AMADEUS (1984) - Movie Review
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- Опубліковано 26 вер 2021
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#amadeus #moviereview #deepfocuslens - Фільми й анімація
The interesting thing about the late 70s and early 80s is that it was kind of a golden age in Hollywood of incorporating classic music into cinema and popular culture. You had Wagner in Apocalypse Now and in Excalibur. You had Leonard Bernstein conducing all 9 Beethoven Symphonies for PBS. You even had a ubiquitous hit on radio ("Hooked on Classics") which set the classics to a disco beat. Amadeus the culmination of the whole trend.
This is probably a Gen X thing that a lot of people are too young to remember but if you were born in the late 60s and early 70s you hated the whole thing. Classic music was for "nerds." I remember seeing a double feature of Amadeus and Tommy in my dorm room in college and feeling really hesitant to admit that I liked Amadeus more. I wanted to be one of the cool kids bad. Tommy's still an interesting movie, of course, but it's actually 100 times more bizarre (it strikes me now as a fable about autism) than Amadeus.
Later on in the 1990s when I got involved in leftist politics and joined a communist organization I found out that the take on Amadeus was that it was anti-communist slander against Salieri and state supported art in favor of the individual "genius." Of course in some ways it was. Milos Foreman was a Czech expat satirizing the rigidly authoritarian Czech communist party in the form of the doltish emperor and his lackeys. Looking back at a lot of Eastern European cinema it's clear that a lot of good stuff slipped through simply because most of the censors were idiots. Salieri in some ways is Foreman's worst nightmare, the smart state supported artist and censor who recognizes genius when he sees it and is determined to destroy it out of sheer jealousy and malevolence.
Love this movie, F. Murray Abraham really killed it as Salieri.
He even explained that playing "Salieri" and "Omar Suárez" were simultaneously "a romantic vacation from the other".
He did, but I have to add, Paul Scofield - the man who the role of Salieri was written for - would have added a gravity that even FMA could not summon. ua-cam.com/video/rvPIjzp9NPc/v-deo.html
This is one of my top five favorite movies. Salieri's descriptions of Mozart's musical process changed my way of listening to music all together.
Agree that was one of the greatest scenes in cinematic history for sure. You feel bad for Salieri and oneself in that moment because although we may have our talents most will never come close to a true master work. Works that flowed from Mozart naturally.
Poor Salieri got a bad rap from this film. By all accounts he was a really good guy and very generous. Also he was Beethoven's music teacher for a time. So an exceptional individual by almost any standard... if not for his compositions then certainly for his accomplishments as a teacher. I love Salieri's fictional portrayal in Amadeus... I just feel bad for the real guy! 😆
There’s literally nothing like this movie. I’ve watched it over and over since childhood, was admittedly obsessed with it in middle school lol. You can just feel the love of art within in it, the struggle, the ecstasy, the madness. It somehow feels very grounded while also being larger than life. I’ve always loved the humor, the deep irony, juxtaposed with such intense melancholy. It’s one of those films that could have been 8 hours long and I would have still enjoyed it because the experience of it is so immersive. It’s just a beautiful work of art in and of itself.🙌🏽
100%
I think the movies from that time that affected me the most emotionally were Amadeus and One Flew Over The Cuckoo's Nest. Forman''s work as a director is brilliant, but the secret of his success lies in choosing just the right actors and actresses to portray the antagonists in both films.
I’ve worked in community mental health for years and in my opinion Foreman portrayed personality disorders the best, in the context of being sellable.
I actually prefer the directors cut over the original, but I'm still excited to see both versions get a 4k remaster, it should be regarded as a classic by this point.
I think the theatrical cut works as a great introduction for kids. Not just the obvious reasons but it’s a nice neat package and not too taxing
Although I'm not sure anyone would ever accuse Milos Forman of not being a great director I still feel he doesn't get quite the amount of acclaim he truly deserved. Take his best movies like Amadeus or One Flew Over The Cuckoo's Nest and compare them to any other all time great director's top few movies and you can go ahead and name them and his resume holds up against anything anyone has done.
"Taking Off" is incredible too.
Peter Hall said of Schaffer’s play “it’s populism done very very well” and I feel that perfectly sums up Forman as a director.
He could bring heavy, intellectual subject matter and give it a pizazz that makes it entertaining and Palatable to a mainstream audience
@@simonpenum watch “The Loves of a Blonde”. Forman was an artist not just a populist.
