Mozart showed prodigious ability from his earliest childhood. The film.Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. There are two versions one is rated PG and an extended version is rated R.
Salieri uses spies, surveillance, lackeys, lies, and a lot of gaslighting to keep Mozart in his place. Every chance he gets, Salieri poisons the ears of Mozart’s supporters and rivals, eventually driving the younger composer mad. In spite of Salieri’s numerous attempts to derail his career, Mozart continues to prolifically produce masterpieces that remain popular hundreds of years after his passing. Although brash, arrogant, overly blunt, and sometimes uncouth, Mozart’s genius is unmistakable and evident, while Salieri’s chops never rise above “pretty good” in his finest works. Salieri relates his feelings of inadequacy when he hears the work of rising composer Mozart (played by Tom Hulce), and his steadfast desire to retain favour in the court of Emperor Joseph II. Murray Abraham as both younger and elderly versions of the character) confessing his sins of envy to a priest while convalescing in an asylum.
Although Salieri pretends to be Mozart’s friend, he’s actually the younger man’s puppet master.In an modern era where young professionals struggle to hold onto employment opportunities while “tenured veterans” hang onto their jobs and benefits for dear life, the downfalls of both Mozart and Salieri feel as poignant and contemporary as they did upon the initial release of Amadeus in 1984. Mozart is a genuine intellect. Salieri never speaks out of turn, while Mozart will freely offer up whatever’s on his mind whether asked for it or not. Mozart, although happily married to a supportive wife (played by Elizabeth Berridge, whose contributions here are perpetually undervalued), was an unabashed hedonist. Salieri is a reclusive, pious bachelor who enjoys his life of comfort (although, in reality, the composer was a family man). Even on his worst days, Mozart – through the benefit of critical hindsight – was able to compose, conduct, and play circles around Salieri.Outside of their shared issues with stern father figures (only with Mozart’s still alive for most of Amadeus ), Salieri and Mozart have almost nothing in common.
Both were nominated for Best Actor Oscars, with Abraham ultimately winning, but Hulce’s performance ironically stood the test of time better than that of his older counterpart. Hulce and Abraham implicitly understand the fears and struggles of their characters brilliantly. Forman and Shaffer were able to enhance this sense of familiarity by adopting a more contemporary use of language and bawdy humour to go along with their classically mounted epic. On a subconscious level, everyone knows (or in some cases is) Mozart, just like anyone can identify a Salieri in their lives.
It’s one of the few classic works of cinema where I know just as many people older and younger than me who claim it to be one of their all time favourite films. Amadeus remains three of the fastest and most entertaining hours I’ve ever spent watching a film.Amadeus is one of the finest Oscar winners of all time, and a lot of that can be attributed to the enduring truthfulness of the story. These fine details are easier to luxuriate in when viewing Forman’s 2002 Director’s Cut, which is getting a re-release in select theatres this week and runs approximately twenty minutes longer than the original, Best Picture Oscar winning version from 1984. It’s also easy to get caught up in the film’s musical depictions, with dancing and opera interludes choreographed by the legendary Twyla Tharp, whose staging of Don Giovanni remains one of the best and most subtext packed scenes in cinematic history. The sets, costumes, wigs, make-up, and props are the stuff true epics are made of, and the actors feel right at home despite the story’s contemporary leanings.
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