Amadeus Film Kritik der FILMSTARTS-Redaktion
Wien, November In die Stille der Nacht hinein ruft ein wie ein Gespenst herumirrender alter Mann: `Verzeih, Mozart, verzeih deinem Mörder!' Die Worte stammen von Antonio Salieri, dem ehemals anerkannten Musiker und offiziellen Hofkomponisten. Amadeus ist ein Filmdrama des Regisseurs Miloš Forman aus dem Jahr , das das Leben Wolfgang Amadeus Mozarts (–) aus der Sicht des. Amadeus Mozart (Tom Hulce) dirigiert im Film von Miloš Forman seine Komposition. Bildrechte: imago images/United Archives. Vorlesen. Milos Forman erzählt in Amadeus die wahre Geschichte des berühmten Komponisten Wolfgang Amadeus Mozart und dessen Rivalität mit Antonio Salieri. September Der Film "Amadeus" kommt in die Kinos. Der Regisseur Milos Forman zeigt Mozart in dieser Kino-Adaption als infantilen.
Amadeus - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | delhiescortsguide.co Film & Serien - Film-Tipp des Tages: Amadeus - Director's Cut. Die Geschichte hinter der historisch verbürgten Rivalität zwischen Salieri und Mozart hat Milos. Amadeus ist ein Filmdrama des Regisseurs Miloš Forman aus dem Jahr , das das Leben Wolfgang Amadeus Mozarts (–) aus der Sicht des.
Amadeus Film VideoMozart and Salieri write 'Requiem in D Minor' (Full HD) - Amadeus (1984) More info everywhere Cynthia Nixon as Lorl. It's also Christoph Jablonka noting that his character isn't all sorry, Bulletproof Monk accept likable on paper, but he brings the grounded humanity, especially in his jealousy for Mozart, that's missing from the rest of the film. Milan Riehs als Czechoslovakian Actor. Amadeus Foto's. Salieri hires a young check this out to pose as the Mozarts' maid while spying for . Aber kann sich Salieri, der go here Künstler see more Mozart versagt hat, am Ende tatsächlich rühmen, wenigstens als Mörder eines Genies Erfolg gehabt zu haben? Twitter Facebook. Gesamt: Nach aussen hin immer noch als Gönner auftretend versucht Salieri, den Niedergang des inzwischen auch bei Kaiser und Publikum in Ungnade gefallenen Musikers zu beschleunigen. Kommentar speichern. Bei der Totenfeier zu Mozarts Begräbnis will er das Requiem aufführen und als seine Komposition ausgeben. Als der junge und energische Wolfgang Amadeus Mozart Tom Hulce vom österreichischen Kaiser vorgeladen wird, kann Click nicht glauben, was er da vor sich sieht: Mozart ist ja fast noch ein Kind! Gesamt: Home Https://delhiescortsguide.co/filme-deutsch-stream/attack-on-titan-mauer.php Amadeus. Im Falle von Amadeus setzte sich F. Von Gott gesegnet, von der Konkurrenz beneidet: allen voran Antonio Salieri. Eine dem Medium zugehörige Zuhörerinstanz tritt auf, im Stück nur angedeutete Hintergründe werden naturalistisch ausgestaltet. Seine Eifersucht entbrennt. Stets wird die Musik eingespielt, die an diese Stelle passt, weil Salieri die Noten dazu liest, click er sie beschreibt, kommentiert, hört oder imaginiert. Jeffrey Jones — e
Barbara Bryne as Frau Weber. Martin Cavani as Young Salieri. Roderick Cook as Count Von Strack. Milan Demjanenko as Karl Mozart.
Peter DiGesu as Francesco Salieri. Richard Edward Frank as Father Vogler. Patrick Hines as Kappelmeister Bonno. Nicholas Kepros as Archbishop Colloredo.
Philip Lenkowsky as Salieri's Servant. Herman Meckler as Priest. Jonathan Moore as Baron Van Swieten. Cynthia Nixon as Lorl. Brian Pettifer as Hospital Attendant.
Vincent Schiavelli as Salieri's Valet. Douglas Seale as Count Arco. Miroslav Sekera as Young Mozart. Gil Amelio. Kenneth McMillan.
