Amadeus

Rating

Director

Milos Forman

Screenplay

Peter Shaffer (Play by Peter Shaffer)

Length

160 min.

Starring

F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Roy Dotrice, Simon Callow, Christine Ebersole, Jeffrey Jones, Charles Kay

MPAA Rating

R

Review

When one sits down to a biopic, it is expected that historical fact will be presented in a somewhat lugubrious manner. The film will feature actors playing parts, unlike documentaries where archival footage is usually substituted. The thing one can’t generally expect is to be entertained. Amadeus changes that stereotype and presents a clear and reasoning picture with terrific performances, a host of legendary music and a sense of entertainment.

The film is told in flashback as Antonio Salieri (F. Murray Abraham) is institutionalized for trying to commit suicide over his belief that he killed Wolfgang Amadeus Mozart (Tom Hulce). The film is as much about Salieri as it is about Mozart. Even the Academy saw fit to recognize both Hulce and Abraham with deserved Oscar nominations.

Starting with brief descriptions of the childhoods of each man, the story then skips to the court of Emperor Joseph II of Austria (Jeffrey Jones) where Salieri is the court composer. His associates insist a new inspiration be brought in and Mozart is selected. As the film progresses, Salieri’s jealousy of Mozart’s immense talents become more apparent. The last hour of the film follows Salieri’s attempts to drive Mozart to his death tormenting him with visits from a visage of his late, disapproving father.

There is little question that both Abraham and Hulce deliver excellent performances. Abraham’s cool, calculated and reserved performance plays well opposite Hulce’s broad, mischievous and lighthearted one. Though Hulce gets some rather juicy parts near the end of the film, Abraham’s ever-present face keep the audience keen on what he has to say. But, in a head to head competition, Hulce would be the winner with Abraham a distant second. Unfortunately, Oscar didn’t see it the same way honoring Abraham instead.

Director Milos Forman loves his subject matter and that much is clear. The man, when on target, can do little wrong. Whereas his One Flew Over the Cuckoo’s Nest was very similar in its style, Amadeus feels more vibrant and intriguing. Much of this has to do with the amazing use of music. Forman knows where to set the tone and which pieces work best for such. The symphonies, sonatas and melodies each fit perfectly into the emotional feel of each scene. The music is so perfect that you could almost turn off all dialogue and sound effects and let the beautiful chords tell the entire story.

Amadeus has the distinction of being the only biopic in Academy history that doesn’t feel like a chore to watch. While Patton and Gandhi are technically meritorious works, neither approaches the visual panache of Amadeus. Even biographical masterpieces Schindler’s List and A Man for All Seasons lack the carefree nature of this film.

Remorse is painful and though we can’t help but mourn the passing of the film’s title character, his death is poetic and touching in a way that makes us feel at once glad Mozart gave the world so much and sad that he couldn’t leave more. Bar none, Amadeus is the definitive story of Mozart’s life.

Review Written

December 26, 2006