Îòçûâ ïî ôèëüìó Àìàäåé Ìèëîøà Ôîðìàíà íà ðóññêîì è àíãëèéñêîì (Ôèëüìû è ñåðèàëû)

Ìû ïîñìîòðåëè ôèëüì Ìèëîøà Ôîðìàíà «Àìàäåé». ß êàòåãîðè÷åñêè íå ñîãëàñíà ñ òî÷êîé çðåíèÿ àâòîðà, êîòîðóþ îí çàêëþ÷èë â ñâîåì ñëîãàíå «Âñå, ÷òî âû âèäåëè - ïðàâäà».

Àâòîð ðàññêàçûâàåò î çàâèñòè ìàýñòðî Àíòîíèî Ñàëüåðè ê Âîëüôãàíãó Ìîöàðòó. Ôîðìàí ïîêàçûâàåò Àíòîíèî Ñàëüåðè êàê áåçáîæíîãî ÷åëîâåêà, êîòîðûé âñÿ÷åñêèìè ñïîñîáàìè ïûòàåòñÿ îòðàâèòü æèçíü Ìîöàðòà.

Îñîáîå ìåñòî â åãî êàðòèíå çàíèìàåò ãðàô Îðñèíè Ðîçåíáåðã – ñëóæàùèé èìïåðàòîðà, êîòîðîìó äîâåðèëè áûòü ãàðàíòîì (äèðåêòîðîì) îïåðû. Âåäü Ðîçåíáåðã – ïåðñîíàæ, êîòîðûé ïûòàåòñÿ ïðîáèòüñÿ â îáùåñòâå çà ñ÷åò äðóãèõ ëþäåé.

Ìíå íå ïîíðàâèëîñü, êàê ðåæèññåð ïîêàçàë õàðàêòåð Âîëüôãàíãà Ìîöàðòà. Àâòîð ïîêàçàë åãî ÷åëîâåêîì íå óìåþùèì ñòðîèòü ñâîþ æèçíü, îí ïîêàçàë åãî óñïåøíûì, íî â òî æå âðåìÿ ðàçäîëáàåì, ãóëÿêîé, è ïîøëÿêîì.

Íî Ìîöàðò áûë íå òàêèì.

Õîòü îí è áûë âîëüíîäóìöåì, ëþáèë ïîøóòèòü, íî êîãäà äåëî êàñàëîñü ðàáîòû è ìóçûêè, Ìîöàðò áûë ïðåäåëüíî ñåðüåçåí, òàê êàê ïîíèìàë, ÷òî « ìóçûêàíò áåç ìåñòà – ýòî øóò». Ìîöàðò íå áûë óñïåøíûì ÷åëîâåêîì, åãî îêóòûâàëà íèùåòà, îí áûë íå â ëó÷øèõ îòíîøåíèÿõ ñ æåíîé, êîòîðàÿ ïîñòîÿííî êóäà-òî óåçæàëà, îñòàâëÿÿ Âîëüôãàíãà îäíîãî.

Ôîðìàí ãîâîðèò î òîì, ÷òî Àíòîíèî Ñàëüåðè óáèë Ìîöàðòà, Ôîðìàí îñíîâûâàëñÿ íà òðàãåäèè Ïóøêèíà «Ìîöàðò è Ñàëüåðè» è îäíîèìåííîé îïåðå Í.À.Ðèìñêîãî-Êîðñàêîâà.

Ïèñàòåëü À.Ñ.Ïóøêèí, íà êîòîðîì îñíîâûâàëñÿ ðåæèññåð, íàïèñàë î òîì, ÷òî Ñàëüåðè îòðàâèë Ìîöàðòà, à ïîòîì ïðèçíàëñÿ â ñâîåì óáèéñòâå â ïàëàòå äëÿ óìà ëèøåííûõ.

ß æå, îïðàâäûâàÿ Ñàëüåðè, õî÷ó ñêàçàòü, ÷òî êîãäà îí áûë â ïàëàòå äëÿ óìà ëèøåííûõ îí ïî÷òè íè ñ êåì íå ðàçãîâàðèâàë. Ìåäñåñòðû, êîòîðûå óõàæèâàëè çà ìàýñòðî, ðàññêàçûâàëè, ÷òî Ñàëüåðè íè â ÷åì íå ïðèçíàâàëñÿ. Ïóøêèí íàïèñàë ýòó ïüåñó, æåëàÿ îòîìñòèòü Ñàëüåðè çà òî, ÷òî èòàëüÿíåö íå ëåñòíî âûðàçèëñÿ î íàøåì èìïåðàòîðå, à òàê êàê ñëóõîâ â òî âðåìÿ õîäèëî ìíîãî, ïðàêòè÷åñêè âñå ïîâåðèëè ñëîâàì ïîýòà.

