8.3/10
301,763
573 user 139 critic

Amadeus (1984)

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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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)
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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:

Everything you've heard is true. 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  »

Box Office

Budget:

$18,000,000 (estimated)

Opening Weekend:

$86,764 (USA) (7 April 2002)

Gross:

$51,973,029 (USA)
 »

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
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Did You Know?

Trivia

Important theme of movie is change of Salieri's belief in god. That might have been the reason for the title Amadeus which means love of god. Ironically,the word Mozart means sloppy. 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

"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 Z Channel: A Magnificent Obsession (2004) See more »

Soundtracks

Don Giovanni, K527: Overture
(uncredited)
Written by Wolfgang Amadeus Mozart
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

A rare masterpiece
26 June 1999 | by (Taunton, Somerset, UK) – See all my reviews

Amadeus is an extremely well written story, covering the last ten years of Mozart's massively prolific yet unusual life. I have read much that it paints a rather inaccurate picture of the genius's life, and yet I am not dissuaded from ranking this film as one of the greatest made. The historical problem should be addressed first, because it draws the most criticism. I would advise anyone to shut out the self-righteous whining of those people who fancy themselves as Mozart experts, when they really have little solid evidence for their assertions. History is only seen by us in fragments, be they documents or eye witness accounts. These fragments certainly do not amount to a full picture of events, and so Milos Forman and Peter Schaeffer are perfectly entitled to form their own story of genius.

This issue aside, the picture is one of fantastic colour and scale, crammed with lavish costumes and wonderful architecture. This keeps the eyes occupied, but the ears get the biggest reward. The film uses a large amount of Mozart's music, and does so in a way which is carefully considered. For example, when the insane and enfeebled Antonio Salieri (F. Murray Abraham) reminisces on the sheer beauty of Mozart's compositions, we hear music to match his words, "And there... an oboe, high and unwavering... until a clarinet takes over, and forms a phrase of such longing..." The effect is deeply moving. Examples of this collaboration of music and picture are many; when Mozart (Tom Hulce) swaggers through the streets of Vienna taking swigs from a bottle of wine, we hear a jolly piano concerto; and he is hurled into a mass grave to the sorrowful Lacrimosa of his requiem mass. The music should move any viewer, however much they confess to hating anything classical. If you haven't seen this film, watch, or rather listen, for the scene where Salieri inspects samples of Mozart's music. The originality in switching the music as he turns the pages is profound. The acting is superb, particularly from Abraham. Hulce's cackle provides comic relief, and his wonderfully child-like mannerisms are testament not only to his acting skills, but to Forman's exceptional direction and vision. On the other hand, we are shown two moments of antithesis, namely when he is composing at his billiards table (his face taking on a look of such mature concentration), and when he is dictating his Confutatis to Salieri. Yes, we do get to see Mozart compose, and talk about tonic, dominant, second measures, etc. I would have preferred to have seen more of his thought processes though, because Forman's glimpse of how Mozart applied his genius is extremely exciting to watch, but short lived. Characterisations are brilliantly engineered. Salieri is scheming and yet outwardly indifferent to Mozart. We can see that he loves the music of his superior, and yet is torn apart by his own inadequacy. Inadequacy is a fitting word for Salieri's skill as portrayed by Forman, who wanted to give the greatest contrast possible in terms of the virtuosity of the two men, without making Salieri look like a complete cretin. He is, after all, known as maestro Salieri. Constanze Mozart (Elizabeth Berridge) is on first appearances a giggling girl, and yet through the course of the film we are shown that she is very shrewd, and is ruthless when dealing with finance. Roy Dotrice's Leopold Mozart has a masterful air, and maintains an oppressive paternal hold over his son even after his death, the analogy being the use of an enveloping cloak. The cloak is used as part of Leopold's street wear, but is also part of the costume of the statue in the first showing of Don Giovanni, where Salieri is certain that the imposing figure of the giant statue represents the recently deceased Leopold. In short, Forman presents us with a marvelous psychological essay on weakness and power, both superficial and real. This is obviously no average biographical motion picture, but a film conceived with an intelligence nearing that of it's subject. We are shown Mozart's virtuosity several times, which again provides wonderful excitement. He not only plays variations of his music thought up on the spot (at the party scene) but plays them in the styles of other composers, upside down. He infuriates Salieri by arranging a welcoming march actually written for Mozart (and taken to be wonderful by the Italian up to this point), showing off his outstanding skills whilst looking around at the assembled courtiers and cackling with glee. Those who have watched this scene with me have either laughed or smiled in sheer wonderment at a majestic combination of music, acting and direction. This film is a gem, combining sometimes ridiculous comedy with deep tragedy. On the negative side, it would benefit opera buffs more than concert goers, because opera is the dominant musical genre of the movie. (Specially designed opera productions have been woven into the film; greatly extending it's length but adding that extra colour and vibrancy). The film becomes heavy and slow moving as it nears its astonishingly refreshing conclusion at the lunatic asylum, noticeable largely due to the contrast with a lighter beginning. This may test the patience of some viewers, but once the credits roll, I guarantee that the majority of those who have watched Amadeus will be struck by the passing of such a wonderfully colourful and rewarding masterpiece, and will not want to move from their seats until the tranquil piano concerto fades away. The film deserves all its eight Oscars, and I give it 9 out of 10.


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