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Amadeus (1984)

8.4
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Ratings: 8.4/10 from 209,297 users   Metascore: 93/100
Reviews: 509 user | 127 critic | 12 from Metacritic.com

The incredible story of Wolfgang Amadeus Mozart, told by his peer and secret rival Antonio Salieri - now confined to an insane asylum.

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Writers:

(original stage play), (original screenplay)
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Title: Amadeus (1984)

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Top 250 #89 | Won 8 Oscars. Another 37 wins & 16 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Charles Kay ...
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Papagena (as Lisabeth Bartlett)
Barbara Bryne ...
Martin Cavina ...
Young Salieri (as Martin Cavani)
Roderick Cook ...
Milan Demjanenko ...
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Storyline

Antonio Salieri believes that Mozart's music is divine. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing. But he can't understand why God favored Mozart, such a vulgar creature, to be his instrument. Salieri's envy has made him an enemy of God whose greatness was evident in Mozart. He is set to take revenge. Written by Khaled Salem

Plot Summary | Plot Synopsis

Plot Keywords:

composer | emperor | death | musician | opera | See more »

Taglines:

The man... The music... The madness... The murder... The motion picture... See more »

Genres:

Biography | Drama | Music

Motion Picture Rating (MPAA)

Rated R for brief nudity | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| | |

Release Date:

19 September 1984 (USA)  »

Also Known As:

Amadeus: The Director's Cut  »

Box Office

Budget:

$18,000,000 (estimated)

Opening Weekend:

$86,764 (USA) (5 April 2002)

Gross:

$366,401 (USA) (17 May 2002)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

(70 mm prints)| (director's cut)| (35 mm prints)

Color:

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

According to John Harkness's book "The 1999 Academy Awards Handbook", Maurice Jarre, in his speech accepting the 1984 Best Original Score Oscar for A Passage to India (1984), expressed his gratitude that Amadeus (1984) had not been Oscar-nominated for Best Original Score. An obvious joke, since none of Amadeus' score was original. See more »

Goofs

At the beginning of the film, while talking to a priest Salieri is seen playing what looks like a harpsichord, yet the sound produced is of a piano. This is not a goof. The instrument played by Salieri at the beginning of the film is actually a pianoforte, not a harpsichord. This is also the instrument played by both the emperor and Mozart at their first meeting. The pianoforte bridged the gap between the harpsichord of the 18th century and the modern grand piano of the late 19th century. See more »

Quotes

[first lines]
Salieri: Mozart! Mozart, forgive your assassin! I confess, I killed you...
See more »

Crazy Credits

The producer, screenplay writer and director thank the following for their boundless assistance in our effort to present the physical authenticity and aura you have seen and felt in "Amadeus": -The National Theatre of Czechoslovakia and Prague's Tyl Theatre management for allowing us to film in the Tyl sequences from the operas: "Abduction from the Seraglio," "The Marriage of Figaro," and "Don Giovanni." It was actually in this magnificently preserved theatre that Wolfgang Amadeus Mozart conducted the premiere performance of "Don Giovanni" on October 29, 1787. -His Eminence Cardinal Frantisek Tomasek for his kindness in permitting us to use his beautiful residence headquarters in Prague as the Emperor's palace. -The Barrandov Studios and CS Filmexport for their help in filming "Amadeus" in Prague and in castles and palaces throughout Czechoslovakia. See more »

Connections

Referenced in The Oprah Winfrey Show: Summer Movie Reviews (1996) See more »

Soundtracks

Die Zauberflöte (The Magic Flute) Act 2 - Pa-Pa-Pa-Pa-Pa-Pa-Papagena!
(uncredited)
Written by Wolfgang Amadeus Mozart
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Ravishing in sound and vision
1 April 2002 | by (Buckinghamshire England) – See all my reviews

The unseen star of this film is the Academy of St Martin's in the Field, London. Buy the soundtrack and you will be rewarded with some of the most stunning music you can hear. Mozart's music excells with brilliant treatment and dies with a bad performance. And that, after all, is what the film is about. Without his music, Mozart would be lost in time, a fate that the narrator of the story, the composer Salieri, saw as his own. Ironically, while Salieri has indeed been completely overshadowed by Mozart, his music still survives and has its followers.

But beyond the music this is an outstanding film. Set in the prettiest and most flamboyant century of the last millennium, it is visually stunning and the writer's portrayal of jealousy is perceptive. The casting of the Austrian King and courtiers, (indeed all the actors in this film) that Mozart needed to impress capture the gentility and courtesy of the time, and also subtly shows their growing indignation and impatience at Mozart's personality and behaviour; the presentation of Mozart as punk musician is probably the only failing in the film. As a theatrical device to show that genius can come in disastrous packages it succeeds well, but anyone with any historic sense of social ettiquette or manners will know that Mozart's sill y behaviour would be well wide of the truth, as might, perhaps, be the concept of Salieri as murderer-in-chief. Only in the final scenes is Mozart's brilliance as a composer truly explored in what amounts to a deconstruction of his final composition - his moving, uncompleted and poignant Requiem mass.

Another unintended star in this film are the candle lit sets and theatres of the 18th Century; their operas and drama ooze a magic that is lacking in the present world and which modern producers might well try to reintroduce; so lovely are these buildings with their flickering lights and theatrical techniques that one is left desperate to to seek out these rare theatres to experience them.

This film leaves one breathless from its visual beauty, its magnificent score and the choreography, indeed, of the two together. Mozart's life had the air of tragedy, and his undoubted genius speaks to us now and forever. This film is a monument to the skills of the writer, maker, performers and, of course, Mozart's music. If you have not yet done so, see it.


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