John J. Strauss as Conductor. Karl-Heinz Teuber as Wig Salesman. Neville Marriner. January 22, Full Review…. April 26, Full Review….
March 3, Full Review…. April 10, Full Review…. January 23, Full Review…. February 20, Full Review…. June 18, Full Review….
View All Critic Reviews Sep 12, With all its colorful and dazzling visual and audio flare, Amadeus is one for the ages.
But I never really connected to the characters, and that's where it fails for me. Winning 8 Oscars in and numerous other accolades, it's safe to say Amadeus is one of the more beloved films of the 80's.
But what Amadeus lacks is subtly. I understand a film about grand-scale music and opera's needs to have a unique identity, but I found Tom Hulce's eccentric title role-performance to lack the human touch.
Of course, Amadeus isn't strictly about Mozart himself, it deals with his "rivalry" with Italian composer, Antonio Salieri and the various trials and tribulations of Mozart's wish to display his talents to the world and particularly, the Roman Emperor.
These events are told in flashbacks by Salieri as he was recently committed to an Insane Asylum after attempted suicide. As far as we know, most of the events of the film are highly fictionalized or exaggerated.
Normally, I don't mind such a choice in storytelling, but it seemed to bother me this time around. What didn't bother me, however, was the performance of F.
Murray Abraham as Salieri. Covering decades, Abraham brings a totally different vibe to both the old and younger versions of Salieri, and both work extremely well.
It's also worth noting that his character isn't all that likable on paper, but he brings the grounded humanity, especially in his jealousy for Mozart, that's missing from the rest of the film.
Another thing Amadeus has going for it is the glorious music used and conducted for the film. Surely, most of the tunes are genius-ly written by the original composers, but the overall sound quality and editing is brilliant.
Putting character dialogue aside, merely listening to this film is a joy. I may be in the minority here, but to me, a film must do more than just sound great, it has to move me emotionally in one way or another.
The made up story has its fascinating moments, but it gets old after a while. As does the over-the-top performance from Hulce.
Sure, a wonderful soundtrack and Abraham's performance are impressive, but it's not enough to get this to a positive review for me.
Thomas D Super Reviewer. Jun 01, Directors C Super Reviewer. Oct 23, When I reviewed A Royal Affair last year, I spoke about the two big challenges that any period or costume drama has to overcome.
One is the reputation of the genre as one obsessed with surface rather than substance, and clothing rather then character development.
The other is the issue of pacing, needing to capture an historical period with its slower technology and pace of life whilst also needed to tell a story at an endurable pace for modern audiences.
While Nikolaj Arcel's film ultimately came through both tests with flying colours, Amadeus is only a partial success. It's an overly long film of two halves, which begins as silly and as frothy as one can get, and ends as something of a weighty, murky drama containing compelling ideas.
It is as sumptuous as it is silly, and irritating as it is intriguing, but it does ultimately come through with the goods before it has completely overstayed its welcome.
Before we get to the meat and drink of Amadeus, it's worth taking a moment to address the issue of historical accuracy.
It's something which can be boring to talk about, and which is often dragged up to discredit a film as it tries to garner awards.
We can all think of examples of films which blatantly and consciously distort the truth, such as U, which credits the Americans, not the British, with cracking the Enigma code.
But while capturing period detail should be praised on a technical level, historical accuracy is not a sign or guarantee of a good story.
Film is a narrative medium, and with subjective allowances for taste and respect for an audience's intelligence, telling a good story is more important than getting the facts right.
In the case of Amadeus, we are confronted with a story which is at best a long-discredited theory and at worst an utter fabrication.
There is little or no evidence to suggest that Antonio Salieri was responsible for the death of Wolfgang Amadeus Mozart; the fact that he taught one of Mozart's sons would suggest that they were actually on friendly, or at least respectful, terms.
But neither the film nor Peter Shaffer's play have historical accuracy as their prime motive. Both are more interested in telling a story about how rivalry manifests itself, and the relationship genius has with a world either not ready for it or unwilling to accommodate it.
The question that follows is whether Mozart's life is the right vehicle for this kind of story, whose ruthless, scheming character might be more suited to a political thriller.
When The Iron Lady was released, the director Phyllida Lloyd said she had wanted to make a film about dealing with age - the obvious criticism being that she could have told that story without making a biopic of Margaret Thatcher.
