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F Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow, Roy Dotrice ... see more see more... , Christine Ebersole , Jeffrey Jones , Charles Kay , Kenny Baker , Lisbeth Bartlett , Barbara Byrne , Martin Cavani , Roderick Cook , Patrick Hines , Nicholas Kepros , Philip Lenkowsky , Kenneth McMillan , Herman Meckler , Cynthia Nixon , Brian Pettifer , Douglas Seale , Miroslav Sekera , Karl-Heinz Teuber , Vincent Schiavelli , Dana Vávrová , Jonathan Moore , John J. Strauss , Gil Amelio , Lisabeth Bartlett , Barbara Bryne , Martin Cavina

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... read more read more... 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

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72 critics

R, 2 hr. 38 min.

Directed by: Milos Forman

Release Date: September 6, 1984

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DVD Release Date: December 16, 1997

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Tom Hulce in Amadeus Salieri Speaks Composing. F. Murray Abraham with Oscar for Amadeus Amadeus Amadeus Amadeus Tom Hulce Amadeus Amadeus F. Murray Abraham in Amadeus Tom Hulce Amadeus amadeus F. Murray Abraham, Best Actor F. Murray Abraham & Tom Hulce in Amadeus Amadeus Amadeus
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Flixster Reviews (9,092)

  • TomBowler
    December 31, 2012
    TomBowler
    By bouts hilariously witty, nerve-wrackingly tense and profoundly moving, all the while beautifully shot and thoughtfully put together. An astounding achievement. Full review later.
  • fb1710827246
    June 25, 2012
    fb1710827246
    Fantastic! Every second is a delight of visuals, brilliant production value, exalting character and of course, the wonders of great music, a whole new way to experience the music. People should do more movies like this. The story is well and crafty, it has great evocative power. ... read moreI haven't seen a movie quite a well as this one.
  • fb1038944442
    February 23, 2012
    fb1038944442
    Amadeus is one of the most entertaining biographies put on screen, and possibly the best one about a musician ever. It is also the most effective transplanting of a stage play to screen (in the pantheon with Grease or Who's Afraid of Virginia Woolf?)

    It's about Mozart (Tom Hul... read morece), but he's actually a very substantial supporting player to murderously jealous forgotten composer Antonio Salieri -the actual lead role (deserving best Actor Oscar winner F. Murray Abraham), Eclectic director Milos Forman deftly handles the intimate and emotional scenes as well as the big sweeping, sumptuous epic Viennese scenes.

    The supporting performances are all wonderful, memorable and indelible, and I've seen this movie many times. Many viewers have complained about the American accents, especially those of Mozart, his spunky wife Costanze (the underrated Elizabeth Berridge, who acts her heart and soul in this role, flat American accent aside), Emperor Franz Josef (the stellar character actor Jeffery Jones), Mozart's grumpy controlling dad Leopold (Ray Dotrice) and Abraham himself. I say poppycock (I never actually say poppycock), why should original German speaking characters only speak with British accents? Perhaps more of an issue is that there is a weird mix of American and British accents among Viennese people.

    The art direction and wardrobe is both lush and believably grungy, and Vienna, (Prague on location) feels like a real place where people live, both nobles and peasants. From a production point of view, this is as good as it gets.

    I recommend the director's cut, there are huge story holes in the original studio version. Numerous story points are vague and unexplained in the official release, especially the coercive sexual relationship between Salieri and Costanze, which is only vaguely hinted at in the shorter version. Both versions are long, and the director's cut is longer, but you've got more than three hours to burn, right? The director's cut also has even more of Wolfgang's music, which is the only soundtrack, and the cues are expertly chosen and conducted by Sir Neville Marriner.

