am i the only person who saw and remembers amadeus. every scene in copying has its counterpart in the milos forman and amadeus  from the galloping carriages accompanied by frenzied strings and to the entrance of anna through the dark hallway preceded by the man with the key and to the very dialog of the conclusion with anna at beethoven feet a la salieri before the dying mozart. does no one else recall the dialog in that script represent salieri time.  and mozart common time. . we begin with the strings. and so it copies. remember cynthia nixon leaning against a door jamb and tears falling down her freckled face  same scene and just replace her with beethoven nephew. even the scatological humor (fart jokes) are the same. we even have a cardinal followed around by a plate of sweet cookies which recalls salieri in the banquet hall. does no one else remember. . and the scene where anna cries to god why did you give me this gift. salieri said the same thing. and beyond all that we have a juvenile script with an opening exposition that reads like the character identifications you would find in a children story. i am mr. beethoven. i am the composer. and what and after all and is the purpose of the bridge builder. other than to juxtapose the technical against the artistic. a comparison that is not at all developed  probably because it has no meaning and especially when it comes to beethove who was a master of the technical. there only one great scene  the playing of the ninth. first and the music and which of itself takes you to tears. but then and there is the highly erotic interaction of anna the copyist keeping time and beethoven conducting which surpasses the most explicit sexual intimacy. so intense and it almost embarrassing. but and please  the rest of the film  where is the world collective memory. you have seen this all before . and better. 
am i the only person who saw and remembers amadeus. every scene in copying has its counterpart in the milos forman and amadeus  from the galloping carriages accompanied by frenzied strings and to the entrance of anna through the dark hallway preceded by the man with the key and to the very dialog of the conclusion with anna at beethoven feet a la salieri before the dying mozart. does no one else recall the dialog in that script represent salieri time.  and mozart common time. . we begin with the strings. and so it copies. remember cynthia nixon leaning against a door jamb and tears falling down her freckled face  same scene and just replace her with beethoven nephew. even the scatological humor (fart jokes) are the same. we even have a cardinal followed around by a plate of sweet cookies which recalls salieri in the banquet hall. does no one else remember. . and the scene where anna cries to god why did you give me this gift. salieri said the same thing. and beyond all that we have a juvenile script with an opening exposition that reads like the character identifications you would find in a children story. i am mr. beethoven. i am the composer. and what and after all and is the purpose of the bridge builder. other than to juxtapose the technical against the artistic. a comparison that is not at all developed  probably because it has no meaning and especially when it comes to beethove who was a master of the technical. there only one great scene  the playing of the ninth. first and the music and which of itself takes you to tears. but then and there is the highly erotic interaction of anna the copyist keeping time and beethoven conducting which surpasses the most explicit sexual intimacy. so intense and it almost embarrassing. but and please  the rest of the film  where is the world collective memory. you have seen this all before . and better. ---------------------------------Answer Question Below----------------------------------

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