| AMADEUS Director's Cut |
2001 - USA
Director: Milos Forman - Reviewed by Kerri
The film, directed by Milos Forman, is one of my all-time favorites. It was nominated for 11 Academy Awards and took home eight in 1985 (Best Picture, Actor, Sound, Screenplay, Art Direction, Costume Design, Director, and Makeup; nominated for another Best Actor as well as Cinematography and Film Editing). The unfortunate thing about that sweep was that Tom Hulce, who brilliantly played Mozart, lost best actor to F. Murray Abraham, who won for his equally brilliant portrayal of Antonio Salieri. If only two awards could have been given out. Much controversy surrounds the film; the plot is very loosely based on Mozart's and Salieri's lives. In fact, much of the storyline involving Salieri was fabricated—today there are scholars and afficionados who berate the film for portraying Salieri as the demented colleague who believes he killed Mozart. Others lament the characterization of Mozart himself. In truth, not much is known about Mozart's personality, and the filmmakers chose to play him as a laughing, vulgar, spoiled buffoon (albeit with the talent of a genius). True or not, if you're willing to set historical accuracy aside, this film is one of the most engaging and delightful biopics ever made in my opinion. We are shown only a small part of Wolfgang Amadeus Mozart's life: his relationship with his father (Roy Dotrice), who had pranced his genius son around Europe as a child; his marriage to Constanze Weber (Elizabeth Berridge); his financial problems and poor health; his stormy service to the ArchBishop Colloredo; and his passionate pleadings to the comical Emperor Joseph (Jeffery Jones, whose one-liners are hysterical). Some of the music includes the operas Marriage of Figaro and The Magic Flute; the famous Eine Klein Nachtmusik, and of course the Requiem, the central theme around which the movie plays. The Director's Cut includes 20 minutes of unreleased material. Some of it is superfluous and is easy to see why it was cut. But there is a bit storyline that delved deeper into Salieri, making him more of a villain than thus portrayed; there is also a scene that explains Constanze's hatred for him at the end of the film. I wish they had not taken that one part out, because with it, we understand Salieri's intentions and passions a little more. I could go on and on. The acting, the drama, the comedy, the costumes, and of course the music all wrap up nicely and make the 3 hours fly by. F. Murray Abraham's stoic and pained expressions make you sympathize and believe he really hates Mozart; Tom Hulce's trademark manic laugh make you laugh out loud as well. Anyone can play a clown, but Hulce's ability to portray Mozart's tender moments is what makes him perfect for the role. (A bit of trivia: Mel Gibson tried out for the part. Egads.) I also loved Jeffrey Jones' comedic element. Even if you are not a Mozart or classical music fan, this biography is witty and so beautifully done anyone can—and should—appreciate it. |
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When I watch this movie at home, I dance around the living room conducting wildly, I run to the piano and play along, and I cry openly at the Lacrimosa as Mozart is dropped unceremoniously into a pauper's grave. Too young at the time to have seen this when it originally debuted in the theatres 18 years ago, I was ecstatic at the chance to see it for the first time on the big screen. It was all I could do to stay in my seat and not conduct wildly at the screen. Others may play air guitar; I play air Mozart.