Thank you for reviewing Amadeus. It's one of my favorite films. Your analysis is brilliant as always. Also your love for books that have writing backwards is fascinating.
Brilliant observation about purgatory! - I never considered that, and I've loved this movie for almost 40 years. Imagine the whole story never happens irl, with Salieri dying before he even meets Mozart. The movie almost supports it: when the movie opens, he's completely forgotten, no family, etc. It's like he never existed the last 30-odd years of his life starting with Mozart coming to Vienna! Seriously, you're also right about the Director's Cut: doesn't HARM the movie, but most of that stuff was originally cut for a reason. Maybe keep a few bits for color.
Some period/costume dramas can be quite boring and hammy but Amadeus is by far the most entertaining non-musical period drama. It's just beautiful to look at. F. Murray Abraham and Tom Hulce are amazing. Great review!!!!
And to think Tom Hulce got his start in Animal House!
Congratulations, 30k! Bravo!!
Good review of a film that to this day remains one of my all time (nostalgic) favourites. I was mesmerised, emotionally gripped and moved by it, when I first saw the theatrical cut in an almost empty cinema, quite a few years ago. I wish you had mentioned the film derived from the clever mind of playwright Peter Schaffer, as you say the movie is "like a play" (which it was originally) who brought the characters to life in such an archly contrived yet believable, well meaning way. As an aside, I think most people who know the film well would think that the 'Directors Cut' was totally unnecessary. I own both versions but sadly was never able to find a clean cut of the original theatrical release. I will keep on returning to this film, to remind me of my humanity
Very thoughtful and illuminating review. I agree that the theatrical cut might actually be superior. Milos Forman, for all of his gifts, had a habit of filming stories he didn’t seem to fully understand and there are moments in many of his movies where it feels like something got lost in translation (like the fishing scene in One Flew Over the Cuckoo’s Nest, or the horse scene in Hair, or taking Larry Flynt a little too seriously.) The scene where Constanze offers herself to Salieri works in the original play because on stage it’s clear that what you’re seeing isn’t history but Salieri’s deranged distortion of it, filtered through his dementia, self-delusion and crippling guilt. As it’s depicted on screen we’re meant to take it at face value as evidence of Constanze’s desperation - which is both both false history and bad fiction. The only good thing about leaving it in is that it justifies some of Elizabeth Berridge’s acting choices in her later scenes, though that is insufficient to counter the feeling that she’s the one actor in the film not really up to the task (and to be fair, she was a last-minute replacement for Meg Tilly, who was injured during filming.)
I was very fortunate that I got to see the play as a teenager in its first Broadway run with Ian McKellen as Salieri and Tim Curry as Mozart. Both were amazing, and both, I’m afraid, outshone their cinematic counterparts. Tim Curry still had that Rocky Horror swagger (this was 1981) and used it effectively, but he also had the requisite pathos, and his death scene brought me to tears, not a common occurrence for me, especially as a teenager.
Three years ago, I was invited by the Folger Shakespeare Library to deliver a lecture on the play, which was being produced in their theater. (I’m a classical radio host and producer in the DC area.) You can listen to it here: spotlight.folger.edu/2019/12/31/mozart-vs-salieri-with-james-jacobs/
I also liked your comparison of Mozart to Michael Jackson, though the latter was truly horribly abused as a kid, whereas I think Leopold, like Salieri, has gotten kind of a bad rap. I mean of course it couldn’t have been easy being shepherded around Europe as a child like a performing monkey at the keyboard, but he probably wouldn’t have done much better had he been shipped off to a musical boarding school as a kid like Haydn and Schubert were; there is evidence that they were both abused. And Wolfgang continued to ask his father’s advice and run ideas past him as a thirty-year-old living independently in Vienna, which he would not have done if he didn’t have real respect for his father’s input. And the letters are full of in-jokes, gossip and political commentary as well. They had a stormy relationship to be sure, but there was mutual respect and live between the two of them right up until Leopold’s death, which did indeed hit Wolfgang like a ton of bricks, one of the things the movie got right.
The movie was a mixed bag to be sure. No complaints about F. Murray Abraham or the movie’s incredible production values. It was a little jarring that they went through all the trouble of getting period instruments to show being played on screen just to hear modern ones being played on the soundtrack. Its biggest flaw, as I said, is that it didn’t seem to quite grasp the conceit of the play as a depiction of Salieri’s interior monologue, not history. But it’s still damn entertaining. Thanks for the review.
