Amadeus

1984

Amadeus

Critics Consensus

A lavish, entertaining, powerful film about the life and influence, both positive and negative, of one of Western culture's great artists.

93%

TOMATOMETER

Total Count: 91

95%

Audience Score

User Ratings: 180,017
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Movie Info

For this film adaptation of Peter Shaffer's Broadway hit, director Milos Forman returned to the city of Prague that he'd left behind during the Czech political crises of 1968, bringing along his usual cinematographer and fellow Czech expatriate, Miroslav Ondrícek. Amadeus is an expansion of a Viennese "urban legend" concerning the death of 18th century musical genius Wolfgang Amadeus Mozart. From the vantage point of an insane asylum, aging royal composer Salieri (F. Murray Abraham) recalls the events of three decades earlier, when the young Mozart (Tom Hulce) first gained favor in the court of Austrian emperor Joseph II (Jeffrey Jones). Salieri was incensed that God would bless so vulgar and obnoxious a young snipe as Mozart with divine genius. Why was Salieri -- so disciplined, so devoted to his art, and so willing to toady to his superiors -- not touched by God? Unable to match Mozart's talent, Salieri uses his influence in court to sabotage the young upstart's career. Disguising himself as a mysterious benefactor, Salieri commissions the backbreaking Requiem, which eventually costs Mozart his health, wealth, and life. Among the film's many pearls of dialogue, the best line goes to the emperor, who rejects a Mozart composition on the grounds that it has "too many notes." Amadeus won eight Academy Awards, including Best Picture, Best Director, Best Adapted Screenplay, and Best Actor for F. Murray Abraham. In 2002, the film received a theatrical re-release as "Amadeus: The Director's Cut," a version that includes 20 minutes of additional footage. ~ Hal Erickson, Rovi

Cast

Tom Hulce
as Wolfgang Amadeus Mozart
F. Murray Abraham
as Antonio Salieri
Elizabeth Berridge
as Constanze Mozart
Simon Callow
as Emanuel Schikaneder
Roy Dotrice
as Leopold Mozart
Christine Ebersole
as Katerina Cavalieri
Jeffrey Jones
as Emperor Joseph II
Charles Kay
as Count Orsini-Rosenberg
Kenny Baker
as Parody Commendatore
Barbara Byrne
as Frau Weber
Barbara Bryne
as Frau Weber
Martin Cavani
as Young Salieri
Roderick Cook
as Count Von Strack
Milan Demjanenko
as Karl Mozart
Peter DiGesu
as Francesco Salieri
Richard Edward Frank
as Father Vogler
Patrick Hines
as Kappelmeister Bonno
Nicholas Kepros
as Archbishop Colloredo
Philip Lenkowsky
as Salieri's Servant
Jonathan Moore
as Baron Van Swieten
Brian Pettifer
as Hospital Attendant
Vincent Schiavelli
as Salieri's Valet
Douglas Seale
as Count Arco
Miroslav Sekera
as Young Mozart
John J. Strauss
as Conductor
Karl-Heinz Teuber
as Wig Salesman
View All

News & Interviews for Amadeus

Critic Reviews for Amadeus

All Critics (91) | Top Critics (22) | Fresh (85) | Rotten (6)

