Rating: 
Summary: F. Murray Abraham's Role of a Lifetime -- Amazing Film!
Review: "Amadeus" dares to tell the story of mediocrity, and in the words of the mediocre some astounding truths are told. Essentially narrated by the aged and suicidal Salieri in a "confession" to a young priest in the "present day" (actually 1823), former musical giant (composer of the "greatest opera yet written" that has been consigned to the ashbin of history) and now a wrinkled has-been, "Amadeus" ponders the plight of an ambitious man (Salieri) confronted by genius that he can never defeat on its own terms. According to "Amadeus," the results of this clash are not pretty. The film opens spectacularly, with Salieri screaming "Mozart" against a black screen. Soon we see Salieri, blood gushing from his self-slashed throat, being whisked through the streets of Vienna as the city dances and whirls to Mozart's exhilirating Symphony No. 25 in G Minor (don't worry -- you'll recognize it). With an amazing economy, the film, directed by Milos Forman (and adapted Paul Shaffer from his own stage work) establishes a world of wondrous palaces, hyper-elaborate dress, and astounding music. No mere costume drama, "Amadeus" drops the viewer deep into the late 18th century in Vienna, then one of the most powerful cities in Europe and a cultural touchstone for the Western world. This is the city to which all composers flock. Salieri, with his crabbed hands and scratchy voice, tells of his early years, when he promises his soul to God in return for the ability to make music to honor God. He pledges his industry, his chastity, and his eternal devotion. And, wonder of wonders, his dad (a merchant with no ear for music) dies, choking to death at lunch! So Salieri is free to pursue his love of music, and it appears that God has granted Salieri his wish -- Salieri rises to become Court Composer for Emperor Joseph II (Jeffrey Jones). Well regarded, Salieri has his world turned upside down by the arrival of Wolfgang Amadeus Mozart (Tom Hulce, in an inspired casting coup). Vulgar, impulsive, hedonistic, and supremely talented, Mozart's reputation as a genius has preceded him, but Salieri is horrified to see that Mozart is (almost) as concerned with debauchery as his music. Even more horrifying, Salieri realizes that Mozart is more talented than he -- reading over Mozart's pages, Salieri groans, "It was like he was taking dictation from God." Why, God, why? Salieri cannot fathom why God would make this creature the vehicle for such talent . . . talent that only Salieri seems to appreciate. Mozart is popular with the masses, but cannot make a big splash with the Court . . . in part because the Emperor, who defines taste for the Court, has no ear for music. When the Emperor yawns during one of Mozart's performances, Mozart is doomed. The Emperor also has some priceless advice for Mozart -- don't use so many notes, becuase the human ear can only hear so many notes before it gets tired! Driven to despair by the continued genius flowing from Mozart's pen, Salieri rejects God and vows to destroy God's creature. What follows is a descent into madness for both Salieri and Mozart. Without getting overly sentimental, Forman and Shaffer spin a tale of surpassing beauty (Mozart's music) and tragedy (Mozart's death). Ultimately, Salieri proclaims that he is the champion of mediocrity everywhere. As he is whisked away from the shell-shocked priest, Salieri absolves the various patients in his insane asylum, he also absolves the audience (who cannot help but feel mediocre in the face of Mozart's genius?). In a pitch-perfect note, as the screen dissolves to final black, we again hear Mozart's aggravating, infuriating high-pitched giggle, and we know that it will forever haunt Salieri. "Amadeus" throws us into the mania of composition for both Mozart and Salieri, the world of court intrigues, and the triumphs and agonies of success and failure for composers. We understand Salieri's torture as his music grows fainter as Mozart's popularity soars -- even after Mozart's death. This is a powerful film with a surprisingly dark theme, but it is required viewing for any fan of classical music. The soundtrack, by Sir Neville Mariner of the Academy of St. Martin-in-the-Fields, is astounding, and will have you rushing out to buy Mozart CDs as soon as the movie is over.
Rating:
Summary: Under 18, but...
Review: I didn't know this movie was rated R! In Japan there are no ratings like that. Since I watched the movie with my parents I've been in love with the music of Wolfgang Amadeus Mozart. I know kids under 18 weren't really supposed to watch this, but in my opinion it's made a great influence on me. I never thought I'd be so obsessed with classic!!
Rating:
Summary: Astounding!!