Love your takes & love this movie! Theatrical cut should finally be coming in 4k soon (the blu ray is directors cut only for who knows why; been hanging on to the dvd for the reasons u mention).
Speaking of Czech... Marketa Lazarová - would like to hear your takes on that epic
This is my one and only favorite movies set in that time. Other similar films are way too over the top and inaccessible, and appear like they are an just projects made for winning awards. This one was a gem for me. Great writing, acting, and design.
I'm curious. Why can't a film-maker be an auteur and a classicist? God knows, directors from John Ford and Hitchcock all the way to Clint Eastwood managed to be both...and Forman as well. By the way I enjoy your reviews. You clearly put some serious thought into your work.
Yes it’s not a good dichotomy. An auteur is a director who imposed their interests and themes on diverse material. It could be done with any approach.
Thank you for recommending this, I watched it and was amazed.
On the subject of classical music and artistic excellence, I would enjoy hearing your thoughts about Immortal Beloved. Not that it's really much like Amadeus, but the overall story and Gary Oldman's portrayal of Beethoven in particular is, I think, very compelling.
what you said about him being like jackson. i literally have been saying the same thing. from his dad forcing him to perofrm and the star power. and abilities.
btw. one thing i loved. f murray abraham as his role, i never in my life ever had heard anyone describe music so incredibly and beautifullly
Great review. Love your thoughts on this great film. I personally believe this is an underrated gem, beautifully written and acted and fantastic shots, the film is itself a work of art. Thankyou.
The scene you object to, in which Salieri wants to humiliate Mozart by seducing his wife, was the main reason Milos Forman made the director's cut. I don't object to it, since it shows in no uncertain terms Salieri's extreme hatred of Mozart that goes beyond mere petty jealousy. It also shows the nobleness of Constanza, who avoids hurting her husband by not telling him what Salieri's has done to her. In Salieri's own words, he wants to "achieve Mozart's death." For him to attempt suicide at the beginning of the film, his "sin" needs to be shown in all its ugly detail. So I don't object to the added scene at all. Another added scene shows Salieri spreading false rumors about Mozart molesting underage girls, which further shows the depth of his hate. Like you, for years and decades I had only seen the theatrical cut. But now I feel the director's cut is indeed the superior version -- for it shows an uglier Salieri. When the theatrical version first came out in 1984, some reviews said it was inferior to the stage version, mainly because of this issue.
In the real world Salieri thought quite highly of Mozart and he even used his
connections to promote the young composer/performer.
The movie was based on a play that was a speculation on Mozart's early
death.
Used to take the bus into Seattle, when it was a cool city, and not third world like it is now, and see Amadeus over and over, because I was crazy. Your review is so targeted and spot on. I loved the portrayal of Mozart in this, because of my age at the time, but it's so true, it's all of our POV through Salieri. What I learned from that film was to celebrate others talents and avoid jealousy. Great life lesson. The theatrical version is one of the best films ever made in my opinion. Funny how too much of a good thing spoils the whole GD thing. The director's cut is weak. How strange.
Thanks for discussing. Enjoyable, thought-provoking film. And as someone who comes from a musical family who moonlights playing music, I appreciated the music-related comments at the beginning. Shawn R., Mo-Mutt Music/Sacred & Secular
Oddly, i would always watch this movie while I was sick/under the weather. Laying in bed just enjoying the music and dialogue. Great movie 🍿
I first saw this film at Christmas when I was a little kid so it’s pure childhood comfort vibes when I watch it 😆
A perfect film. I’ve loved it since I was a child. I saw the directors cut for the first time literally 2 days ago and it’s really stuck with me.
Salieri is much more evil in his endeavours and the painful deterioration of Mozart into alcoholism, illness and poverty is explored much more in depth in a haunting performance by Tom Hulce. I keep thinking about- hence how I found this review 👍🏻
Great review. I didn't care for the humiliation scene and even though the "excuse" for it is her motivation at the end, we can still understand her motivation, though in a different way. It seems that Salieri would not have given that a second thought. His sin and guilt is centered around what he did to Mozart not Constanza. That scene was not needed.
I felt the exact same way. It felt Egregious.
