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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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(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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Lisbeth Bartlett ...
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 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:

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Release Date:

5 April 1985 (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:

$51,600,000 (USA)
 »

Company Credits

Production Co:

,  »
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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

Milos Forman wanted Amy Irving to repeat her Broadway role of Mozart's wife. To his disappointment, she passed, unable to cope with six months in Prague. See more »

Goofs

When asked to play in the style of Handel, Mozart says "I don't like him." He also states that Christoph Willibald Gluck "bores me." In fact Wolfgang Amadeus Mozart admired George Frideric Handel, played and listened to his works frequently, and even re-orchestrated a number of Handel's works including "Messiah." Mozart was also fond of Gluck's work. 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 »

Connections

Referenced in School of Rock (2003) See more »

Soundtracks

Die Zauberflöte (The Magic Flute), K620, Aria No. 14, Der Holle Rache Kocht
(1791) (uncredited)
Music by Wolfgang Amadeus Mozart
Libretto by Emanuel Schikaneder
Performed by The Academy of St. Martin-in-the-Fields (as Academy of St Martin In The Fields)
Conducted by Neville Marriner
Excerpts Sung by June Anderson (Queen of the Night), Brian Kay (Papageno), and Gillian Fisher (Papagena)
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Frequently Asked Questions

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User Reviews

A triumph of genius
9 September 2000 | by (Samara, Russia) – See all my reviews

"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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