The incredible story of Wolfgang Amadeus Mozart, told by his peer and secret rival Antonio Salieri - now confined to an insane asylum.

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Cast

Cast overview, first billed only:
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Lisbeth Bartlett ...
Papagena (as Lisabeth Bartlett)
Barbara Bryne ...
Martin Cavina ...
Young Salieri (as Martin Cavani)
Roderick Cook ...
Milan Demjanenko ...
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Storyline

Antonio Salieri believes that Wolfgang Amadeus Mozart's music is divine and miraculous. He wishes he was himself as good a musician as Mozart so that he can praise the Lord through composing. He began his career as a devout man who believes his success and talent as a composer are God's rewards for his piety. He's also content as the respected, financially well-off, court composer of Austrian Emperor Joseph II. But he's shocked to learn that Mozart is such a vulgar creature, and can't understand why God favored Mozart to be his instrument. Salieri's envy has made him an enemy of God whose greatness was evident in Mozart. He is ready to take revenge against God and Mozart for his own musical mediocrity. Written by Khaled Salem

Plot Summary | Plot Synopsis

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Everything you've heard is true. See more »


Motion Picture Rating (MPAA)

Rated R for brief nudity | See all certifications »

Parents Guide:

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Details

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Release Date:

19 September 1984 (USA)  »

Also Known As:

Amadeus: The Director's Cut  »

Box Office

Budget:

$18,000,000 (estimated)

Opening Weekend:

$86,764 (USA) (5 April 2002)

Gross:

$51,600,000 (USA)
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Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

| (director's cut)

Sound Mix:

(70 mm prints)| (director's cut)| (35 mm prints)

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

The "Don Giovanni" scene was being shot in part on the Fourth of July. During one take, upon Milos Forman's call of "Action", a large American flag unfurled from the ceiling. 500 extras stood up from their seats and begun to sing "The Star Spangled Banner". The only extras that did not stand up were about thirty people, scattered throughout the theater- at first thought to be normal people, but it was deduced that these thirty were members of the Czechoslovakian secret police. See more »

Goofs

When the confessor is waiting to enter Salieri's door from the hallway of the asylum, there is a woman sitting with her back to him (and the camera) talking to a patient. She is wearing a red business suit jacket with obvious, 80's style, shoulder pads. See more »

Quotes

[first lines]
Antonio Salieri: Mozart! Mozart, forgive your assassin! I confess, I killed you...
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Crazy Credits

"Amadeus" was originally a National Theater Production in London, then produced in America by The Shubert Organization, Elizabeth I. McCann/Nelle Nugent and Roger Berlind. See more »

Connections

References Pink Floyd: The Wall (1982) See more »

Soundtracks

Le Nozze di Figaro (The Marriage of Figaro), K492, Act IV, Ah Tutti Contenti
(1786) (uncredited)
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
Performed by The Academy of St. Martin-in-the-Fields (as Academy of St Martin In The Fields)
Conducted by Neville Marriner
Excerpts Sung by Samuel Ramey (Figaro), Felicity Lott (Countess), Richard Stilwell (Count Almaviva), Isobel Buchanan (as Isabel Buchanan) (Susanna), Anne Howells (Cherubino), Deborah Rees (Barbarina), Alexander Oliver (Basilio), Robin Leggate (Don Curzio), John Tomlinson (Dr. Bartolo), and Willard White (Antonio)
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Frequently Asked Questions

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User Reviews

 
Amadeus Speaks for All Mankind
4 May 2004 | by (Houston, Texas) – See all my reviews

In 1984, Saul Zaentz, Peter Shaffer and Milos Forman collaborated in bringing a truly remarkable life to the silver screen. The story of Wolfgang Amadeus Mozart, through the eyes of rival composer, Antonio Salieri. The film is complete with an insightful script (courtesy of Mr. Shaffer), magnificent acting, wondrous sets and costume designs, incredible choreography (thanks to Twyla Tharp), and, above all, the glorious music of Mozart himself.

The movie of Salieri's life, through which Mozart played an integral part, is told in flashback mode, beginning in around the year 1822. An old and perhaps emotionally disturbed Antonio Salieri attempts suicide, and in doing so, apologizes for killing Mozart some 31 years earlier. He survives and is admitted to an insane asylum, where he tells a young priest his tale of jealousy and mediocrity.

The priest is fascinated and alternately troubled by the lengthy and emotional story. Salieri tells of growing up in Italy with a father who did not care for music; and how he rejoiced for the chance to go to Vienna after his father's untimely death. He tells of how he first had met the young Mozart, and how immature and dirty minded Mozart was. He also tells of how "The Creature" had an intimate relationship with the girl that Salieri had cared for. Most importantly, however, he confided in the priest that he had learned to hate God for giving him a deep love of music, only to deny him the talent to create truly memorable music. He thought God had given him Mozart to mock him. Salieri's heart filled with such rage, such hatred and such jealousy, that he had vowed to himself to make God an enemy and to kill the young Mozart.

As the movie moves along, carrying with it a deep sadness of the human condition, it also celebrates life by giving the audience joyous music, wonderful atmosphere and a general appreciation of humanity for not only eighteenth century Europe, but in any age where music speaks for our emotions.

The movie won eight Academy Awards in March of 1985. The only reason it did not win nine was that Tom Hulce was nominated for best actor instead of best supporting actor. He actually was in a supporting role, and in a strange twist of irony, F. Murray Abraham won the best actor statuette; citing probably the only time when Salieri beat out Mozart in anything.

The movie itself was shot in Prague where Milos Forman said "(It) is a gem because it's possible to pivot the camera a full three hundred and sixty degrees and never encounter a modern vision." Very few new sets had to be built, as the scenes and buildings they found were quite often apropos to their needs.

Amadeus works well on virtually every cinematic plane that exists. It is a masterpiece that must be viewed multiple times to receive what the film has to offer. The emotions of humanity, through the eyes of the troubled Salieri, indeed speak for all of mediocrity. He is their champion and their king.


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