    On the down side, the film is not historically accurate at all, and it's unlikely that Salieri 'killed' Mozart out of envy, though apparently he boasted of it in his confused senile final days. Playwright Peter Shaffer had some burning point to make about art, jealousy and desire, and the randomness of god in choosing his 'servant' but these points are more the driving force behind the play than the movie. It feels like he's setting up a 'straw man' in Salieri to make his thesis. To me, the theme is not that important. The character study in the movie is richer and stronger than the play. Some of the scheming of Salieri doesn't really make much sense, and Mozart seems too smart to be such a sap in reacting to the scheming. It's also really long. That aside, pop it in your Blu Ray player and crank up the symphonic delights on your surround sound.
  • spielberg00
    December 29, 2011
    spielberg00
    Had W.A. Mozart been just a film character who was created from the mind of a filmmaker, AMADEUS would have been a fantastic, deep character analysis. As he is an actual historical figure, this film is practically the opposite: a fictionalized biography that runs far too long fo... read morer what it is. One who is seeking purely entertainment will find every minute (there are 160 of them) of this film endearing, intriguing, and worthwhile. Contrarily, one who is seeking information on the musician would have a better bet simply searching Mozart on Wikipedia, unless he or she is fine with running the risk of absorbing events that never actually happened in history. In short, you decide.

    Full Review: http://wp.me/p1Urcx-AN
  • fb619846742
    August 26, 2011
    fb619846742
    A thematically rich masterpiece loaded with sadness and depression over rising star Wolfgang Amadeus Mozart (Tom Hulce) who met his demise at too young an age, aided by a bitter rival (F. Murray Abraham) who has the balls to act like he is his friend throughout his rise and fall.... read more When a movie features two terrific lead performances (you could make a case Abraham and Hulce should have been the first duo to share the "Best Actor" Oscar - as both are magnificent), an excellent soundtrack, astounding makeup, and captures a piece in history so thoroughly, it is easy to be enthralled no matter what the running time. This is just a spellbinding epic about revenge and betrayal put against a scrumptious backdrop and hair-raising sets. An overall wonderful movie, and a must-see for anyone that treasures the art of music.
  • gokhale1
    June 20, 2011
    gokhale1
    The "Man", The "Music", The "Madness", The "Murder"(?), The "Motion Picture".....so goes the tagline....but we can add some more....the "Miracle", "Mozart" and last but not the least, "Milos" Forman! The man behind "Amadeus" goes all out in his attempt to "motion picture"-ise Pet... read moreer Shaffer's play of the same name. The result is one of the most ambitious and dazzling period dramas, built on a grand scale...but is it as magnificent as it has been made out to be?! Well...almost!

    Told through a series of flashbacks, (and shifting occasionally to the present) narrated by an old and decrepit Antonio Salieri (F. Murray Abraham), "Amadeus" tells the highly fictionalized story of 18th Century famous Composer Wolfgang Amadeus Mozart (Tom Hulce) and his supposed "rival" who loathed him... Antonio Salieri himself. Both great musicians of the time, yet, Mozart being Mozart seemed to outdo Salieri, one of the greatest composers of the time, making more conspicuous, Salieri's so-called (often by himself) "mediocrity"! Salieri, the court composer lived in his own sweet shell of ignorance about talent around him. Enter Mozart and things changed for Salieri as Mozart began to get in the good books of the Emperor Joseph II (Jeffrey Jones) with his clearly superior command on music and his ability to create "magical" notes...just like that!

    Salieri despised Mozart from the first sight of him! After all, who could imagine the great Mozart having a very dirty mind and an outrageously vulgar tongue and a highly annoying "obscene giggle", as Salieri puts it! And if that's not all..this is a man who is highly immodest and vain about his own music. He has absolutely no regard for other composers and thinks and even admits out loud that he is the greatest!

    So thus it begins, the battle of the musicians, with Salieri admitting to be the "bad guy" in the entire state of affairs...how he wished to God that Mozart would vanish...out of Vienna..best, even back to Salzburg, his hometown! Salieri tries all the low-down schemes his evil mind could think of to hinder Mozart's progress and try and put him down.