Saliari :"Oh, of course. We Italians know nothing about love." Mozart: "No I don't think that you do, watching Italian opera. Stupid fat couples rolling their eyes, tenors and sopranos screeching. That's not love, that... that's rubbish."
fantastic film. i have to say, your analysis is impeccable, and your gift for intellectualizing and summing up a movie is spot on!
I also love this film. Good Will Hunting kind of takes this idea. I think with people of extreme ability it is tedious to explain everything. Just trying to get something done can cause directness and brutal honesty to be mistaken for rudeness. A really creative person can also be to the casual observer childish. Finding new ideas (creativity) requires looking at things with an innocent and unprejudiced perspective. One of my favorite musicians Brian Wilson has a great song about this called “I Just Wasn’t Made For These Times”.
I also love the scene where Salieri and Motzart work together on the Requiem Mass. It shows also why Salieri thought God was mocking him. Motzart could compose in his head until everything was perfect and then commit it once to paper. Most people can’t remember more than a couple of phone numbers.
Think of all the work it takes for a composer to bring works like these to the public, and not even being sure that their work would be appreciated. Imagine George Gershwin in Paris in 1924 performing Rhapsody in Blue for the first time in front of an audience. To all hard working creative people risking your ideas for our enrichment, thank you.
I think Amadeus is a better cinematic depiction of genius than Good Will Hunting. The scene where Will humiliates the Harvard grad student tells us "you're listening to a genius." But the scene where Mozart humiliates Salieri by rewriting his march on the spot shows us what genius looks like.
Also the dictation scene at the end where Salieri cannot keep up with Mozart’s effortless yet clearly complex arrangements
Great review! I adore the director’s cut. It’s one of the few very long movies where I was glued to the screen at all times.
Holy crap. I remember asking you to review this. Thank you.
Out of curiosity, to see if it will work again, would you review Twin Peaks: Fire Walk With Me? Please
My favourite film of the decade. Even more than Raging Bull
Good points on the ego death idea.
Great review
Milos Forman was such a good director.
Fantastic review of a fantastic movie!!
Milos Foreman considers the theatrical cut to be the directors cut, and considers the longer version a DVD bonus version. He prefers the theatrical.
The theatrical version was done purely for commercial reasons: PG rating so more people can see, shorter running time for the average people's attention span. The R-rated, longer version is what was in the script, and what Forman had intended us to see. That's why it's called the director's cut.
@@classicvideogoodies That's incorrect. Milos mutually agreed with the studio on the theatrical cut as he thought it was the strongest version of the film. The studio released the director's cut simply for a special laserdisc edition. He said the cut material was unnecessary (he's right) and the theatrical cut has better pacing, but once it was out on home media, it didn't matter, so he said why not just release the full thing as it was written in the script. But films are hardly ever released as they are written in the script, you always cut tons of stuff. And if something is cut, it was probably cut for a reason. So that's why he said it's more of a DVD cut than a director's cut, and that's why the theatrical cut is the strongest version of the film. It's tighter and more disciplined. The added material is redundant and makes the film over stay it's welcome.
@@ed1rko17 He said he preferred the theatrical version for *commercial* reasons: PG rating, shorter attention span, things of that nature. Re-read his 2002 interview with AV Club (which you obviously base your opinion on). Nowhere did he say the cuts made the him *artistically* better. When the director's cut was released on DVD (not on laserdisc as you said), later on Blu-ray, Forman did an audio commentary for it in which he spoke about how the longer version made the film *artistically* better. That left no doubt which version he preferred. Why do you think the original version of nowhere to be found?
@@classicvideogoodies No, I'm basing my opinion off of his book where he specifically says the director's cut is more of a DVD cut. Besides, commercially and artistically shouldn't be exclusive to each other. If the theatrical is more commercial because it has better pacing, it's the better artistically as well, because pacing and editing is an art, and the theatrical does it better. It holds an audience's attention better and doesn't over-stay it's welcome.
@@ed1rko17 The quote you mentioned, "It's more of a DVD cut," isn't exactly a statement of his preference. And your claim that commercial and artistic worth can be linked is your opinion only. Not that it's wrong, but there is no indication that's what Forman said or meant. Even if he said it, it still wouldn't indicate his preference. His "preference" was clearly to just get the film released because it wasn't a bankable film. Have you listened to his audio commentary on the DVD and Blu-ray? Both he and Peter Shaffer say unequivocally that the added scenes work better for the film's theme and artistry.