Audience Reviews for Amadeus

  • Sep 12, 2016
    With all its colorful and dazzling visual and audio flare, Amadeus is one for the ages. But I never really connected to the characters, and that's where it fails for me. Winning 8 Oscars in 1985 and numerous other accolades, it's safe to say Amadeus is one of the more beloved films of the 80's. It also comes from the great director behind One Flew Over the Cuckoo's Nest, Miles Forman. But what Amadeus lacks is subtly. I understand a film about grand-scale music and opera's needs to have a unique identity, but I found Tom Hulce's eccentric title role-performance to lack the human touch. Of course, Amadeus isn't strictly about Mozart himself, it deals with his "rivalry" with Italian composer, Antonio Salieri and the various trials and tribulations of Mozart's wish to display his talents to the world and particularly, the Roman Emperor. These events are told in flashbacks by Salieri as he was recently committed to an Insane Asylum after attempted suicide. As far as we know, most of the events of the film are highly fictionalized or exaggerated. Normally, I don't mind such a choice in storytelling, but it seemed to bother me this time around. What didn't bother me, however, was the performance of F. Murray Abraham as Salieri. Covering decades, Abraham brings a totally different vibe to both the old and younger versions of Salieri, and both work extremely well. It's also worth noting that his character isn't all that likable on paper, but he brings the grounded humanity, especially in his jealousy for Mozart, that's missing from the rest of the film. Another thing Amadeus has going for it is the glorious music used and conducted for the film. Surely, most of the tunes are genius-ly written by the original composers, but the overall sound quality and editing is brilliant. Putting character dialogue aside, merely listening to this film is a joy. I may be in the minority here, but to me, a film must do more than just sound great, it has to move me emotionally in one way or another. The made up story has its fascinating moments, but it gets old after a while. As does the over-the-top performance from Hulce. Sure, a wonderful soundtrack and Abraham's performance are impressive, but it's not enough to get this to a positive review for me. +Abraham +Music -Hulce -Characters lack humanity -A tad long 5.8/10
    Thomas D Super Reviewer
  • Jun 01, 2014
    [img]http://images.rottentomatoes.com/images/user/icons/icon14.gif[/img]
    Directors C Super Reviewer
  • Oct 23, 2013
    When I reviewed A Royal Affair last year, I spoke about the two big challenges that any period or costume drama has to overcome. One is the reputation of the genre as one obsessed with surface rather than substance, and clothing rather then character development. The other is the issue of pacing, needing to capture an historical period with its slower technology and pace of life whilst also needed to tell a story at an endurable pace for modern audiences. While Nikolaj Arcel's film ultimately came through both tests with flying colours, Amadeus is only a partial success. It's an overly long film of two halves, which begins as silly and as frothy as one can get, and ends as something of a weighty, murky drama containing compelling ideas. It is as sumptuous as it is silly, and irritating as it is intriguing, but it does ultimately come through with the goods before it has completely overstayed its welcome. Before we get to the meat and drink of Amadeus, it's worth taking a moment to address the issue of historical accuracy. It's something which can be boring to talk about, and which is often dragged up to discredit a film as it tries to garner awards. We can all think of examples of films which blatantly and consciously distort the truth, such as U-571, which credits the Americans, not the British, with cracking the Enigma code. But while capturing period detail should be praised on a technical level, historical accuracy is not a sign or guarantee of a good story. Film is a narrative medium, and with subjective allowances for taste and respect for an audience's intelligence, telling a good story is more important than getting the facts right. In the case of Amadeus, we are confronted with a story which is at best a long-discredited theory and at worst an utter fabrication. There is little or no evidence to suggest that Antonio Salieri was responsible for the death of Wolfgang Amadeus Mozart; the fact that he taught one of Mozart's sons would suggest that they were actually on friendly, or at least respectful, terms. But neither the film nor Peter Shaffer's play have historical accuracy as their prime motive. Both are more interested in telling a story about how rivalry manifests itself, and the relationship genius has with a world either not ready for it or unwilling to accommodate it. The question that follows is whether Mozart's life is the right vehicle for this kind of story, whose ruthless, scheming character might be more suited to a political thriller. When The Iron Lady was released, the director Phyllida Lloyd said she had wanted to make a film about dealing with age - the obvious criticism being that she could have told that story without making a biopic of Margaret Thatcher. In this case, however, Mozart is the ideal topic or vessel for this kind of story. His reputation and character fit closely with our cultural notions of what genius is, allowing Shaffer and director Milo Forman to get on with the storytelling. While the story itself is not problematic (at least not as a piece of entertainment), the storytelling in Amadeus is perhaps its biggest problem. The opening scenes look absolutely gorgeous: Miroslav Ond?