When you think of well-known composers of classical music, who comes to mind? Perhaps you’d think of Beethoven, Tchaikovsky, Bach, or maybe even Chopin or Schubert if you’ve dug deep into what the realm of classical music had to offer. There is one man, however, whose name remains synonymous with classical music: Wolfgang Amadeus Mozart.
We’ve all heard a piece by Mozart at some point in our lives, whether it’s “Eine Kleine Nachtmusik,” the “Lacrimosa” from his unfinished “Requiem,” or the infamously hard-to-sing “Queen of the Night” aria from his opera “Die Zauberflöte.” Mozart’s impact on popular culture is still widely felt today, and Miloš Forman’s 1984 film “Amadeus” is a brilliant appreciation of his life and music. The film tells an engaging—albeit fictional—account of his life, and its powerful performances, strong score, and magnificent cinematography, costume, and set design make many viewers consider it one of the greatest films of all time.
Based on the 1979 play by Peter Schaffer, “Amadeus” follows Mozart’s adult life and career in Vienna through the perspective of his supposed rival, composer Antonio Salieri. The film follows the progression of the two men’s rivalry, with Salieri formulating a plan to murder Mozart out of jealousy. Mozart, on the other hand, spirals into severe debt and alcoholism due to Salieri constantly sabotaging and undermining his successes. Upon its initial release, “Amadeus” quickly became a worldwide success, earning 90 million dollars at the box office and winning eight awards at the Oscars the following year, including Best Picture.
The performances of F. Murray Abraham and Tom Hulce are some of the most moving and memorable performances that I have ever seen in film. They complement each other brilliantly. The contrast between Abraham’s grounded portrayal of Salieri and Hulce’s bubbly, sometimes neurotic portrayal of Mozart makes them perfect narrative foils to one another. It’s sickening and intriguing to watch an older Salieri attempt to justify his violent hatred and jealousy of Mozart to the audience, while many of Mozart’s scenes are much-needed comic relief in an otherwise downer film. Seriously, Mozart has one of the most obnoxious, but endearing laughs in film history.
One of the film’s most impactful scenes comes at the very end, where Salieri assists a dying Mozart in writing the “Confutatis” section of his unfinished “Requiem.” The scene not only shows Mozart’s genius, but also reveals a softer side to Salieri, whose willingness to help his sworn rival—as well as his earnest praise of Mozart’s music—helps humanize his character.
It should be noted, however, that the film’s portrayal of Mozart and Salieri’s rivalry has little to no basis in actual history. While they did bicker and even had a small rivalry at one point, it was never as malicious as “Amadeus” portrays it as being. Most historians agree that Mozart and Salieri had mutual respect for each other, with the two of them even composing a piece together called “Per la ricuperata salute di Ofelia.” Additionally, Salieri eagerly attended a performance of Mozart’s final opera “Die Zauberflöte,” and, as author Maynard Soloman wrote in his biography of Mozart’s life, “There was not a piece that didn’t elicit a ‘Bravo!’ or ‘Bello!’ out of him.” The idea that Mozart and Salieri were bitter rivals only arose in the years after Mozart’s death, as it was used to explain the mysterious circumstances surrounding his death.
The visuals and cinematography of “Amadeus” are one of the film’s strongest aspects. The film was shot in Prague, Czech Republic, and the city’s many historic locations and streets seamlessly transport the audience to 18th century Vienna. While I have some grievances with the costumes, especially the use of Victorian undergarments with 18th century gowns, I love the overall look and silhouette of the costumes, especially Mozart’s wacky wigs and suits.
The best aspect of the film, by far, is the film’s score. Mozart’s music is played constantly throughout “Amadeus,” and its prominence throughout the film works in its favor. Some of the best scenes in the film are the musically-oriented ones, particularly when they involve Mozart’s operatic works. One of the scenes that has always stuck with me comes after Mozart discovers his father, Leopold, has died; Mozart conducts the Commendatore scene from the end of his opera “Don Giovanni.” In the opera, Don Giovanni is made to face the consequences of his misdeeds when the ghost of a commander he killed confronts him. The epic score, as well as the claim that Mozart had written the opera while grieving his father’s death, adds another layer of grimness to the scene and helps set up Mozart’s decline in the latter half of the film. Another memorable moment is the performance of “Die Entführung aus dem Serail;” Mozart eagerly conducting the final number is always a joy to watch. The success of “Amadeus” also not only brought Mozart’s music back into the mainstream, but it caused a renewed interest in Salieri’s music as well, which had largely been forgotten in the years after his death.
“Amadeus” is one of the most impactful and enjoyable films I have ever seen, and it has definitely become a new favorite of mine. While its subject matter may not be for everyone, you do not need to know the historical context behind the film to appreciate its performances and Mozart’s brilliant score, and I would recommend it to anyone who loves and appreciates films.
