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Amadeus (1984)

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The life, success and troubles of Wolfgang Amadeus Mozart, as told by Antonio Salieri, the contemporary composer who was insanely jealous of Mozart's talent and claimed to have murdered him.

Director:

Milos Forman

Writers:

Peter Shaffer (original stage play), Peter Shaffer (original screenplay)
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1,174 ( 303)
Top Rated Movies #82 | Won 8 Oscars. Another 33 wins & 14 nominations. See more awards »

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Cast

Cast overview, first billed only:
F. Murray Abraham ... Antonio Salieri
Tom Hulce ... Wolfgang Amadeus Mozart
Elizabeth Berridge ... Constanze Mozart
Roy Dotrice ... Leopold Mozart
Simon Callow ... Emanuel Schikaneder
Christine Ebersole ... Katerina Cavalieri
Jeffrey Jones ... Emperor Joseph II
Charles Kay ... Count Orsini-Rosenberg
Kenneth McMillan ... Michael Schlumberg (2002 Director's Cut)
Kenny Baker ... Parody Commendatore
Lisbeth Bartlett Lisbeth Bartlett ... Papagena (as Lisabeth Bartlett)
Barbara Bryne Barbara Bryne ... Frau Weber
Martin Cavina Martin Cavina ... Young Salieri (as Martin Cavani)
Roderick Cook Roderick Cook ... Count Von Strack
Milan Demjanenko 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:

View content advisory »
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Details

Official Sites:

Official Facebook

Country:

USA | France | Czechoslovakia

Language:

English | Italian | Latin | German

Release Date:

19 September 1984 (USA) See more »

Also Known As:

Amadeus: The Director's Cut See more »

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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

Show more on IMDbPro »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

70 mm 6-Track (70 mm prints)| Dolby Digital (director's cut)| Dolby (35 mm prints)

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Tom Hulce only knew how to play the guitar before shooting. Milos Forman said they could cheat it, but it would be good if he learned how to play the piano. Hulce spent six hours a day for six months learning how to play the piano, and every Mozart symphony that was in the film. See more »

Goofs

Schikaneder has Mozart play the party theme in the style of Johann Sebastian Bach, which the Viennese party crowd clearly recognizes. Although Wolfgang Amadeus Mozart was fond of Bach's work which he knew through his friendship with the composer's son, Bach's name and music would have been wholly unknown in the Vienna of the 1780s. Bach's music fell out of favor with performers, shortly after his death in 1750, and was revived only when Felix Mendelssohn-Bartholdy promoted and popularized his work around 1830. See more »

Quotes

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

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

Concerto for Piano in D Minor, K466
(1782-86) (uncredited)
Music by Wolfgang Amadeus Mozart
Performed by The Academy of St. Martin-in-the-Fields (as Academy of St Martin In The Fields)
Conducted by Neville Marriner
Instrumental Soloist: Imogen Cooper
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Frequently Asked Questions

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User Reviews

A rare masterpiece
26 June 1999 | by Alec-11See all my reviews

SPOILER: 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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