Book Review: "Amadeus" by Peter Shaffer

You're probably wondering why I'm doing so many rereads and perhaps it's because I'm feeling a bit nostalgic, but perhaps it is also because I'm yearning for great literature that I have enjoyed in the past. In the ways of repairing my mental health from the years 2024/2025 which was horrific for me (I mean it was quite possibly the worst year of my life), I have decided to reread some classics I have enjoyed. I'm not going to go for the usual classics I've enjoyed in the past, but I'm instead going towards things that when I first read them, moved me in a way I didn't think was possible from a book that didn't appear in my top 20. If you've read my review of Night by Elie Wiesel then you'll understand. Amadeus is my next one...

Let's just start by saying that though some of the scenes are the same as in the 1984 movie, there are definitely differences between the play and the film where I do think the drama came through more with Tom Hulce and F. Murray Abraham. The play definitely gives us some dynamics to think about though. First and foremost is that compared to the film, the friendship between Mozart and Salieri in the play seems to be more intentional perhaps because it is a stage play. Mozart seems more suspicious of Salieri here than in the film, where he sees Salieri as more of an ally. Nonetheless, Mozart does still have his trademark laugh like high-pitched gratings of sandpaper that initially shocks the congregation around him when first uttered in the play.

When it comes to the way in which the drama is presented we have to appreciate that the play is shorter than the movie and in fact, there are some differences that do suit a stage play more. For example: the repetitive whisperings of 'I don't believe it' at the start and at the end of the play, the way in which Salieri talks to the entire audience in a form of narration, the way you can imagine the staging in your head - if you love the movie then you can definitely see how these two things are different but both are very good. The intentional way in which we are shown the nature of Salieri's hatred and the very direct speech pattern he takes with the audience is something to be admired - and something which probably wouldn't work if it was so direct in the film.

The next thing I want to talk about (vaguely) is the ending to the play. The ending to the play and the ending to the film are, of course, different. If you've seen or read the play then you will probably know that it ends on a different emotional note. There's something about the ending to the play that I thought, if it were done on film, would've pushed the boat out way too much and well, the way it was rearranged for the movie made it a bit smarter. I do have to say, I don't understand why it wasn't arranged the way in was in the film within the play because of the fact, that singular emotional note works far better in the context of the movie. Be that as it may, I think I'll do some more research before running my mouth. I am being purposefully vague because I don't want to give too much away and when you read it, you'll probably realise what I am talking about.

Finally, there's the character of Mozart. Mozart is often described in the play as a man-child but, is an incredibly intense character nonetheless. He is often broke and people around him die quite often. His marriage is often on the rocks and he doesn't know who to trust. Be that as it may, in the play, his character suspects far more than Tom Hulce's portrayal does in the movie. I definitely think the suspicion was removed. But, there are scenes that directly print from the film on to the play. For example: there's the scene where Mozart tries to play from memory what Salieri has written for him and ends up changing the melody, unaware that he has caused some offence to Salieri. Then there's the removal of the ballet scene. There are a few and you can definitely feel them - Peter Shaffer does an excellent writing job.

All in all, I love this play even though it does have its differences from the movie. I love the way in which there was a clear and intentional translation of the play from the script to the screen, in which several of the heavily-intentional things were made a little bit more subtle. I would definitely like to revisit this book in the future.