"Director's cuts" are almost always the preferred version of the director. No studio would spend big bucks on a new version of a film made ages ago unless the original filmmaker wanted to. And if Forman didn't like it, he wouldn't even lend his name to it.
"Like a rusty squeezebox" this is in my top 3 movies of all time
One of my top 5 movies of all time. Classic. Amazing performances. Forman of course won three Oscars for Direction. One Flew Over The Cuckoo's Nest an equally powerful film that holds up to this day from 1975. He also direction People Vs Larry Flynt. Remarkable in this film was that the conductor of St Martins in the Fields said he would only do it if they don't touch one note from the Mozart music. That's respect and recognition for greatness. I just love how this shows the creative process at work. The scene in front of the Emperor also classic where Mozart builds on Salieri's work and crystalizes Salieri's contempt for him. Mozart had a child-like innocence to me. Yes bravado and arrogance to be sure, but still he never was able to recognize Salieri as anything but a friend and contemporary. Brilliant. This of course comes from the Peter Shaffer play.
Speaking of the film seeming like a stage play, have you seen the play that's the source material for the film, deepfocuslens? If so, thoughts? I've seen a section of it performed but not the full play. Shawn R., Mo-Mutt Music/Sacred & Secular
Working in theatre, I've come across an overlooked truth: the greatest stories ever told are the ones which present a unique conflict.
Milos Forman struck gold with Peter Shaffer's play. All he had to do was cast the right pair of actors to face off against each other. And because he'd already achieved such a feat in the prior decade by pitting Jack Nicholson against Louise Fletcher, the expertise was within him to do it again. "Amadeus" has a somewhat odd conflict at its center in that it's completely one-sided. Mozart doesn't perceive Salieri as his enemy .. at least in an individual sense .. due to a severe self-involvement (I'd side with Maggie in describing him as narcissistic). Mozart isn't channeling God so much as presenting an inverted image of Christian morality, trying so hard to be naughty as if it's a spiritual quest for salvation. The true tragedy of Salieri is that he loses sight of his own music and devotes his energies to bringing down another musician who's already doomed by the world he mirrors.
F. Murray Abraham and Tom Hulce are both sculptors of their own bodies and voices, becoming two larger-than-life pieces of art befitting the grandiose tale of artists. Abraham is a bronze statue towering in stern, haughty silence. Hulce is a claymation puppet that would go nuts if Gromit doesn't bring the cheese. These two, bronze and clay, somehow orbit each other from scene to scene and harmonize from octaves apart. (I have the theatrical cut. The editing gives us the exact right amount of Salieri AND the exact right amount of Mozart.) Abraham and Hulce show both an absolute command of the dialogue, and the power to convey entire conversations with just their eyes.
As on-screen enemies, they have chemistry. The caliber of that chemistry wouldn't be seen in Hollywood again until the miracle of Daniel Day-Lewis and Paul Dano in "There Will Be Blood".
The music, the madness, the murder, the motion picture - Amadeus. Everything you've heard is true!
I totally agree with you regarding the director’s cut. I haven’t seen it since I watched it on DVD-it’s a shame the theatrical cut still isn’t the default.
Thanks👏 Always loved since I was a child.
i also think this is a perfect film showcasing an unreliable narrator. salieri at this point in his life is clearly not in his right mind according to the movie so the story is skewed because of this. its a wonderful way of creating a movie without having to be correct with the historic events. with this premise the director and screenwriters can go anywhere with the story and boy they have fun with it. this to me is an incredible imaginative and thoughtful journey. thanks for covering this, your reviews are always informative.
Can you review Mishima:Life in Four Chapters by Paul Schrader?
This video has the best costumes I've ever seen.
I mean, this movie.
Yeah I was thinking, “Did you just begin recording content straight after exercise/going to the gym, madam?” Cos that’s impressive.
I wish they'd make more quality movies about artists, musicians and other creative people. THey should make one about Beethoven or William Blake.
@@timetheory84 Do you think the 9th Symphony scene, which flashes back to Beethoven as a boy running from his father, is an homage to the last scene of 400 Blows? It's always evoked 400 blows for me but I can never quite decide if it's conscious or not.