Review: F. Murray Abraham (Antonio Salieri) puts in the performance of a lifetime in the incredible film "Amadeus". The film tells the story of Salieri's hatred of the gifted composer Wolfgang Amadeus Mozart (played by a manic Tom Hulce) and his jealousy of the genius composer. As the film begins, Salieri is in an insane asylum confessing to a priest that he murdered Mozart. Amadeus is a compelling and brilliant film, rightly deserving of the Oscars that were given to it. The music alone makes this dvd worth purchasing, it is fantastic. The movie itself is also surprisingly entertaining and very amusing. Tom Hulce is perfect in the role with his infectious laughter and jest for life and Elizabeth Berridge who plays his long-suffering wife Constanze also is fantastic. F. Murray Abraham however steals this film with his dominating performance of the embittered Salieri who blames God for gifting such a vulgar creature as Mozart with the ability to make music that transcends anything Salieri can create. The original release was rated PG and this extended cut is rated R because of the inclusion of some very brief nudity where Constanze is pleading with Salieri to help give her husband a job. I really don't feel that such non-gratuitous nudity such as this should warrant an R rating, use fast forward when this one comes on if kids are watching. Amadeus is one of the greatest movies ever made and this 2 disc directors edition is a must-have for serious movie watchers and collectors. Thanks for reading and I encourage you to listen to the great composers such as Mozart rather than the trite music that is put out today.
Rating:
Summary: Absolutely Fabulous! But ....... not true
Review: Let me say this movie was quite interesting.... In this movie, Antonio Salieri, also known as the court composer of the Emporer of Vienna, appeantly murdured mozart and admitted to it to his preacher. Ok, I give this movie five stars because first off, its very very very well done. Second, the movie itself brings interest to the viewer just because its about mozart, and three, the music of mozart attracts the senses of people. Now the only problem with this movie is how un-true it is. First off, we know for a fact Salieri did not murder Mozart. Second, Mozart's requiem was not completed nor worked on by Salieri. Third, Salieri eventually killed himself, and never actaully talked to a priest about murdering Mozart. Fourth, Salieri's father did not die until he was in his later years, possibly after Mozarts death. And Five, Mozart's child died, in the womb... Overall great movie, just wheres the facts?
Rating:
Summary: The Killing Of Mozart - A Thrill to all Senses!
Review: This film is a classical music delight, offering all of Mozart's best known works, from his Opera "The Magic Flute" to his immortal "Eine kleine Nachtmusik". The production is visually stunning (Oscar Winning Custumes, Set Direction + Art Direction!). The film suggests a plot by Mozart's mentor Salieri to slowly poison the music Wunderkind. The performances of both stars are superb (F. Murry Abraham won Oscar for his protrayal of the jealous Salieri; Thomas Hulce received nomination for the title role). The DVD version has many extra perks, like director's commentary, behind the scenes look, and much more! Even after nearly 3 hours of show time, you will shout "Encore"! - The only way to top the DVDs visual and acustic glory is to view this Masterpiece in the Laser Disc version. Either way, this is a true gem!*****
Rating:
Summary: The Highly Dramatized Fictional Life Of Mozart
Review: This 1984 Milos Forman film was so popular and successful that it won Best Picture that same year. Amadeus was made into a screenplay from the play by Peter Schaffer, which made it to Broadway. At that time, it was the hottest theatrical piece. The film stars Tom Hulce as the man-child musical genius Mozart and F. Murray Abraham (Best Actor) as his jealous rival composer Antonio Salieri. The film is lush and engaging as a historical period movie and even serves as a colorful introduction to the music of Wolfgang Amadeus Mozart, the greatest composer of the Classical Era (1750-1820). The movie does heighten the drama and makes fictional twists on the real life of Mozart. He was a boy genius, who could play the piano as early as age 4 and who composed his first symphony, concerto and opera all by the age of 12. He was made of music. He composed quickly from brain to music score and had a charming, witty, child-like personality. He was also a party animal and an alcoholic. He died of liver complications due to his alcoholic addiction, not because Salieri had anything to do with plotting his death. Salieri was respected and much more beloved in his time than Mozart. Salieri even taught such great names as Beethoven, Schubert and Franz Liszt. He lived in luxury while Mozart struggled financially and lived from hand to mouth and had no reason to be jealous even if Mozart's music was far superior to his. F. Murray Abraham really delivers the performance of his life as the villainous and bitter Salieri. Salieri is so jealous of Mozart that he renounces his Catholic faith and burns a crucifix. He feels God has abandoned him because he never fulfilled his prayer of making him the most famous composer in history. Salieri makes it his life-long goal to destroy Mozart himself. His influence over the Imperial Court in Vienna, Austria, and together with the efforts of the jealous team of librettist and music directors, he sees to it that Mozart's operas, such as Le Nozze Di Figaro and Don Giovanni not enjoy the success it rightfully deserves. The film, you see, is more about Salieri than it is about Mozart. In the end, Mozart has the laught laugh as Salieri comes to believe he has killed Mozart (with the heavy burden of making him write his own Requiem Mass) and is instituted in an insane asylum. The performances are excellent, the script is terrific and the look of the film authentically 18th century. Music entirely composed by Mozart, including his Piano Concerto 20 and 22, Serenade Gran Partita For Winds, and even his German operas Abduction From The Seraglio (Die Entfurung Aus Dem Serail) and Die Zauberflote (The Magic Flute). An enjoyable classic.
