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Increasingly, Salieri grows putrid with anger and resentment toward a God that would choose an obscene child to be his instrument.Īnd while Salieri loathes Mozart he is also drawn to him – to his music – with the longing of a deprived beast.Īntonio Salieri achieves success in the musical city of Vienna, a success he is satisfied with until Mozart’s music in shoved in his face. He gave me all the longing and then made me mute.” Instead God had given him the talent of a second-rate composer and dangled greatness just beyond Salieri’s reach by allowing him the ear to recognize it – the sounds created by Wolfgang Amadeus Mozart, a vulgar, puerile creature through whose music God spoke. All Salieri ever wanted was the musical gift to achieve glory. Envy, after all, is unlikely to ever go out of style.Īn old Antonio Salieri sits in an asylum quietly playing notes on a piano when a young priest walks in to hear the old man’s confession, the confession of a “soul in pain.” The priest offers Salieri God’s forgiveness and the old man retorts, by way of flashbacks that tell the story of his growing bitterness and envy, that it is God who must ask for his forgiveness. The reason for that is its theme, which is universal and timeless. As Salieri remembers we listen to what he hears in his head – Mozart’s compositions, which are glorious even to one who doesn’t like classical music.ĪMADEUS is an extraordinary achievement, a film that still feels fresh and modern despite the period costumes, lavish sets, personalities and era depicted. In addition the music brings all of the scenes to life, real-life orchestrations that serve to bridge the past and the present. Editing is key (and in this case outstanding) since the story is told by way of flashbacks as Antonio Salieri recalls his association (and obsession) with Mozart. I’d be remiss not to (at least) mention the editing and the music in AMADEUS as well because without them none of the performances would have been as memorable. However, there are other fantastic performances in the film – most notably those delivered by Tom Hulce who was also nominated in the Best Actor category for his portrayal of Wolfgang Amadeus Mozart and Elizabeth Berridge as Constanze, Mozart’s wife. And I will laud it by describing just one scene. Murray Abraham as Antonio Salieri – one of my all-time favorites. (IMDB)ĭespite the complexities of Milos Forman’s film, which is a sensual feast on many levels the purpose of this post is to laud the performance of F.

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In fact, it joined a select group of Best Picture Academy Award winners never to crack the box office top 5.

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The movie was not a commercial success, however, by certain standards. And then it went on to receive a total of eleven Academy Award nominations winning eight including Best Picture and Best Director. It’s not surprising to learn that no major studio was interested in financing a long biopic about a classical music composer, but AMADEUS got made. Just as Forman was bowled over by the stage version of AMADEUS, however, so was I by his Oscar-winning 1984 film. Not only am I not (necessarily) a fan of period movies, I also don’t like classical music. That’s exactly how I felt about the prospect of watching a nearly three-hour retelling of a composer’s life. In fact, he said he couldn’t think of anything more boring. Milos Forman was invited to see “Amadeus” on stage and dreaded the idea of watching a period piece about classical music.