| ORIGINAL TITLE |
Amadeus |
| YEAR |
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| RUNNING TIME |
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| COUNTRY |
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| DIRECTOR |
Milos Forman |
| SCREENWRITER |
Peter Shaffer (Play: Peter Shaffer) |
| COMPOSER |
W.A. Mozart |
| CINEMATOGRAPHER |
Miroslav Ondricek |
| CAST |
Tom Hulce, F. Murray Abraham, Elizabeth Berridge, Simon Callow, Roy Dotrice, Christine Ebersole, Jeffrey Jones, Charles Kay, Richard Frank, Cynthia Nixon, Vincent Schiavelli, Kenneth McMillan, Kenny Baker |
| STUDIO/PRODUCER |
The Saul Zaentz Company / Orion Pictures |
| AWARDS |
1984: 8 Academy Awards, including Movie, Director, Actor (F. Murray Abraham), Adapted Screenplay
1984: 4 Golden Globes, including Best Movie - Drama. 6 nominations
1985: 4 BAFTA Awards, including Best Cinematography. 9 Nominations
1984: David di Donatello Awards: Best Foreign Film, Director and Actor (Tom Hulce)
1984: César Award: Best Foreign Film |
| GENRE |
Drama | Biography. The 18th Century. Music |
| SYNOPSIS/PLOT |
In a lavish 18th Century parlor in Austria, an elderly man is found, by his servant, with his throat slashed. The wound is self-inflicted, and the man is the little-known composer Salieri (F. Murray Abraham), contemporary and adversary of the now-famed, but once reviled, composer Wolfgang Amadeus Mozart (Tom Hulce). Later. from his cell in an insane asylum, Salieri tells a priest (Herman Meckler) the story of his association with Mozart, confessing that he actually killed the brilliantly gifted but troubled young man.
Based on the award-winning play by Peter Shaffer, Milos Formans riveting, brilliant, Oscar-winning AMADEUS is a fictionalized account of the real-life mysterious death of Mozart. Abraham, in the role that won him the Best Actor Oscar, is the celebrated court composer to Joseph II (Jeffrey Jones)--his confidence and religious dedication shaken when he meets the boorish 26-year-old Mozart as he chases his future wife (Elizabeth Berridge) around a party while making obscene remarks. Furious that this clownish boy can produce such beautiful music, Salieri determines to keep Mozarts talent from lasting recognition and sets himself on a course for Mozart’s destruction that leads to his own as well. Mozart continues to mount beautiful, moving operas (incredibly staged in the film), but becomes obsessed with writing a Requiem as his friends, family, health, and resources waste away, Salieri’s manipulating presence always there. It is hard to imagine anyone--whether they are knowledgeable about classical music or not--who would not be held captive by this superb feast for the eyes and ears, a film whose excellence can be felt in every detail. |
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Amadeus