Rating:
Summary: AVOID RANCID DIRECTORS CUT
Review: Amadeus was my favorite movie since I had first seen it in 1986. The whole affair is pretty special to me. Naturally the music, the scenery, the characters all make this one of the greatest movies of all time, only to be replaced by Saving Private Ryan and Braveheart as my favorites. I went out to get the Director's Cut version and have to say, as with most deleted scenes, there is a good reason they are deleted. While it does fill in some holes in the plot, they take away from the original release's magic, and ruin the feel as it was intended. I dumped the Director's Cut and am more than happy with the original DVD release where I cannot tell any difference in picture quality, and it would seem the sound is better. Five stars for this excellent movie....-5 stars for the piece of crap Director's Cut release. Save your money and enjoy the movie as it was intended.
Rating: 
Summary: They could have fit it on one disc...
Review: THE DVD: If you like this movie at all, it MUST be viewed on DVD (or in the theater of course). Not only is this one of the best SOUNDING movies of all time - with Neville Mariner's wonderful renditions of Mozart's music - it is also on of the best LOOKING movies ever filmed. As the documentary shows, it was filmed in Prague -which is the most eighteenth-century-looking city in Europe. The film would be ruined in pan-and-scan - you need letterbox to be able to take in the breathtaking compositions. The film looks and sounds great. That having been said, I don't think that they needed to offer a "two disc" edition. The ONLY thing on the second disc is the documentary, which could have easily fitted on the first disc. This is merely another instance of the studio jacking up the price by offering a "two disc special edition." THE DIRECTOR'S CUT: Amadeus was a long movie to begin with; now, with the extra footage, it clocks in at almost exactly three hours. This is a LONG movie. However, having now seen both versions, the Director's Cut does make more sense. For instance, we get to see what really happens between Salieri and Mozart's wife. It is never quite clear why they hate each other in the original. Even better, we get more of the old Salieri talking. THE FILM ITSELF: Peter Schaffer is one of the best, most underrated playwrights of our time. Equus is one of the great masterpieces of modern theater. The title credits get it right with "Peter Schaffer's Amadeus". As the documentary shows however, the play was altered radically on its way from the stage to the screen (and not always for the better). I can't help but feel, however, the Milos Forman is overrated as a filmmaker. With One Flew Over the Cuckoo's Nest, he found a movie formula - that of the plucky iconoclast - and he has been remaking that film OVER AND OVER as The People vs. Larry Flint, Man in the Moon...and Amadeus. Whenever he deviates from that formula, the films flop. The main complaint people have against this film is the acting - specifically Tom Hulce as Mozart. Perhaps it is because Milos Forman's first language is not English he misses the subtleties of performance. In the documentary, he pontificates about how thousands of actors were tested, and how important casting is. But the question remains - why didn't he do better? He casts mostly American actors and, for some reason, you just can't buy eighteenth-century dialogue coming from contemporary American accents. The exception to this, of course, is F. Murray Abraham, who won an Oscar for this performance. He is an accomplished theater actor who knows how to use his voice. Even though he does not affect an English accent, he knows how to do elevated dialogue so we believe his Salieri. The best parts of the movie are of the old Salieri reciting Peter Schaffer's wonderful dialogue over the music of Mozart.