    The entire film chronicles these crafty ways of Salieri, his gradual loss of faith in God, for he believes, Mozart is literally "Amadeus", "the beloved of God", sent down by God himself to make Salieri aware of his "lack" of talent! And then there are the ups and downs in Mozart's life, his bloated ego, his alcoholism and his eventual demise....and amidst all this, is the miracle that is music!

    That's right, music is one of the important aspects of this picture, since music drives many of the scenes in the film (apparently there are longer Opera sequences in "The Director's Cut" which I have seen). Mozart wrote some of the finest music on this planet and it shows in this film, with almost all of the music used being originally composed by Mozart. Of course for the film it was performed by Academy of St. Martin in the Fields and conducted by Sir Neville Marriner. It is rather exhilarating to see and listen to the operas performed to the music of Mozart in this picture; the passion and the sheer spirit of it further elevated by the characters of Mozart and Salieri as they conduct these operas. The background score is not far behind, with some tremendous melodies being used in some key portions of the film that make the scenes come alive!

    And then there is the acting! While the supporting actors are there and they do a decent job, this review will restrict itself to the two key players.

    Tom Hulce, who plays Mozart, brings a kind of despicable quality to his character...and hell, it does take talent to make the audience loathe you at one stage with some very impish demeanor and then throw in surprises and make the audience want to reach out to you and embrace you! Tom Hulce scores big time with his extraordinary display of a multi-dimensional character, a passionate and gifted musician, ultimately let down by his own vanity!

    [img]https://lh3.googleusercontent.com/-v061k34wKHg/Tf9bAsHpP-I/AAAAAAAAB3M/jAbMYdhkfdo/abraham-amadeus-7.jpg[/img]

    And there is F. Murray Abraham, who is almost unrecognizable in his older avatar as Salieri in the scenes in the present in which he narrates the "tragic" story of his life to the priest, Father Vogler (Richard Frank)....And my goodness, how long has it been since I've seen a performance like that! What sheer grace to the performance, what an arresting screen presence and what outstanding theatrics...words are not enough to describe this larger than life performance that won Abraham the much coveted Academy Award! Just watching him mouth those cleverly written lines of dialog with his exuberantly passionate acting on display keep your eyes glued to the screen! What makes it even more commendable is how different the younger Salieri and his older self look and behave...adding so much depth to his character..but don't be fooled...it is the same actor indeed! This is a performance that has to be seen to be believed!

    Which finally brings us to the film itself! Now I am the kind of man who is usually not in favour of screenwriters/filmmakers using artistic license and taking cinematic liberties with true stories featuring real life characters from history. But normally a few minor changes here and there are still acceptable. With "Amadeus", they transform everything into almost 80% fiction, which is a big disappointment! I mean, just because you want to make an interesting story with some "bite" which will pull the audiences in, you can't turn all the characters on their heads. The film shows that Salieri despised Mozart, whereas some evidence in the form of written letters suggests they shared a friendly relationship and Salieri didn't really hate Mozart. As a matter of fact he was in awe of him and admired him a lot. As for Mozart's behavioral traits, there is almost no evidence suggesting that he behaved like a clumsy idiot that he has been portrayed in the film! Just watch the film and you will be shocked to see that a much revered musician like Mozart would act and talk like an absolute clown with an atrocious sense of humour, ultimately rendering the character unrealistic! Why would you really look up to this man, an arrogant, vain musician, even if he makes some Godly music? I mean, you couldn't stand the man...hell, I don't blame Salieri! This of course leads to some comic relief throughout the film in the form of some other characters acting like buffoons, including Mozart's mother-in-law and even the Emperor says "well..there it is" and walks away even after this mother-in-law character faints on stage!

    That said, the film succeeds in all other technical aspects, including cinematography, editing, great sets and costumes, attention to detail and the whole lavish spectacle that this motion picture is! Full points for capturing that era, that atmosphere, that Vienna..there is no question about it. Narrative-wise the pacing somewhat falters with the long opera scenes in the second half. But if you like the music and aren't averse to watching lengthy operas, you wouldn't feel the slack in pace.

