“I will speak for you, Father. I speak for all mediocrities in the world. I am their champion. I am their patron saint.”

If I had to choose a favourite film, it would be Amadeus, almost solely because of my appreciation for Salieri. It is Salieri who carries the story, Salieri who narrates, Salieri with whom we identify. Salieri is the protagonist, and Salieri is the villain.

I have pondered this film often enough to figure out why I love Salieri’s brand of villainy so much, and have narrowed it down to four reasons.

First, Salieri and Mozart are similar. They share their love for music and their ambition to compose and be applauded. They occupy the same niche, even as Mozart is vastly more talented than Salieri. A relationship, even an antagonistic one, is built upon similarities as well as differences. The shared traits are amplifiers of the conflict. Without such parallels, the hero-villain dynamic becomes a simple black and white affair, but with them, we get nuances of grey. It is in these patches of overlap that relationships become interesting, but to achieve that, there needs to be common ground. Salieri is hopelessly fascinated with Mozart’s music, adores it like no other in the film. He is touched to the core by reading the sheet music for Serenade for Winds, and while he engineers the failure of The Marriage of Figaro, he attends all of its limited performances in secret. This fuels his hatred for Mozart but also creates complicating moments of sympathy between the characters.

Second, Salieri and Mozart are different. We see Salieri in the beginning of the film, a respected composer with reasonable talent, likable, civilised: a fortunate, content man. Enter Mozart, a loud and crass man, and from Salieri’s (and therefore the audience’s) point of view undeserving of his talent. Where Salieri is reserved, Mozart is boisterous; where Salieri is knowledgeable, Mozart is ignorant; where Salieri is manipulative, Mozart is naive. Interestingly, this is perpetuated throughout the film, but increasingly in reverse. As Mozart’s flamboyance, braying laughter, thoughtlessness and tactlessness give way to a much more subdued and arguably more sympathetic character, Salieri becomes aggressive, overtly nasty (see the scene with Mrs Mozart) and cruel.

This balancing of Salieri’s villainy with the tempered Mozart is crucial to allow the two characters to stay at opposite ends of the spectrum as the story progresses. It maintains the diametrically opposite relationship and forms the contrast against which Salieri’s descent can be more clearly seen. At the same time, the love for music tethers the increasingly villainous protagonist and his increasingly sympathetic antagonist to each other, never allowing them to drift apart.

Thirdly, Salieri’s justification is clear. From Mozart’s introduction and his tactless reworking of Salieri’s welcome composition in a public and humiliating manner, we understand Salieri. Who has not felt mediocre, envious, and bitter at the success of others, and presumably with less cause? His every petty thought is relatable on some level. Upon Mozart’s arrival, Salieri’s talent is instantly dwarfed, his self-image and ambition crushed. He is humiliated and insulted. It is no great stretch to see that he wants retribution. Maybe even deserves it. Unlike weaker villains, Salieri gives us someone with whom to identify, leading us every tiny step of the way into the role of villain. It is a well-crafted slippery slope, each move so easily justifiable almost until the end. Particularly since Salieri’s jealousy is ever tempered by his love for Mozart’s music. Even in his final deceit, Salieri supports the composition whilst working to destroy the composer.

Finally, Salieri is unable to win. Even though Mozart dies, poor and almost alone, Salieri still loses and destroys himself through his own inadequacy, jealousy and rage. If the story had ended with Mozart’s burial, the film would have been a much simpler story of one man destroying another. Instead, we are given the final scene: Salieri wheeled away, old, mad and bitter, having endured a front-row seats to his own destruction for 32 years, watching himself judged by time and found lacking. All to the tune of the second movement of Mozart’s Piano Concerto in D Minor.

“Mediocrities everywhere… I absolve you… I absolve you… I absolve you… I absolve you… I absolve you all.”

Exit stage.