A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous facade, there is revealed a person of intelligence and sensitivity.
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
F. Murray Abraham originally sought for the small role of Rosenberg. During one audition session, Milos Forman asked him to read for the part of the old Salieri. His reading was so good that Forman has already had in mind of him playing the lead role but deliberately stopped short of saying "you got the part" because Forman knew that casting him for that would clash with his work on Scarface (1983), so he deliberately waited until he nearly completed all his scenes. A few days later, Forman asked Abraham to do the same reading for a few more audition sessions, but his refusal to do so eventually convinced Forman to cast him because he felt Abraham "could be a great actor if there are no breaks in between." See more »
The dancers in the opera/ballet scene are wearing costumes with zippers clearly visible. See more »
Mozart! Mozart, forgive your assassin! I confess, I killed you...
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"Amadeus", while historically inaccurate in numerous ways, is a brilliant film. Its central character is not a man but an attribute of man at his most remarkable: genius. Mozart's genius was at the highest level, on par with Shakespeare, Michelangelo and Balanchine. Forman knew this when he undertook translating Peter Shaffer's play. Although most of the acting is on a very high plane, the actors themselves are not top tier, not should they be. A famous, easily recognizable actor would have detracted from the central thesis that genius is greater than the one on whom it has been entrusted. Mozart was, of course, deeper than the character shown in the movie, but no personal life could equal the extent and depth of the musical genius that flowed from this little man. The letters he sent to his father show a remarkable sensitivity and depth of understanding. However, they are not paradigms of literary greatness. The immense contribution of W. A. Mozart lay in some of the most sublime music ever written. Fortunately, the film gave us snippets of some of the real gems in the Mozart canon: the great C Minor Mass, the Requiem and "Don Giovanni". Forman realized that no human being will ever be great enough or have the background to pen such masterpieces without intervention from elsewhere. This is certainly true of Shakespeare as well. So what we have here, ultimately, is a celebration of genius, that great gift to mankind that nearly always proves to be too much for the person who is chosen to manifest it to the rest of us. Many thanks to Milos Forman for the wisdom to keep out of the way and allow genius to shine through. In that sense, "Amadeus" is an exercise in humility. Few films come across as blessings for those who experience them. "Amadeus" is one such film.
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