Rating: 
Summary: directors cut horrible
Review: I have always been a major fan of this movie. I got the first DVD a couple of years ago but it was a bit of a hassle to get up in the middle and turn it over. I was excited by the new two disc version in which the entire movie was now on one side. GREAT I thought. Then the extra scenes popped in which totally were unnecessary and detracting from the plot. Gratuitous nudity and thin scenes that should have been left on the film edit floor. I cant understand what they substatially did for this great movie other than significantly dilute it. I guess I'll go back to my first DVD and just take a popcorn break when I have to get up and chnage sides
Rating: 
Summary: * * 1/2 stars: The Unbearable Lightness of "Amadeus"
Review: This is a film that wants so badly to be profound and artistic, when it is in fact an MTVization of Mozart. It's fun as a ripe melodrama maybe (though it's a bit slow and repetitious for my taste), but it is to classical music what "Battlestar Gallactica" was to science fiction, and truly didn't deserve its umpity-ump Academy Awards. The idea of a third-rate composer being envious of a first-rate composer is an interesting one, as is the conceit that the genius can toss off his masterworks without a thought while the hack must struggle to achieve mediocrity (though the film exaggerates both situations--Mozart wrote a large amount of dreckwork to pay the bills [and he knew it] and Salieri wasn't an incompetent; he tutored, among others, Beethoven, and Beethoven thought highly of him). But the film never explores these ideas, never develops them. As Mozart was a master (in his mature works) of complex and rich development, the screenwriter here is not: ideas simply repeat. After it is established that Salieri is obsessed with his inferiority, we see example after example of...Salieri being obsessed with his inferiority--at a gathering of noblemen, at a costume party, in Mozart's private apartment as he spies on him. Okay, we get the point. The film featurs soliloquy after soliloquy of Antonio saying how his music was so inferior and oh why couldn't God give him the gift he gave Mozart? The one intriguing idea to me is that Salieri blames God outright, that his philosophy seems to be one of absolute determinism. The one scene that grabbed me and gave me slight chills was when he placed the crucifix in the fire and watched it burn with glee. That elevated the film to another level--that of Salieri against God, not Mozart. It also raises the issue of Salieri's Catholic upbringing, and how he personalizes everything that happens to him (his father choking to death on a piece of meat is "a miracle" for example, because it frees him to go study music in Vienna). This is interesting territory and I can't think of another movie that explores it. If only this one would explore it more. Is genius determined or a matter of "fate"? Can we achieve genius is we work hard(er)? Is work irrelevant to our station in life? These are philosophical questions that could have made this an extremely rich film; instead Foreman opts for rock video pageantry and simplistic motivations for the characters, made even more simplistic and juvenile in the new "director's cut" (Ugh! For every film made better by a director's cut, ten are ruined.) that tells us, as if we needed to know, exactly what Constanza hated her husband's rival. I would have shifted the focus of the film away from Mozart the man at the point that Salieri realizes his beef is with God, because it seems that Salieri realizes then that Mozart is just a vessel through which God torments him. To some extent this happens, but to me there are still too many scenes of personal envy against Mozart. This gets repetitious, and, frankly, boring. There are too many scenes of Salieri hearing or seeing a Mozart composition and melting, becoming all weak-kneed at Wolfgang's genius. This is not development, it is repetition. For three hours. The performances are terrific, especially Hulce, who I think deserved the Oscar more than Abraham. (But, hey, to go from a grape in underwear commercials to Best Actor is quite a leap. I guess God doesn't regard Abraham with the contempt that he regarded Salieri.) The one weak spot is Elizabeth Berridge is Constanza, but there's a reason for this: Meg Tilly was set to play the part when she injured herself, and the director needed a replacement who not only could do the part but who looked like Stanzi, and his choices were by necessity limited. It's not like you can phone up Meryl Streep. Roy Dotrice looks so much like Mozart's father that it's scary, and Simon Callow is superb as the empressario Schikaneder. The one directorial decision I never understood was Foreman's insistence of portraying the Emperor (Jeffrey Jones) as such a simpleton. The real Joseph II was by all accounts an enlightened monarch who continued many of his mother's libertarian reforms. I don't understand the point of making the character the butt of so many jokes, other than to fall back on the old stereotype that our rulers are dim bulbs who follow rather than lead. Certainly the relationship between the real emperor and Mozart was not this way. The DVD's extras (the documentary, the commentaries) are excellent, but the extra scenes are unnecessary and make a somewhat draggy story even longer. But ultimately it's the structure of the screenplay that doesn't work as far as I'm concerned. Production values are first rate and I really enjoyed the details of how these people lived--for once it wasn't sanitized. But, as much fun as parts of it are, I will never consider Amadeus to be a work of "great" cinema. Fun, in the way a bag of popcorn is fun, but that's all.
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