í?ek, who worked with Lindsay Anderson on If...., pulls the audience in with a series of elegant, painterly images. But once the credits end and the action moves indoors, everything becomes very stagey. The framing device of the elderly Salieri, relating his story to a priest in the asylum, is not successful, and the film works better the less it is employed. For most of its first hour, in either of its cuts, Amadeus is essentially a silly, frothy, overblown costume drama. It is far more interested in the costumes, the huge wigs and the pompous characters that wear them than it is in the creation of the music or the personalities behind it. The film employs broad comedy, usually in the form of fart jokes, and its recreation of opera is completely ridiculous. It doesn't have the grace or the understatement of Barry Lyndon, and makes you appreciate the comparative meatiness of The Madness of King George. Matters aren't helped in this regard by the annoying nature of the central character. Tom Hulce, a graduate of Animal House, is a good actor who clearly threw himself into the part: having never played piano before, he practised for more than four hours a day upon landing the role. But while his skills are not in doubt, his Mozart is one of the most annoying and excruciating characters outside of an Adam Sandler comedy. Just as we aren't supposed to hate Salieri, so we are not expected to entirely like Mozart. But all his juvenile qualities are overplayed and repeated ad nauseum: it's not so much "too many notes" as too many laughs. As a result of both the framing device and the juvenile tone, we spend the first hour distant from our main characters. We are distant from Mozart because he's an irritating little twit, and we are distant from Salieri because his narration keeps interrupting the action. As a result the jealousy and scheming on the latter's part feels like a deliberate plot device rather than a natural result of their relationship. The words are still pleasant on the ear, but you are left wishing that Shaffer could write more like his namesake Anthony Shaffer, creator of Sleuth. About halfway in, specifically the section concerning Don Giovanni, Amadeus begins to pick itself up and grab its core themes by the scruff of the neck. The death of Mozart's father, and the composer's accompanying decline into illness, give the film not only a darker tone but a depth that it didn't have before. The serious reaction to a tragic event gives the film more credibility: by taking the matter seriously, it allows us to take the characters more seriously and for Salieri's subsequent actions to carry more weight. The film merits a comparison in this regard with Rush, Ron Howard's thrilling drama about the rivalry between James Hunt and Niki Lauda. Both stories concern a rivalry between two talented men, but this rivalry is initially presented in a broad, overly playful way; the film is still entertaining, but we are conscious of how little is going on between its ears. Then something dark or unfortunate happens to one of the men which gives the drama a stake and the rivalry a meaning. Going dark is by no means a guarantee of a good story, but in both cases it is just what the films needed. The main theme which this dark turn enables to unfold is the conflict between genius and mediocrity, and how graceless the two can be. Mozart's genius is confronted by mediocrity on all sides - from Salieri, whose position as court composer is threatened; from the Prince, who has very limited taste; and from his courtiers who don't want their power to be undermined. Neither Mozart nor Salieri conduct themselves well, with Mozart foregoing all decorum to defend his compositions, and Salieri working behind the scenes to bring about his downfall. Mozart's lack of social grace is mirrored by Salieri's lack of morals. The role of parents in Amadeus is a key one. Salieri's father discourages his son's ambitions, and his death serves as a (misplaced) vindication for Salieri, of both his Catholic faith and his musical ability. Mozart, by contrast, is spoiled rotten by his father, who recognises his abilities but struggles to contain them beyond presenting Mozart as a performing monkey. When his father was alive but out of the picture, Mozart is free to make a name for himself in a carefree manner - but with him dead, this carefree nature gives way to a desire for atonement, which leads him to work obsessively on the unfinished Requiem. The film is also interested in Catholicism, specifically the role God has in meting out talent and answering prayer. Salieri's prayers go unrewarded since he is asking God for the wrong things in the wrong way, seeking to curse rather than love his enemies. At the end of the film, he comments that "God killed Mozart" rather than let him share in any part of his talent, including the transcription of the Requiem. While the film's theological understanding of gifts is not entirely sound, it is an interesting lens through which to view and depict jealousy. Much of the success of Amadeus lies in its music. Even in its weaker first half the music is wonderfully produced, conveying to us how great Mozart was instead of having people simply state his greatness, as in Gandhi. More importantly, Forman does succeed in making the creative process of writing and composing both cinematic and exciting. In one really special moment, Salieri flips through Mozart's portfolio, and hears the music on the page perfectly formed in his head. It's a wonderful moment which F. Murray Abraham superbly executes, keeping his character on a tightrope between envy and euphoria. Amadeus is a film of two distinct halves, with the virtues of its substantial second eventually winning out over the frothy excesses of its first. Once you get past the costumes, the wigs and the irritating laughter, it does become an interesting, memorable cinematic venture with a brace of pretty good performances. It doesn't quite deserve the reputation that won it the Best Picture Oscar, but among even that select group of films, you could do a hell of a lot worse.
    Daniel M Super Reviewer
  • Oct 27, 2012
    Who doesn't love this film? The costumes and locations alone are a feast for the eyes. (Of course, the historical accuracy is close to zero, but I still love it as a period film.)
    Christian C Super Reviewer

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