From Christopher Nolan to the Marvel Universe, our contemporary storytellers keep going back to the example set by this Oscar-winning 1984 movie. But why?
Writers as far back as the 19th century had been inspired by the legendary rivalry between Antonio Salieri, Court Composer of Holy Roman Emperor Joseph II, and Wolfgang Amadeus Mozart, the phenomenal prodigy who stormed into the court at Vienna and showed up Salieri for the comparative mediocrity that he was. Alexander Pushkin had adapted the story as a play in 1830; Nikolai Rimsky-Korsakov as an opera in 1897.
That the story is not remotely historically true is not really the point. Salieri, revisionist musical historians have contended, was a better composer than Shaffer had him cracked up to be; the supposed rivalry between the Italian and the Austrian composer is completely undocumented. Oppenheimer: Science as art and genius as fait accompli Throughout the film, Strauss is posited as malignantly envious of Oppenheimer’s scientific acumen, a man positioned on the edges of serious science who is nonetheless unequipped to engage with it in a serious way.
In a steampunk twist, the desperate Angier contracts Nikola Tesla to build him a machine that creates exact duplicates of human beings – every time the trick is performed, the original Angier is dropped into a water tank and drowned, and the clone continues Angier’s life. Borden, meanwhile, turns out to have simply been a pair of identical twins all along – a pedestrian but ultimately self-evident revelation.
WandaVision holds its cards close to its vest, disguising Agatha as “Agnes,” the daffy next-door neighbor in a series of augmented realities based on television sitcoms ostensibly being projected/created by Scarlet Witch. Mozart, in Amadeus, also sees Salieri as being a friend, or at least harmless, to begin with.
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