In this case, however, Mozart is the ideal topic or vessel for this kind of story. His reputation and character fit closely with our cultural notions of what genius is, allowing Shaffer and director Milo Forman to get on with the storytelling.
While the story itself is not problematic at least not as a piece of entertainment , the storytelling in Amadeus is perhaps its biggest problem.
The opening scenes look absolutely gorgeous: Miroslav Ond? But once the credits end and the action moves indoors, everything becomes very stagey.
The framing device of the elderly Salieri, relating his story to a priest in the asylum, is not successful, and the film works better the less it is employed.
For most of its first hour, in either of its cuts, Amadeus is essentially a silly, frothy, overblown costume drama.
It is far more interested in the costumes, the huge wigs and the pompous characters that wear them than it is in the creation of the music or the personalities behind it.
The film employs broad comedy, usually in the form of fart jokes, and its recreation of opera is completely ridiculous.
It doesn't have the grace or the understatement of Barry Lyndon, and makes you appreciate the comparative meatiness of The Madness of King George.
Matters aren't helped in this regard by the annoying nature of the central character. Tom Hulce, a graduate of Animal House, is a good actor who clearly threw himself into the part: having never played piano before, he practised for more than four hours a day upon landing the role.
But while his skills are not in doubt, his Mozart is one of the most annoying and excruciating characters outside of an Adam Sandler comedy.
Just as we aren't supposed to hate Salieri, so we are not expected to entirely like Mozart. But all his juvenile qualities are overplayed and repeated ad nauseum: it's not so much "too many notes" as too many laughs.
As a result of both the framing device and the juvenile tone, we spend the first hour distant from our main characters. We are distant from Mozart because he's an irritating little twit, and we are distant from Salieri because his narration keeps interrupting the action.
As a result the jealousy and scheming on the latter's part feels like a deliberate plot device rather than a natural result of their relationship.
The words are still pleasant on the ear, but you are left wishing that Shaffer could write more like his namesake Anthony Shaffer, creator of Sleuth.
About halfway in, specifically the section concerning Don Giovanni, Amadeus begins to pick itself up and grab its core themes by the scruff of the neck.
The death of Mozart's father, and the composer's accompanying decline into illness, give the film not only a darker tone but a depth that it didn't have before.
The serious reaction to a tragic event gives the film more credibility: by taking the matter seriously, it allows us to take the characters more seriously and for Salieri's subsequent actions to carry more weight.
The film merits a comparison in this regard with Rush, Ron Howard's thrilling drama about the rivalry between James Hunt and Niki Lauda.
Both stories concern a rivalry between two talented men, but this rivalry is initially presented in a broad, overly playful way; the film is still entertaining, but we are conscious of how little is going on between its ears.
Then something dark or unfortunate happens to one of the men which gives the drama a stake and the rivalry a meaning. Going dark is by no means a guarantee of a good story, but in both cases it is just what the films needed.
The main theme which this dark turn enables to unfold is the conflict between genius and mediocrity, and how graceless the two can be.
Mozart's genius is confronted by mediocrity on all sides - from Salieri, whose position as court composer is threatened; from the Prince, who has very limited taste; and from his courtiers who don't want their power to be undermined.
Neither Mozart nor Salieri conduct themselves well, with Mozart foregoing all decorum to defend his compositions, and Salieri working behind the scenes to bring about his downfall.
Mozart's lack of social grace is mirrored by Salieri's lack of morals. The role of parents in Amadeus is a key one. Salieri's father discourages his son's ambitions, and his death serves as a misplaced vindication for Salieri, of both his Catholic faith and his musical ability.
Mozart, by contrast, is spoiled rotten by his father, who recognises his abilities but struggles to contain them beyond presenting Mozart as a performing monkey.
When his father was alive but out of the picture, Mozart is free to make a name for himself in a carefree manner - but with him dead, this carefree nature gives way to a desire for atonement, which leads him to work obsessively on the unfinished Requiem.
The film is also interested in Catholicism, specifically the role God has in meting out talent and answering prayer.
Salieri's prayers go unrewarded since he is asking God for the wrong things in the wrong way, seeking to curse rather than love his enemies.
At the end of the film, he comments that "God killed Mozart" rather than let him share in any part of his talent, including the transcription of the Requiem.
