Each year, Hollywood releases at least one or two music biopics. Only last year he saw the announcement of "Return to Black", a portrait of the late Amy Winehouse and nominated for an Oscar "Complete Unknown", the story of Bob Dylan's origin, as stated by the Jameses Mangold. It is easy to understand why we continue to get these films: they are quite popular. Of course, some of them are flopping, but more often than not, there seems to be insatiable hunger from the public to watch the actors slap on the wig and make the impression of the famous singer. And the studios are often all of them because not only do you have dollars at the box office at work, but if directors and actors play their cards properly, the prizes season appears.

"Bohemian Rhapsody", the 2018 film for Queen Singer Freddie Mercury, made a boxing treasurer and scored several nominations, winning Rami Malek the best acting trophy, and despite the fact that the film itself is the film Instead of fake. While there is nothing inherent Wrong By making a biopic musician, they have become so standard that producers and directors have adopted a rotate, a solid formula for their pumping. This formula is so rooted in the subgenerer that it was brilliantly parodied by the funny image of Jake Casdan since 2007 "Walking Hard: Devi Cox Story", "A movie that so perfectly pulls out the piss of the musician's biopism that would probably kill the subger.

While there are some bright spots here and there - all considered things, "Completely Unknown" is pretty good - Musician Biopic often relies, mainly because everyone follows the same damn formula: a musician is born, they rise in fame, they meet other famous musicians on the road, they suffer from some drop (usually because of drug addiction), they have a triumphant return. It seems that the best way to come out of this wicked, often boring cycle is completely ignored, which is why Milos Forman's best musician of all -time is, "a bold decision to ignore the formula aDating to the hell of historical accuracy.

I am ready to bet at least a few people reading this, at one point or another, that the death of celebrity composer Wolfgang Amadeus Mozart has appeared because of his bitter rivalry with colleague composer Antonio Salieri. But there is absolutely no truth about it at all. If you've heard this at some point in your life, the source is very likely "Amadeus", Forman's film in 1984, adapted by Peter Schaefer's performance. Schaffer's play was, however, borrowing from a fictional rivalry cooked by playwright Alexander Pushkin.

Forman film is burdened with inaccuracies. Real Mozart and Salieri were not rivals, but instead of friends. Mozart died young, but his death had nothing to do with Salieri (there was no clear consensus about killing Mozart at the age of 35, but it was probably some kind of fever or infection). On top of all that, Forman's Film, with a script by shaffer, Fudges Countless Details: Mozart Operas that was actual Several Children, is Portrayed as celibate (i've see a life people cheekily refer to salieri in the film as an "Incel," but incels are celibate due to Circumstances The Film's Salieri deliberately makes himself celibacy in order to devote his whole life to music).

Historians have faced the way Amadeus bends the truth since it hit the screen, but Forman and Schafer have always been open to the way the film turns the facts. Shafer even was referring to the job as "fantasy on the theme of Mozart and Salieri". The film also gives a clever hole: the whole story is told by the elderly, clearly demonstrated saliers. It's not a historical record; These are memories of a deliric old man on the edge of death. By Course BEE has inaccuracies.

Does the musician's biopic (or biopic in general) have an obligation to be fully accurate? I guess it depends. Apparently, some real details must be respected: "Bohemian Rhapsody" would be an even worse film if Freddie Mercury's miracle was deleted, and if Taylor Hackford's "Ray" threw a white man instead of Jameim Fox, playing Ray Charles, he would understand. But a musician biopic should not fully stick to the facts. Truth be told, I can't think of a movie in the subgenerer that can be considered 100% historically accurate - writers and directors will almost always condense or massage or change the truth in the name of an attractive narrative, and that is what they should do.

And yet, it seems that in the years after Amadeus hit theaters and took home more Oscars (he won the best picture, the best director, the best actor, the best adapted scenario, the best artistic director, the best suit design, the best makeup and the best sound), the knee reaction. "You know, that movie is not correct!" People quickly say, how to add the footnote to the movie itself. I say to that: Who cares?

Warner Bros. Discovery Home Entertainment recently released "Amadeus" at 4K for the first time in the form of the original theater cut (previous home media releases are shown only by the so -called director, who adds 20 minutes to the film and is mostly considered inferior). I have seen "Amadeus" countless times before, but looking at this new edition of 4K feels almost transcendent. I thought: it must be embarrassing for other movies to know that they will never be as good as this.

Amadeus opens with ancient Antonio Salieri (F. Murray Abraham) trying and failed to die of suicide. After this attempt, Salieri visits a priest who hears him as a nursing composer tells the pleasant story of how he killed the famous Wolfgang Amadeus Mozart (Tom Hulce). In the story of Salieri, he grew up idolizing Mozart, a children's fornication, who began to perform for the kings of a young age. Salieri is a clear gifted musician, and he wants nothing more - or so he says - than to create beautiful music as a way of satisfying God.

But as much as Salieri can be, he will never be as good as Mozart. And it is terrible that saliers He knows this. He immediately admits that Mozart is not an ordinary musician, he is someone with a divine gift. To add insult to injury, when adult saliers finally meet with adult Mozart, he reveals that Mozart is boring, horny, children's beard.

Hull, who adopts a wonderful terrible gig, plays Mozart as blurred, hugged genius with excessively hard and predisposed to stataolig humor. He is the type of person who would easily exclude you if you met him joking and quarreling. And yet ... Mozart can make the most beautiful, beautiful music with seemingly no real effort. He is not just talented, or gifted, or qualified - he is a borderline supernatural.

Hulce is wonderful here, but "Amadeus" really belongs to Abraham, who won the Oscars (he and Hulce were both Nominated for Best Actor, instead of having one of them fit into the category of Best Actress). While Salieri sinks at bitter depths as the film continues, Abraham wisely makes the choice not to play as a pure villain, but as a pathetic, longing creature that is aware of his limitations. As Salieri himself says, he wants nothing more than doing beautiful music. And yet he is cursed to be average forever when compared to Mozart.

Abraham perfectly embodies the jeopardy longing of the character. One of the best scenes in the movie It appears when Saliers pours part of Mozart's music and is stunned when it reveals and that there are no adjustments and that the music itself is a beautiful heart. "This was music I never heard," Salieri tells us. "Filled with such a longing, such an unfulfilled longing, it was shaking. It seemed to me that I hear the voice of God. " While listening to the music in his mind, Salieri tilts his head up, the tendons flush into the neck, closed eyes and in the ecstatics and in the pure horror, the pages of the limic music descend forcibly out of the hands as they suffocate.

Did you happen any of this? Probably not. In fact, no. And yet, it doesn't matter. Amadeus is so brilliant, a fun movie that whether it's a fact or fiction is eventually a meaningless argument. All that matters is that the film burns with intense passion. It's funny, it's sexy, it's scary. There's pretty much everything you can want from a movie (including a musical result to die). And who among us cannot refer to the type of intense envy that burns in Saleri? We may not know complete geniuses in our lives like Mozart, but we all know at least one person who seems to float; progressing as we fight and scratch and pray for some blessing from above that will never come. Whether it's a fact or fiction, Amadeus is really a movie at the best. If you want a history lesson, go read a book.