Amadeus (1984)

Réalisateur:

Milos Forman

Writers:

Peter Shaffer (play)
Peter Shaffer (screenplay)

Release Date:

19 septembre 1984 (USA)

Genre:

Drame | Music

Accroche:

Amadeus. The man. The music. The magic. The madness. The murder. The mystery. The motion picture.

Plot:

The incredible story of Wolfgang Amadeus Mozart, told in flashback mode by Antonio Salieri - now confined to an insane asylum.

Plot Keywords:

Envy | Piano | Loss Of Father | Musician | 18th Century

Awards:

Won 8 Oscars. Another 32 wins & 13 nominations

Avis des utilisateurs:

Ravishing in sound and vision

Ensemble

F. Murray Abraham	...	Antonio Salieri
Tom Hulce	...	Wolfgang Amadeus Mozart
Elizabeth Berridge	...	Constanze Mozart
Roy Dotrice	...	Leopold Mozart
Simon Callow	...	Emanuel Schikaneder / Papageno
Christine Ebersole	...	Katerina Cavalieri / Costanza
Jeffrey Jones	...	Emperor Joseph II
Charles Kay	...	Count Orsini-Rosenberg
Kenneth McMillan	...	Michael Schlumberg (2002 Director's Cut)
Kenny Baker	...	Parody Commendatore
Lisabeth Bartlett	...	Papagena
Barbara Bryne	...	Frau Weber
Martin Cavina	...	Young Antonio Salieri (as Martin Cavani)
Roderick Cook	...	Count Von Strack
Milan Demjanenko	...	Karl Mozart

Autre(s) titre(s) :

Amadeus: The Director's Cut (USA) (director's cut)
Peter Shaffer's Amadeus (USA) (complete title)
Peter Shaffer's Amadeus: Director's Cut (USA) (director's cut)
Amadeus (France) [fr]
Amadeus - version intégrale (France) (director's cut) [fr]

MPAA:

Rated R for brief nudity. (director's cut)

Durée:

160 min | 180 min (director's cut)

Pays:

USA

Langue:

Anglais | Italien | Allemand

Couleur:

Couleur

Aspect Ratio:

2.20 : 1

Son:

70 mm 6-Track (70 mm prints) | Dolby Digital (director's cut) | Dolby (35 mm prints)

Classification:

UK:PG (also director's cut) | Philippines:X (director's cut) | Brazil:14 | Canada:PG (Manitoba/Ontario) | Canada:A (Nova Scotia) | Malaysia:(Banned) (director's cut) | Singapore:NC-16 (video rating) (cut) | Germany:12 (director's cut) | Iran:(Banned) (director's cut) | Sweden:7 (director's cut) | Czech Republic:15 (director's cut) | Argentina:Atp | Australia:PG | Canada:G (Quebec) (director's cut) | Chile:14 | Finland:K-7 (re-rating) | Finland:S (original rating) | France:U | Hong Kong:II | Iceland:L | Mexico:C (director's cut) | Netherlands:AL (director's cut) | Norway:12 (original rating) | Norway:15 (director's cut) | Peru:14 | Singapore:PG | South Korea:All (director's cut) | Spain:T (director's cut) | Sweden:11 (original rating) | Taiwan:PG-12 | USA:PG | USA:R (director's cut) | West Germany:12 | Ireland:PG

Emplacements De Pelliculage:

Kromeriz, Czech Republic

Company:

The Saul Zaentz Company

Anecdotes:

Mel Gibson auditioned for the role of Mozart.

Goofs:

Factual errors: At the time if his death, Mozart had two sons living, Karl and Franz. The Mozarts had seven children total, five had died before Mozart's death.

Guillemet:

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

Connexions De Film:

Featured in Masters of Production: The Hidden Art of Hollywood (2004) (TV)

Soundtrack:

Symphony No. 25 in g minor, K 183, 1st movement

Ravishing in sound and vision

The unseen star of this film is the Academy of St Martin's in the Field, London. Buy the soundtrack and you will be rewarded with some of the most stunning music you can hear. Mozart's music excells with brilliant treatment and dies with a bad performance. And that, after all, is what the film is about. Without his music, Mozart would be lost in time, a fate that the narrator of the story, the composer Salieri, saw as his own. Ironically, while Salieri has indeed been completely overshadowed by Mozart, his music still survives and has its followers.

But beyond the music this is an outstanding film. Set in the prettiest and most flamboyant century of the last millennium, it is visually stunning and the writer's portrayal of jealousy is perceptive. The casting of the Austrian King and courtiers, (indeed all the actors in this film) that Mozart needed to impress capture the gentility and courtesy of the time, and also subtly shows their growing indignation and impatience at Mozart's personality and behaviour; the presentation of Mozart as punk musician is probably the only failing in the film. As a theatrical device to show that genius can come in disastrous packages it succeeds well, but anyone with any historic sense of social ettiquette or manners will know that Mozart's sill y behaviour would be well wide of the truth, as might, perhaps, be the concept of Salieri as murderer-in-chief. Only in the final scenes is Mozart's brilliance as a composer truly explored in what amounts to a deconstruction of his final composition - his moving, uncompleted and poignant Requiem mass.

Another unintended star in this film are the candle lit sets and theatres of the 18th Century; their operas and drama ooze a magic that is lacking in the present world and which modern producers might well try to reintroduce; so lovely are these buildings with their flickering lights and theatrical techniques that one is left desperate to to seek out these rare theatres to experience them.

This film leaves one breathless from its visual beauty, its magnificent score and the choreography, indeed, of the two together. Mozart's life had the air of tragedy, and his undoubted genius speaks to us now and forever. This film is a monument to the skills of the writer, maker, performers and, of course, Mozart's music. If you have not yet done so, see it.