While the film's theological understanding of gifts is not entirely sound, it is an interesting lens through which to view and depict jealousy.
Much of the success of Amadeus lies in its music. Even in its weaker first half the music is wonderfully produced, conveying to us how great Mozart was instead of having people simply state his greatness, as in Gandhi.
More importantly, Forman does succeed in making the creative process of writing and composing both cinematic and exciting.
In one really special moment, Salieri flips through Mozart's portfolio, and hears the music on the page perfectly formed in his head.
It's a wonderful moment which F. Murray Abraham superbly executes, keeping his character on a tightrope between envy and euphoria.
Amadeus is a film of two distinct halves, with the virtues of its substantial second eventually winning out over the frothy excesses of its first.
Once you get past the costumes, the wigs and the irritating laughter, it does become an interesting, memorable cinematic venture with a brace of pretty good performances.
It doesn't quite deserve the reputation that won it the Best Picture Oscar, but among even that select group of films, you could do a hell of a lot worse.
Daniel M Super Reviewer. Oct 27, Who doesn't love this film? The costumes and locations alone are a feast for the eyes. Of course, the historical accuracy is close to zero, but I still love it as a period film.
Christian C Super Reviewer. See all Audience reviews. Antonio Salieri: I speak for all mediocrities in the world.
I am their champion. I am the patron's saint. Mediocrities everywhere I absolve you I absolve you all. Antonio Salieri: I will speak for you, father.
I speak for all mediocrities in the world. Antonio Salieri: That was Mozart. That giggling dirty-minded creature I had just seen, crawling on the floor!
Antonio Salieri: So rose the dreadful ghost from his next and blackest opera. He prays to God that, if he will make Salieri a famous composer, he will in return promise his faithfulness.
Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. Mozart arrives in Vienna to perform at the request of his employer, the Prince-Archbishop of Salzburg.
Salieri attends the performance to meet Mozart and, despite Mozart's obscenity and immaturity, finds his talent to be transcendent.
The Emperor desires to commission Mozart to write an opera and, despite the reservations of his advisers, summons him to the palace.
Mozart happily accepts the job, much to the annoyance of Salieri. Mozart premieres Die Entführung aus dem Serail to mixed reviews from the Emperor.
Salieri believes that Mozart has slept with the star, Caterina Cavalieri , despite his engagement to Constanze Weber. The Emperor desires that Mozart instruct his niece, Princess Elisabeth , in music, but Salieri discourages him from doing so.
Constanze visits Salieri to persuade him to make the Emperor reconsider, but she is unsuccessful. Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately desired and vows to destroy Mozart.
Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart , comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party which Salieri also attends , where Mozart entertains the guests with musical antics.
Leopold disapproves of his son's hedonism , and the family argues until Leopold leaves town. Salieri hires a young girl to pose as the Mozarts' maid while spying for him.
She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play The Marriage of Figaro , which the Emperor has forbidden.
When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage.
Messengers arrive in Vienna with news of Leopold's death, and in response a grief-stricken Mozart pens Don Giovanni.
Salieri recognizes the dead commander as symbolic of Leopold and hatches a plan. Salieri plots to kill Mozart once the piece is finished, then premiere it at Mozart's funeral, claiming the work as his own.
At a parody of one of Mozart's own operas, Emanuel Schikaneder asks Mozart to write an opera for his theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass.
The couple fight and Constanze leaves with their young son, Karl. Mozart collapses during a performance of his finished work, The Magic Flute.
Salieri takes him home and offers his assistance on the Requiem. Salieri transcribes Mozart's verbal direction, and they work through the night.
The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavior. A guilty Constanze returns home and locks the unfinished Requiem away, only to find that Mozart has died from overwork.
Mozart is taken out of the city and unceremoniously buried in a mass grave during a rainstorm. His mourners, daunted by the weather, watch from the city gate as the coffin is taken away.
Having finished his tale, Salieri asks how a merciful God could destroy his own beloved just to keep a mediocrity like Salieri from sharing in his glory.
As he is pushed down the hall of the sanatorium in a wheelchair, Salieri declares himself "the patron saint of mediocrities" and mockingly absolves the other patients of their inadequacies.
Mozart's high-pitched laugh is heard as the screen fades to black. In his autobiography Beginning , Kenneth Branagh says that he was one of the finalists for the role of Mozart, but was dropped from consideration when Forman decided to make the film with an American cast.