@@timetheory84 It's more fiction than fact, we need a proper Beethoven movie. And I'm not talking about the one with the dog!
I hated the way they portrayed Constance Mozart in that film. She’s a lazy lump? Really? At the time, she was considered perhaps the world’s leading soprano. There were pieces of music written for her and sopranos today can’t hit those notes. Mozart, and Solieri really didn’t know each other. They met once in passing. The man was a prolific composer on his own. He had no jealousy for Mozart. The latter was not buried in a mass grave, and he was not impoverished when he died. Composers wrote special pieces of music that were performed at his funeral.
historical fiction?
Um, she was not considered the world's leading soprano by anyone. She wasn't even a professional (unlike a couple of her sisters).
The Firemen's Ball, for me, best Milos Forman film.
It's interesting that you mentioned director cut-a version like many of these that has far too many overlong scenes, and a few scenes with Kenneth McMillan that don't advance the narrative at all. The original theatrical version is far superior and Dosent diffuse the lengthy final third.
Various staged productions of Schaeffer's play are on UA-cam and will worth a look. As the movie superbly opens them up with a brilliant roster of international actors and actresses, f.murray Abraham winning a oscar for a brilliant portrayal of bitterness,envy, hubris and arrogance (& miles away from Omar Suarez in Scarface (83) which made his name more widely known outside USA).
Brilliant movie, great soundtrack but theatrical version has the edge (I think...)
Come and rock me, Amadeus!
Heard the non director’s cut version is way better.
Many still like the original version, which was the version that won the Oscar after all. The director's cut depicts a more sinister, uglier Salieri, and that works for me too. In the early scene with the priest, Salieri says this extra line: "All his (Mozart's) talents must be an accident. Had to be. It'd BETTER BE." That foreshadows his deep hatred of Mozart. An extra scene is added showing him seducing Mozart's wife. Later we see him falsely accusing Mozart of violating young women (when it was Salieri who did it earlier). By seeing a more hateful Salieri, it makes more sense for us to see him plot a murder against Mozart and attempt suicide later in his life. The result is a much darker picture, which I prefer.
I think it's telling they chose "Amadeus" (love of god) as the title, considering the themes. I was in my first year of my music degree when this came out, and we all had a good talk in class about how non-factual it is (most of it is totally bogus), but it's also a great artistic depiction of those themes. It also led to a discussion of why we don't study lesser composers like Salieri. In fact, one professor went so far as to do a class on that very thing. It definitely impacted our lives and influenced us in many ways. And it pointed out something else that tends to be true: with great talent comes great insufferability. Bach, Mozart, Beethoven, all those guys, they might have been musical geniuses, but personally, they were serious d*cks. I still quote the movie often. "Too many notes" goes up there with "Game over, man"" "Make my day" "That's not a knife" and all those great immortal lines. Fantastic movie. Love the review! "I'll be back."
This movie is a masterpiece! The most beautiful declaration of love to the magic of music but also of youth and life..
watched it many many times....terrific flick.
After Meg Tilly was injured, two last-minute replacements were flown in: Elizabeth Berridge and Diane Franklin (from The Last American Virgin). A few years ago, Franklin posted her on-set rehearsal photos on Facebook in which she dressed up as Constanza. As some of you already know, she was not hired because she was deemed too pretty. Not an ideal way to make a decision, of course. But I understand Forman had to make a spur-of-the-moment decision or there would be no film.
Roman Polanski directed and starred in an adaptation of this play for the stage -- I've always been left wondering what Amadeus, directed by Polanski, on film would have looked like...
P.S. RP probably would have been too old to play Mozart on film -- the role he took on, on stage...
"Too many notes"
"Well, there it is..."
I love this movie, great review i like the comparision to Michael Jackson. I know you dont care much about the Oscars anymore but on my list of films ive seen that have won best picture i rank this film very highly. I thought Tom Hulce was just as good as Motzart as was Abraham was.
the one scene you are talking about. in the director's cut. well it does actaully show why she hated salieri so much at the end. moreso than even the regular cut. although i honeslty can't see costanze doing that
One thing Amadeus gets right: music scenes always have mediocre yet devious people who try to stab more talented artists in the back. Have seen that drama play out in several cities in the world while working in the industry
Review request: A Field in England
or Kill List. Both equally great in my opinion.