    But at the pinnacle of this whole venture, is the lead actor, F. Murray Abraham and the magic he performs on screen and holds us, the audience, spellbound with his mesmerizing Antonio Salieri act! I will mention this again....this is a performance that has to be seen to be believed! And if you just want one reason to watch "Amadeus", F. Murray Abraham is a reason big enough, because ultimately, in this case, the performance is much bigger than the film itself!


    Rating: 8.5/10
  • FrizzDrop
    June 19, 2011
    FrizzDrop
    For a three hour (yes, it's that long) film, none of it dragged, all of it was entertaining, and there was minimal exaggeration to its greatness. With the luxuriousness of a period piece many liberties can be taken, and Amadeus is no exception. From the vibrant costuming and orna... read morete sets to the tension and atmosphere of the subject matter, there was little to be desired in the way of a biopic. Instead we are faced with a packed movie about two distinct personalities, one prudent yet disturbed, another fickle and yet genius in a way no one can attain. Besides having to have an inert appreciation of classical music or at least the art form, you must not take this too seriously, else you won't lose yourself in the plot and intrigue. The film focuses on Wolfgang Amadeus Mozart, a childish composer brought to Vienna from Salzburg in order to comprise a German opera, which morphs into a bitter battle with the court's composer, Salieri, though mostly this rages in Salieri's own mind. Much emphasis is placed on Salieri's anger and torment at God, who granted him a wish to become a great composer, but did not give him the born talent of Mozart, who is brash and whose laugh is as annoying as his antics. Once Salieri places a secret vendetta against the composer in order to plot his death it becomes quite interesting. Instead of traditional merits of murder he breaks his younger colleague down until he takes ill, demons eating away at the last remnant of his soul. This literal takedown of all that Mozart is makes for great cinema, the psychological implications drawing you in as the ending becomes as poignant as any masterpiece should be. In the end, Salieri could kill a voice, but not silence an orchestra, a beautiful admission though crazed, the setting ripe for that assessment. There are flaws and it isn't a very polished story, but you could never say you didn't enjoy it.
  • rjayhutchinson
    March 8, 2011
    rjayhutchinson
    Rarely is a movie made that is as sublimely watchable as this one. The film grabs hold of you two minutes in and doesn't let go until two and a half hours later when it releases you from the trance, leaving you dazzled by what you've just seen and shocked that the film lasted tha... read moret long. Virtually flawless, the film features striking performances from F. Murray Abraham and Tom Hulce, who each let the viewer into their character's complex emotions and thoughts. This film is genius. This film is a classic.
  • webalina
    February 22, 2011
    webalina
    This film never fails to blow me a way, no matter how many times I've seen it. From the first scene where Salieri is found in his home, having slashed his own throat, it just grabs me and never lets go. The whole production is fabulous -- costumes, sets, the whole shebang -- and ... read morethe score is all Mozart all the time, of course. The performance of Tom Hulce as Mozart is impressive, but it's F. Murray Abraham who is the true star here. He justly won an Oscar for his portrayal of alleged rival Antonio Salieri., and is right up there as one of my all-time favorite performances. The only reason this doesn't get 5 stars with me is I felt that Elizabeth Berridge's performance Mozart's wife Costanza was a weak link and kinda brought things down a little. Otherwise, a feast for the eyes and ears. Who cares if it isn't historically accurate?
  • jamers2011
    February 21, 2011
    jamers2011
    Perfect! This film is one of the best films that I have ever seen. Magnificent in ever way a film can....the acting, cinematography, story, emotion, music, pace, direction. This film is a masterpiece; I cannot believe I waited so long to watch it.

    F. Murray Abraham delivers on... read moree of the best male performances that I have seen. He steals every scene as Salieri. Even while he sits in his chair as an old man, he still gives a huge level of emotion. I truly was touched by his performance. Tom Hulce as Mozart also gives a very strong performance. Both actors received Oscar nominations for Best Actor, but only Mr. Abraham took home the coveted award, as he gives one of the best male performances ever.