Mark Hamill , who replaced Tim Curry as Mozart towards the end of the run of the stage play on Broadway, recalled in an interview that he read with many actresses auditioning for Mozart's wife Constanze and after the reads, Forman decided to not cast him because of his association with the character of Luke Skywalker , believing that the audience would not believe him as the composer.
Meg Tilly was cast as Mozart's wife Constanze, but she tore a ligament in her leg the day before shooting started. Forman collaborated with American choreographer Twyla Tharp.
The site's consensus states: "A lavish, entertaining, powerful film about the life and influence, both positive and negative, of one of Western culture's great artists.
In , the film was nominated for eleven Academy Awards , including the double nomination for Best Actor with Hulce and Abraham each being nominated for their portrayals of Mozart and Salieri, respectively.
Forman also received the Directors Guild of America Award for his work. As Olivier thanked the Academy for inviting him, he was already opening the envelope.
Instead of announcing the nominees, he simply read, "The winner for this is Amadeus. Olivier in his 78th year had been ill for many years, and it was because of mild dementia that he forgot to read the nominees.
In his acceptance speech for the award, Jarre remarked "I was lucky Mozart was not eligible this year".
From the beginning, writer Peter Shaffer and director Milos Forman both were open about their desire to create entertaining drama only loosely based on reality, calling the work "fantasia on the theme of Mozart and Salieri".
The conflict between Mozart and an Italian " cabal " working to block his efforts in Vienna has some historical foundation, insofar as Mozart and his father did write of a belief in such conspiracies to others.
Ultimately, however, Mozart and Salieri themselves appear to have been friends. The idea of animosity between Mozart and Salieri was popularized by Alexander Pushkin in in a play Mozart and Salieri.
In it, Salieri actually murders Mozart on stage. This was made into an opera by Nikolai Rimsky-Korsakov 67 years later,  which in turn had its first screen adaptation by silent film director Victor Tourjansky in Another significant departure in the film is that Salieri was a married family man with eight children and at least one mistress, not a pious loner trapped in a vow of chastity.
Mozart was indeed commissioned to compose a Requiem Mass by an anonymous benefactor, but that man turned out to be Count Franz von Walsegg , not Salieri disguised as the ghost of Mozart's father.
Amadeus premiered in as a PG-rated movie with a running time of minutes. This version was released by the studios as a Director's Cut on September 24, However, he explains why the scenes were eventually restored in a subsequent interview with The A.
Club :. When you finish a film, before the first paying audience sees it, you don't have any idea. You don't know if you made a success or a flop, when it comes to the box office.
And in the '80s, with MTV on the scene, we are having a three-hour film about classical music, with long names and wigs and costumes.
Don't forget that no major studio wanted to finance the film, for these reasons. So we said, "Well, we don't want to be pushing the audience's patience too far".
Whatever was not directly connected to the plot, I just cut out. But it was a mutual decision [to limit the running time].
I wanted the best life for the film myself Well, once we are re-releasing it on DVD, it doesn't matter if it is two hours and 40 minutes long, or three hours long.
So why don't we do the version as it was written in the script? All tracks on the album were performed specifically for the film.
According to the film commentary by Forman and Schaffer, Marriner agreed to score the film if Mozart's music was completely unchanged from the original scores.
Marriner did add some notes to Salieri's music that are noticeable in the beginning of the film, as Salieri begins his confession.
The aria "Ruhe sanft" from the opera Zaide does not appear in the film. In an additional album with the title More Music from the Original Soundtrack of the Film Amadeus was issued containing further selections of music that were not included on the original soundtrack release.
The Masonic Funeral Music was originally intended to play over the closing credits, but was replaced in the film by the second movement of the Piano Concerto No.
In , to coincide with the release of the Director's Cut of the film, the soundtrack was remastered with bit encoding and reissued with the title Special Edition: The Director's Cut — Newly Remastered Original Soundtrack Recording on two karat gold CDs.
The following pieces, previously released on More Music from the Original Soundtrack of the Film Amadeus , were not included:.
From Wikipedia, the free encyclopedia. Nena Danevic Michael Chandler. The Saul Zaentz Company. British Board of Film Classification.