Âåðíåìñÿ ê ôèëüìó. Ôîðìàí ïîêàçàë ìàäàì Êîíñòàíöèþ Âåáåð êàê äåâóøêó ëåãêîãî ïîâåäåíèÿ (ñöåíà ðàçãîâîðà Êîíñòàíöèè è Ñàëüåðè). È ñ ýòèì ÿ òîæå íå ñîãëàñíà. ß íå ïîíèìàþ, îòêóäà ðåæèññåð ñïèñàë ýòîò îáðàç, âåäü Êîíñòàíöèÿ íèêîãäà áû íå îñìåëèëàñü ðàçäåòüñÿ ïåðåä ìàýñòðî. Äà, îíà õîòåëà èìåòü áîëüøå äåíåã, óëó÷øèòü ñâîå áëàãîñîñòîÿíèå, íî äî òàêîãî îíà áû íå îïóñòèëàñü.

Ìíå ñîâåðøåííî íå ïîíðàâèëîñü òî, ÷òî àâòîð ïîêàçûâàåò Ñàëüåðè êàê ÷åëîâåêà, êîòîðûé õî÷åò óêðàñòü ðåêâèåì. Àíòîíèî Ñàëüåðè - âåëè÷àéøèé êîìïîçèòîð ñâîåãî âðåìåíè. Ìàýñòðî áûë èçâåñòåí, åìó íåçà÷åì áûëî êðàñòü ðåêâèåì èëè ëþáóþ äðóãóþ ìåëîäèþ Âîëüôãàíãà, êàêîé áû ïðåêðàñíîé îíà íå áûëà. Âîëüôãàíã ÷àñòî îáðàùàëñÿ ê Ñàëüåðè çà ïîìîùüþ, à Ñàëüåðè âîñõèùàëñÿ èì êàê ìóçûêàíòîì. Ìóçûêàíòû ðàáîòàëè âìåñòå è ìåæäó íå áûëî íèêàêîé âðàæäû. Ìíå î÷åíü íåïðèÿòíî, çíàÿ áèîãðàôèè è èñòîðèè äâóõ êîìïîçèòîðîâ, âèäåòü â ôèëüìå ñîâåðøåííî ïðîòèâîïîëîæåííûå ôàêòû.

Ïîýòîìó, ïîëíîñòüþ îïðîâåðãàÿ èäåþ, ñìûñë ôèëüìà, ÿ õî÷ó ñêàçàòü èëè äàæå ïîñîâåòîâàòü ðåæèññåðó è ñöåíàðèñòàì îñíîâûâàòüñÿ íà èñòîðè÷åñêèõ ôàêòàõ, õîòÿ áû ïèñüìàõ Ìîöàðòà è ìîæåò áûòü òîãäà ó íåãî âûéäåò ïðåêðàñíûé ïðàâäèâûé ôèëüì.

We watched a film by Milos Forman "Amadeus". I strongly disagree with the author’s point of view, which he concluded in his slogan "Everything you have seen the truth."

The author talks about envy Maestro Antonio Salieri to Wolfgang Mozart. Foreman shows Antonio Salieri as a godless man who tries all sorts of ways to poison the life of Mozart.

A special place in his painting is the count Orsini Rosenberg - servant of the Emperor who was entrusted to be the guarantor (Director) Opera. As Rosenberg is a character who tries to break in society at the expense of other people.

I didn’t like how the Director showed the character of Wolfgang Mozart. The author showed him a man is not able to build his life, he showed his successful, but at the same time, revelers, and vulgar.

But Mozart was not so. Though he was a freethinker, he liked to joke, but when it came to work and music, Mozart was extremely serious, because he knew that «a musician without a place is the jester". Mozart was not a successful person, he was enveloped in poverty, and he was not in the best relationship with his wife, who constantly had gone somewhere, leaving Wolfgang one.

Forman says that Antonio Salieri killed Mozart, Forman was based on the tragedy of Pushkin’s «Mozart and Salieri» and the eponymous Opera by Rimsky-Korsakov.

Writer Alexander Pushkin, which was based Director, wrote that Salieri poisoned Mozart, and then confessed to his murder in the house for the mind deprived.

I, earning Salieri, I want to say that when he was in the house for the mind deprived of it, almost no one was talking. Nurses who cared for the Maestro, was told that Salieri nothing was recognized. Pushkin wrote the play, wishing to revenge Salieri for the fact that Italian is not flattering expressed about our Emperor, as well as rumors at that time there were a lot, almost all believed the words of the poet.

Back to the movie. Foreman showed Madame Constance Weber as a girl of easy virtue (the scene of the conversation Constance and Salieri). And I also disagree. I didn’t understand where the Director has written off this way, because Constance would never have dared to undress in front of the Maestro. Yes, she wanted to have more money to improve their welfare, but to this she would not have fallen.

I did not like the fact that the author shows Salieri as a person who wants to steal the Requiem. Antonio Salieri is the greatest composer of his time. Maestro was known, he didn’t have to steal Requiem or any other tune Wolfgang, no matter how beautiful she was. Wolfgang often turned to Salieri for help, and Salieri admired him as a musician. The musicians worked together and in between there was no animosity. I hate knowing biography and history of the two composers, to see in the film complete opposite of the facts.

Therefore, completely refuting the idea that the meaning of the film, I want to say or even to advise the Director and writers based on historical facts, at least the letters of Mozart and maybe then he’ll make a beautiful truthful film.