Here’s my position. If you are going to create a miniseries about the life, death and music of one of the defining geniuses of the last 1,000 years of western civilisation, and if you are going to use as your source material a script for a great play that was made into a near-perfect film beloved by almost everyone for its wit and immense, profound themes rendered accessible and moving, and for the fact that it had two of the most extraordinary performances ever committed to what may still then have been celluloid – well, you had better be pretty damn sure that you are bringing something new, exciting, different, richer, cleverer, even more illuminating to the table. Otherwise you are going to look like a bit of a berk.
And so, my friends, to the new six-part drama Amadeus, about the life, death and music of Wolfgang A Mozart, one of the defining geniuses of the last 1,000 years of western history. Co-creators Joe Barton and Julian Farino have retained parts of Peter Shaffer’s 1979 play and the 1984 film starring Tom Hulce as Mozart and F Murray Abraham as his rival composer Antonio Salieri, reworked them into lesser forms, and surrounded them with lesser – flat, airless, banal – scenes. Shaffer’s driving interests in the corrupting power of envy, the survival of religious faith under duress, the mystery of talent and what we expect to come from genius are mostly reduced to pale, petty versions of themselves. The performances – well, we’ll come to those.
