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Amadeus (1984)

8.4
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Ratings: 8.4/10 from 206,902 users   Metascore: 93/100
Reviews: 507 user | 125 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 33 wins & 13 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Charles Kay ...
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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:

...Everything you've heard is true 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

During the start Confutatis section dictation, a miscue from John Strauss (who was cuing the music phrase for both actors via AM wave hearing aids) got Tom Hulce lost and confused because he was waiting for the exact pitch and phrase coming in. The miscue was included in the final film - when F. Murray Abraham repeats the phrase 'A minor', Hulce was not responding for a while as he was actually waiting for the cue. See more »

Goofs

[Director's Cut] When Mozart asks Salieri for a loan, the cup jumps from Mozart's hand to the table. See more »

Quotes

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

Crazy Credits

"Amadeus" was originally a National Theater Production in London, then produced in America by The Shubert Organization, Elizabeth I. McCann/Nelle Nugent and Roger Berlind. See more »

Connections

Referenced in Eyes Wide Shut (1999) See more »

Soundtracks

Die Zauberflöte (The Magic Flute) Act 2 - Ein Mädchen Oder Weibchen
(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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