Plot Details: This opinion reveals everything about the movie's plot.

Of all the music I have ever played in my miserable second chair Cellist position in small town symphonies, Mozart's music has always been the most fun. After several years of playing one note drones in Brahms, Haydn and even Beethoven, the reason should be obvious. As it is, few people would probably understand my attraction to the music now, since it has been many years since I played in any Symphony. Maybe this extraordinary movie Amadeus can explain it better than I can.

This movie, winner of 8 Academy Awards, all of them deserved, shows the "Pop" side of our man Wolgang Amadeus Mozart. For my money, Hulce deserved an Oscar too. But, nobody asked me. The movie, based on the stage play by Peter Shaffer may be thought to be grossly historically inaccurate. It was probably truer than we think.

In terms of "history" and classical music appreciation, this movie adds to what Fantasia was in the thirties when Disney thought it would be fun to "draw in the sky with crayons", his purpose to introduce the American Public to classical music. If you watch this movie, and don't come out of it with a different view of the music of Mozart, there is something seriously wrong with your wiring. You need to have it checked.

Director Milos Forman had already done an Oscar grabber in the 70's with One Flew Over the Cuckoo's Nest. He was in London and saw Shaffer's stage production of Amadeus. He decided then that it was a movie he could love to make. His story telling finesse, as well as his attention to detail is evident in every precious moment of this film.

Forman picked virtually unkown cast members, and it paid off. A better group could not have been found. The movie was filmed on location, and many of the Opera productions were filmed at the very stage where they were performed in Vienna, directed by Mozart himself. The palace shots were also filmed on location, and the period pieces authentic. The costumes and the fashionable wigs are lavish, and add a some real flavor to this incredibly beautiful, funny, and touching film. It is a delight to the senses, as well as intelligent and complex.

The movie was filmed entirely in natural light, which eliminated the harsh color tones present with Studio lighting. There are some fantastic shots in this flick, so many that they are almost incidental.

The music, was scored and conducted by Sir Neville Marriner, and includes a lot of Mozart and adds a bit of Salieri as well. It is integral to every aspect of this movie.

But What About History?

Surely the slice of life depicted in the movie is less than inclusive of all the facts of Mozart's life and his connection to Salieri. The play by Peter Shaffer, also has a history, although Shaffer has an impressive biography. Pushkin, in 1830, wrote a play (five years after the death of Salieri) called "Mozart and Salieri" , where Salieri poisons Mozart. This has been refuted. However, that Salieri was jealous of Mozart, more than a little crazy, and did in fact end up at a Public Infirmary claiming to have killed Mozart, is true. That he was jealous, and capable of manuevering against his rival, is also true. The unique perspective of Peter Shaffer brings the man and his work into focus, and gives him humanity (even though it is fictional)

Other facts about Mozart might surprise you. The doltish and obscene behaviour of young Mozart has a basis in fact. That he wasted money, and died penniless, is also true. Whether he died from cirrhosis of the liver has not been proven. The "too many notes" line of Emperor Joseph is one that is quoted from history

Wolfgang Amadeus Mozart

As a composer, and a performer, there can be no question of Mozart's genius. His father Leopold was himself a talented composer, attached to the court at Strazburg. But he and his wife had 2 talented children who performed ("as trained monkeys" to quote Salieri's father) young Wolfgang and his sister Nannerl. She was adept at keyboards, and was part of the dog and pony show. Music was a "family" business, and the Mozart family did indeed tour Europe. Did Leopold exploit his children? You decide.

Mozart was composing music from the time he could write, and often did so when the road trips commenced. His sister often scripted the music for him. But importantly, the young genius (and his family) were often taken ill in a time when diseases ravaged Europe. Five other siblings were born to Leopold and Anna Marie, but only two survived. Mozart's mother died "bleeding" herself, as a popular cure of the day, something Leopold seems to have blamed on his son. When Anna Marie Nannerl married, and had a son, Leopold cared for him for two years while she continued touring.

Mozart and his wife Constanze (Weber) had 6 children. Only Karl survived.

The volume of music Mozart composed even though he died at 35 years of age is astounding. His skill and innovation is undeniable. His gift to musical composition is a phenomenon called texturing, where distinct voices can be heard, but only have expression when they are all heard together. I am not attempting to give the perspective of music criticism or history here, though. I only offer my opinion.

Mozart and Popularity

Perhaps as important as any other historical fact is the meaning of music in the every day life of the people. While aristocracy footed the bills by patronizing and employing musicians and composers, allowing them to work, they also controlled their output and viewed them as little more than servants (a fact emphasized by Mozart’s relationship to the Archbishop of Salzburg) Without aristocratic backing, there may have been no lasting record of the music of the day. Positions at court were actively sought and competition was fierce.

But popular musicians and performers were every bit as popular as our stars today, only more so. The musician was the performer, the composer also performed. Stage Productions and operas in the aristocratic theater often did do a “double” life, also playing for the common folk in the comic opera “buffa” as well, sometimes as work produced solely for that venue, but often playing a different version. The performances were widely attended and appreciated. This form of entertainment comprised visual, dramatic and musical elements in a way that you can best appreciate by watching this movie.