Because of Amadeus, F. Murray Abraham will always be Salieri for me :D
Enjoyed your review. I love the movie despite its shortcomings. I was bothered by the costume designs and the licenses they took. Maybe they had pink wigs and "crew" wigs in the 18th century but showing it was a distraction. I think the actress that played Mozart's wife was an atrocious choice with her New York accent. I heard she was a second choice. (Or third?)
My favorite summarization of this movie is that it’s live-action SpongeBob lol
My fav movie of all time easily.
"That was not Mozart laughing, Father. That was God. That was God laughing at me through that obscene giggle." BTW, I found the theatrical version at a local media store. I found the pacing near perfect. Haven't seen the director's cut.
This is also one of my favorite movies I feel validated ❤
Amadeus is my favorite movie of all time!
I bought this movie because I heard it was a masterpiece. I still haven't watched my copy yet.
Surely a film for anyone who's ever found themselves upstaged by the junior at work!
Rumor has it criterion releasing this theatrical version on 4k and blu
I would love Arrow Video to do one of their brilliantly comprehensive packages on this one. There’s a lot of debate over which version to watch and I’d like to have as many as possible.
Nice. It's an all-time great
idk if you watch her content, but Contrapoints contrasted Salieri and Mozart’s relationship to the one between Spongebob and Squidward in her video about envy. it’s actually pretty poignant and accurate
imagine caring about 'youtubers'
get a life, do some drugs or something
@@helvete_ingres4717 my guy are you okay?
@@Jamzamurai haha that's like prefabricated passive-aggressive internet response #24 2019 edition - make sure to ask santa claus for some originality this year while you're forming your personality based off youtube
The problem with the movie Amadeus was there were too many notes.
A bit of trivia: The theatre shown in the movie is the actual theater where Mozart
premiered some of his works.
thank you
The effect of Elizabeth Berridge's topless appearance is enjoyable on its own merits, but its effect on the movie, along with the rest of the extended version added scenes, is damaging. The extended cut spells things out too much and turns Salieri into a moustache-twirling villain. The extended scenes' portrayal of Salieri as a hateful lech literally ruins the theme of the movie, which is the question of why God bestowed such genius on such a goofball but abandoned a guy who tries hard and follows the rules to "mediocrity." If Salieri is transparently evil, that question is moot.
I definitely prefer the original theatrical version! Constanze already hated Salieri for not getting Mozart a royal position because of jealousy. They didn't need the degrading additional plot.
I really prefer the theatrical cut. But it's not a holy relic ;^)
When I saw this film I had NO IDEA the guy playing piano was a TRANSEXUAL TRANSVESTITE FROM TRANSYLVANIA! Tim Curry is Great as Mozart! IMHO
Miloš Forman isn't nowhere near the clasicism that you talking about in his early czechoslovak films. His movies Černý Petr (Black Peter), Lásky jedné plavovlásky (Loves of a Blonde) and Hoří, má panenko (Firemen's Ball) are very unique, and among the movies from all around the world there are not movies like that. He maybe draw some inspiration from French New Wave, depicting very real take on a czechoslovakian society with its lies, humor, lameness, tragedy, chaos. Just a good mix of satire and realism and naturalism, with no plot and not professional actors. I fully recomend it! He turned to the more classic telling a story with Cuckoo's Nest, because he realized after releasing Taking Off (1971) - which also had the same style as his czechoslovak movies, that american audience is just different and don't fully appreciate his viewing of the movies.
Why is it named after his middle name? Try watching this with adhd.
"Amadeus" means holiness, god-like, etc. That is related to the main theme, which is that Salieri thinks Mozart was sent by God to mock and torment him.
I've never seen this movie.
😮
bruh
Noted.
Ok
Sufficient T&A. Thanks.
what was you tinking?
Maggie I think.Im falling in Love with you.
Cute
She's breathtakingly beautiful.
Like Michael Jackson? Milos said this film has nothing to do with Mozart
Great movie. Tom Holst, who could argue? But what are you doing half naked on camera!?!?
Why are you in your underwear?
I think I’m in love with you
Yeah. Why can't I find someone like her. I did once, but she was mean.
Would you be if she would be ugly?
first
I feel like it makes more sense to either wear an actual shirt for these vids or just go topless at this point.
Put some clothes on
I totally agree with you regarding the director’s cut. I haven’t seen it since I watched it on DVD-it’s a shame the theatrical cut still isn’t the default.