*nods* I need to watch the movie again and then go read your review again! I don't remember Salieri speaking quite as much Italian in the movie, so I think it hit me here where it didn't as much in the movie -- but it could also be that I didn't know Italian when I last watched the movie, so it would have been lost on me in any case.
Which is a different thing from what drives movie!Salieri at the same point; he doesn‘t seek absolution because he never has a moment where he realises he‘s become monstrous, and the connection the scene between them establishes is a creative one. (Also of course early in the scene it‘s Mozart who asks for Salieri‘s forgiveness.)
Hm! I think I assumed Salieri had realized he had become monstrous in the movie, but couldn't bring himself to make himself monstrous in Mozart's eyes. (Surely you couldn't be asked for forgiveness by Tom Hulce and not realize that? :) ) It's really powerful in the play though partially because Salieri needs Mozart to be as horrified by him as he is by himself so that he can ask for absolution -- which might even be considered a form of selfishness?
Anyway, yes, very different emotional beats, and I agree that the connection in the movie is a creative one.
Re: Act 2 - Magic Flute and Requiem to end
*nods* I need to watch the movie again and then go read your review again! I don't remember Salieri speaking quite as much Italian in the movie, so I think it hit me here where it didn't as much in the movie -- but it could also be that I didn't know Italian when I last watched the movie, so it would have been lost on me in any case.
Which is a different thing from what drives movie!Salieri at the same point; he doesn‘t seek absolution because he never has a moment where he realises he‘s become monstrous, and the connection the scene between them establishes is a creative one. (Also of course early in the scene it‘s Mozart who asks for Salieri‘s forgiveness.)
Hm! I think I assumed Salieri had realized he had become monstrous in the movie, but couldn't bring himself to make himself monstrous in Mozart's eyes. (Surely you couldn't be asked for forgiveness by Tom Hulce and not realize that? :) ) It's really powerful in the play though partially because Salieri needs Mozart to be as horrified by him as he is by himself so that he can ask for absolution -- which might even be considered a form of selfishness?
Anyway, yes, very different emotional beats, and I agree that the connection in the movie is a creative one.