Music was nearly always more than the piece performed by an orchestra. The conductors never stood up and conducted in the early days, they led the orchestra in a performing role on violin or keyboards. But what few people really appreciate is the TOTAL experience that performed music offers, shown, brilliantly, in this film.

Is there a message?

There are layers to this film, in several different directions. The madness of Salieri is not a conjecture it is a fact. His delusions are part of a grander paranoid delusion, occurring in the artistic license of the film, involving his personal relationship with God. The brilliance of this film is that at the end, you aren’t sure what is true and what is not.

Was Wolfgang Amadeus Mozart mad? Was he an alcoholic that destroyed himself drinking, or a genius who drank, frustrated by failure, in spite of his genius? That he craved appreciation and was frustrated seems inevitable. That he lacked social skills also seems to be the truth. That he suffered bouts of depression seems inevitable. Again, this is an issue that you will have to decide for yourself.

Perhaps guilt has a central place here, and seems to be the theme of both the lives of Salieri and Mozart in this presentation. Salieri was guilty of contributing to Mozart’s failure in influencing the patronage of the Emperor, at the same time recognizing the genius of the work by Mozart. Mozart is shown to feel guilt at his father’s death, and there does seem to be some justification for this, in fact. The plot reveals a complex series of relationships, running through the basic fabric of this film.

THE PLOT

” I was staring through the cage of those meticulous ink strokes at an absolute beauty”. (Salieri)

Meet Antonio Salieri, former renowned court composer to the royal court, living out the last two years of his life in a general infirmary, where madness lives, among all the other incurable and hopeless disease. We come to him as a Priest, to hear his confession and offer absolution, because he claims to have murdered someone. He claims to have murdered Mozart.

Through a series of flashbacks, we are told the story of Mozart. It is a one-sided story, told by a man who has a distorted view, based on some truth, and seen through the frosted glass of his own bitterness and madness.

From here on we take a trip with Salieri, viewing the genius of Mozart as a man who was given a gift from God. Salieri decided it was God taunting him.

Through Salieri we see Mozart as the genius of his day, a prodigal from the age of five, touring Europe with his father. He is brash, rude, vulgar and obscene. Salieri is at once awed by the talent and the masterpieces created by Mozart “in his head”, and jealous to the point of plotting to destroy him.

Mozart, we see, has weaknesses. First, of course are his less than appropriate behavior, his hedonism, and his immaturity. His conceit does not endear him, and he openly ignores the “rules” imposed by the Emperor, limiting his artistic freedom.

(Emperor Joseph II) “Your work is ingenious. It’s quality work. And there are simply too many notes, that’s all. Just cut a few and it will be perfect”.

Salieri plots to keep Mozart from success, yet admires him with such a deep appreciation, that it is almost love.

Eventually, Salieri seems to find a key to undoing his rival. (No I’m not about to tell you here) He follows the decline with glee.

There are moments of exquisite beauty to be seen, a few unknowns in the plot, and a lot of music to hear, and love. I have never been able to watch this movie without crying.

The Cast

F. Murray Abraham- as Antonio Salieri- This was indeed a brilliant performance, as Salieri looks out from his aging face, a sly sidelong glance, and calmly tells us (as we are observing through the eyes of a Priest) that he killed Mozart. The man is a brilliant and respected stage actor, and played this part to perfection, even learning to play piano before auditioning for the role. He is sophisticated, calculating and ultimately has the best lines, perhaps because he is the only one talking. The dialog was brilliant, but the performer was overwhelming. In life. Salieri was only 2 years older than Mozart.
Tom Hulce as Wolfgang Amadeus Mozart- A friend recently remarked that “anyone can play crazy” , but it is hard to imagine anyone else in this role, although Mel Gibson is said to have auditioned. Hulce plays this with a combination of naïve innocence, slapstick, passion, and wild abandon that is hard not to love. His maniacal laugh never fails to make me smile.
Elizabeth Berridge –as Constanze Mozart, wife to the genius composer. She looks wonderful in the costumes of the day. She is shown as a little intellectually challenged, but quite beautiful. I’m not sure that the portrayal is accurate, since her family also consisted on musical performers. But since when does History ever give us details we may want. There is very little known or written about her. A great face, and a good performance.
Roy Dotrice as Leopold Mozart. A very well done performance, and credible. HG had managed most aspects of his son’s career, so the break was indeed a blow that caused a rift between father and son, although there is some evidence to support reconciliation before his death, when he joined Wolfgang’s Mason Lodge as a brother.
Jeffrey Jones as Emperor Joseph II. Jones too has had a long career as an actor, in support roles. He is brilliant in this character, and barely recognizable as his character in other movies. He does provide a different sort of comic relief. It certainly gives you another perspective on his ability.

There are many other fine performers in this film including the orchestra and its conductor. I offer a standing ovation to them all.

Final Recommendation

This is a brilliant film, beautiful and touching. It is well performed, and deserving of its Universal acclaim. If you haven’t seen it, you should. If you are building your DVD collection, this one should be part of it.










Recommended: Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children Age 13 and Older