    The cinematography, art direction, costumes, makeup, etc. were unbeleivable. Each scene is real to the proper time period.

    So much needs to be said about this film, but there are no words to describe this masterpiece. It's one of those films that you have to experience for yourself. It's perfect and one of the best of all time. I absolutely recommend it!

View All Amadeus Reviews

Critic Reviews

Gene Siskel
February 20, 2013
Gene Siskel, Chicago Tribune

The subject of artistic creation is typically handled badly in the movies.... [Amadeus] treats the subject of creativity in a fresh way. Full Review

Richard Corliss
February 19, 2013
Richard Corliss, TIME Magazine

A grand movie entertainment. Full Review

Todd McCarthy
February 19, 2008
Todd McCarthy, Variety

On a production level and as an evocation of a time and place, Amadeus is loaded with pleasures. Full Review

Dave Kehr
December 17, 2006
Dave Kehr, Chicago Reader

Peter Shaffer's shrewdly orchestrated cultural evening gets a steady, dignified, moderately dull treatment from Milos Forman. Full Review

Geoff Andrew
June 24, 2006
Geoff Andrew, Time Out

The entire cast speaks in horribly intrusive American accents, but Forman makes some perceptive connections between Mozart's life and work. Full Review

James Berardinelli
July 31, 2003
James Berardinelli, ReelViews

It is arguably the best motion picture ever made about the process of creation and the creator. Full Review

Vincent Canby
May 20, 2003
Vincent Canby, New York Times

As Mozart, Tom Hulce, though extremely American in looks and voice, gets better and better as the drama progresses. Full Review

Michael Wilmington
July 20, 2002
Michael Wilmington, Chicago Tribune

Reminds us that movies can be lyrical as well as vulgar, ambitious as well as playful, brilliant as well as down and dirty -- just like Amadeus himself. Full Review

Philip Wuntch
May 23, 2002
Philip Wuntch, Dallas Morning News

Remains a beautiful, deftly directed and superbly acted version of a witty and poignant drama. Full Review

Roger Ebert
April 24, 2002
Roger Ebert, Chicago Sun-Times

In a film of grand gestures, some of the finest moments are very subtle. Full Review

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Facts

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    • Constance Mozart: Half the house. You'll never see a penny. I want it here in my hand.
    • Wolfgang Amadeus Mozart: [dirty] Stanzi manzi...I'll put it here in your hand...
    • Constance Mozart: [gasps] Stop it! You won't put a thing in my hand until I see some money!
    • Wolfgang Amadeus Mozart: Will you stay with me while I sleep a little?
    • Antonio Salieri: I'm not leaving you.
    • Wolfgang Amadeus Mozart: [laughs] I'm so ashamed.
    • Antonio Salieri: Of what?
    • Wolfgang Amadeus Mozart: I was foolish, I...I thought you did not care for my work, or me. Forgive me...forgive me.
    • Antonio Salieri: How... Did my work please you?
    • Wolfgang Amadeus Mozart: I never knew that music like that was possible!
    • Antonio Salieri: You flatter me
    • Wolfgang Amadeus Mozart: No, no! One hears such sounds, and what can one say but... 'Salieri.'
    • Emperor Joseph II: Too many notes.
    • Antonio Salieri: On the page it looked nothing. The beginning simple, almost comic. Just a pulse, bassoons and basset horns, like a rusty squeezebox. Then suddenly; high above it, an oboe, a single note, hanging there unwavering, till a clarinet took over and sweetened it into a phrase of such delight! This was no composition by a performing monkey! This was a music I'd never heard. Filled with such longing, such unfulfillable longing. It seemed to me that I was hearing the very voice of God.
    • Antonio Salieri: I will speak for you, Father. I speak for all mediocrities in the world. I am their champion. I am their patron saint.
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