by his own critique and slowly realising that he cannot work again while Mozart still lives, foreshadowing later, drastic events. 

A shot cuts towards the Emperor, recognizable with his important clothes, bored by the performance, signified by his yawn. The frame quickly cuts to a shot of Salieri, overjoyed at the response as the Emperor's opinion on the play dictates how long it will run; one, it could be salvaged, two it would close in a week but three the same night. Various switches to characters so their smugness and glee at the gesture, telling the audience they are adversaries of Mozart. As an audience we have sympathy for Mozart as he has no idea that his play's reception is souring.