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Amadeus (1984)

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

Director:

Writers:

(original stage play), (original screenplay)
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Top Rated Movies #86 | Won 8 Oscars. Another 33 wins & 14 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Michael Schlumberg (2002 Director's Cut)
...
Parody Commendatore
Lisbeth Bartlett ...
Papagena (as Lisabeth Bartlett)
Barbara Bryne ...
Martin Cavina ...
Young Salieri (as Martin Cavani)
Roderick Cook ...
Milan Demjanenko ...
Karl Mozart
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Storyline

Antonio Salieri believes that Wolfgang Amadeus Mozart's music is divine and miraculous. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing. He began his career as a devout man who believes his success and talent as a composer are God's rewards for his piety. He's also content as the respected, financially well-off, court composer of Austrian Emperor Joseph II. But he's shocked to learn that Mozart is such a vulgar creature, and can't understand why God favored Mozart to be his instrument. Salieri's envy has made him an enemy of God whose greatness was evident in Mozart. He is ready to take revenge against God and Mozart for his own musical mediocrity. Written by Khaled Salem

Plot Summary | Plot Synopsis

Taglines:

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


Motion Picture Rating (MPAA)

Rated R for brief nudity | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Language:

| | |

Release Date:

19 September 1984 (USA)  »

Also Known As:

Amadeus: The Director's Cut  »

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Box Office

Budget:

$18,000,000 (estimated)

Opening Weekend USA:

$505,276, 23 September 1984, Limited Release

Gross USA:

$51,973,029
See more on IMDbPro »

Company Credits

Production Co:

,  »
Show more on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

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

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

This is one of only eleven films to receive more than one Academy Award nomination for Best Actor. In this instance, F. Murray Abraham and Tom Hulce were so nominated. The other ten films were Mutiny on the Bounty (1935) for which Clark Gable, Charles Laughton and Franchot Tone were all nominated, From Here to Eternity (1953) for which Montgomery Clift and Burt Lancaster were nominated, Judgment at Nuremberg (1961) for which Maximilian Schell and Spencer Tracy were nominated, Becket (1964) for which Peter O'Toole and Richard Burton were nominated, Sleuth (1972) for which Laurence Olivier and Michael Caine were nominated and The Dresser (1983) for which Tom Courtenay, Albert Finney, Bing Crosby and Barry Fitzgerald in "Going My Way" (1944), James Dean and Rock Hudson in "Giant" (1956), Tony Curtis and Sidney Poitier in "The Defiant Ones" (1958) and William Holden and Peter Finch for "Network" (1976) were nominated. Of the actors in question, only Crosby, Schell, Finch and Abraham won the Academy Award for Best Actor for the relevant performances. In an unusual twist, Barry Fitzgerald lost Best Actor to his co-star Bing Crosby, but won Best Supporting Actor for his performance, the only time in Academy history that an actor was nominated in lead and supporting categories for the same role in the same film. See more »

Goofs

There is one huge, musical and dramatic mistake, that seems to have been missed for all these years - even if it turns into nonsense an essential sequence of the movie. In the "ballet in Le Nozze di Figaro" affair (around 1h42'), the wrong scene of the opera is used. They play and show the March, where anonymous dancers dance with or without music. It should be the second dance, the Fandango, performed by the characters of the opera, where Susanna slips to the Count the "bigliettino", luring him into the nocturnal trap of the 4th act . This scene is dramatically crucial, its absence would ruin the plot (the March means nothing much and could have been easily cut - or performed without dancing!) and that was Mozart's argument in the situation we know from Da Ponte's Memoirs, and in the original Amadeus play. Since it couldn't be cut, without music it must have looked like a pantomime, making no sense - and that's the reason the Emperor ordered to put it back. Moreover, the Emperor had not forbidden ballet music, but dancing. Therefore the Kapellmeister Bonno's line ("Herr Direktor he has removed un balletto...") makes it all doubly absurd - since "un balletto" is exactly what we see on the screen, only without music. There is probably no way to correct this, but since no one seems to have been bothered by this blunder... See more »

Quotes

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


Soundtracks

Le Nozze di Figaro (The Marriage of Figaro), K.492: Act 1 - Non Più Andrai (Overture)
(uncredited)
Written by Wolfgang Amadeus Mozart
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Amadeus Speaks for All Mankind
4 May 2004 | by See all my reviews

In 1984, Saul Zaentz, Peter Shaffer and Milos Forman collaborated in bringing a truly remarkable life to the silver screen. The story of Wolfgang Amadeus Mozart, through the eyes of rival composer, Antonio Salieri. The film is complete with an insightful script (courtesy of Mr. Shaffer), magnificent acting, wondrous sets and costume designs, incredible choreography (thanks to Twyla Tharp), and, above all, the glorious music of Mozart himself.

The movie of Salieri's life, through which Mozart played an integral part, is told in flashback mode, beginning in around the year 1822. An old and perhaps emotionally disturbed Antonio Salieri attempts suicide, and in doing so, apologizes for killing Mozart some 31 years earlier. He survives and is admitted to an insane asylum, where he tells a young priest his tale of jealousy and mediocrity.

The priest is fascinated and alternately troubled by the lengthy and emotional story. Salieri tells of growing up in Italy with a father who did not care for music; and how he rejoiced for the chance to go to Vienna after his father's untimely death. He tells of how he first had met the young Mozart, and how immature and dirty minded Mozart was. He also tells of how "The Creature" had an intimate relationship with the girl that Salieri had cared for. Most importantly, however, he confided in the priest that he had learned to hate God for giving him a deep love of music, only to deny him the talent to create truly memorable music. He thought God had given him Mozart to mock him. Salieri's heart filled with such rage, such hatred and such jealousy, that he had vowed to himself to make God an enemy and to kill the young Mozart.

As the movie moves along, carrying with it a deep sadness of the human condition, it also celebrates life by giving the audience joyous music, wonderful atmosphere and a general appreciation of humanity for not only eighteenth century Europe, but in any age where music speaks for our emotions.

The movie won eight Academy Awards in March of 1985. The only reason it did not win nine was that Tom Hulce was nominated for best actor instead of best supporting actor. He actually was in a supporting role, and in a strange twist of irony, F. Murray Abraham won the best actor statuette; citing probably the only time when Salieri beat out Mozart in anything.

The movie itself was shot in Prague where Milos Forman said "(It) is a gem because it's possible to pivot the camera a full three hundred and sixty degrees and never encounter a modern vision." Very few new sets had to be built, as the scenes and buildings they found were quite often apropos to their needs.

Amadeus works well on virtually every cinematic plane that exists. It is a masterpiece that must be viewed multiple times to receive what the film has to offer. The emotions of humanity, through the eyes of the troubled Salieri, indeed speak for all of mediocrity. He is their champion and their king.


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