Did the aged composer kill his talented rival Wolfie?

Rating: 10/10 (8 October 2007)

The 1980s was unique in that twice within two years the star of a three hour historical film (playing the lead historical male character) won the Academy Award for best actor in such a picture. Normally biographical films are considered box office poison, even the superior ones like Daryl Zanuck's "Wilson" in 1944. But both "Gandhi" (1982) and "Amadeus" (1984) were box office successes, culminating in the above mentioned Oscars for Ben Kingsley in the former and F. Murray Abraham in the latter. Both deserved the award for a change - both did fantastic jobs in bringing Mohandas Gandhi and Antonio Salieri to life. By the way, if Kingsley seems to have had better roles since then in films than Abraham, the latter has had a far more interesting career on Broadway in a number of plays such as "Angels in America".
Based on Peter Shaffer's dramatic hit play, "Amadeus" is a study of frustration and jealousy in art - here in the world of 18th Century music. In 1785 the leading composer in the court of Emperor Joseph II of Austria (Jeffey Jones) is Antonio Salieri. He is well regarded by the Emperor and the other leading musical figures in the court. In comparison to them Salieri really merits this high regard. But along comes a young, fun-loving, and unpolished figure named Wolfgang Amadeus Mozart (Tom Hulce), or "Wolfie" to his wife Costanza (Elizabeth Berridge). Salieri is always the proper courtier - he came from a poverty background in Italy, and really worked hard at both his music (which he hoped pleased God and through God man) and his diplomatic skills until he reached his position. He first comes upon Mozart fooling around with Costanza in a break before a concert he is going to give. The unpolished bumpkin does not strike Salieri as a threat. But then he hears his music, and Salieri's self-esteem begins to crumble a bit.
He tries to put it out of his mind, sensing that Mozart is his own worst enemy due to his unpolished manner. But when Costanza brings him some of the music her husband has worked on, Salieri (whose knowledge of music is really high) realizes it is the work of a genius. Sure enough, despite roughing the court's feathers, Mozart is slowly gaining massive public and court support. Occasionally there is a sticking point. When some jealous rivals (slightly goaded by Salieri) argue against the length of one of his operas, Mozart teaches them a lesson by having the orchestra not play the music during a ballet between acts. Emperor Joseph is fascinated by this odd idea and asks why no music is being played. Mozart explains that the others think there is too much music. The Emperor (in my favorite piece of dialog - which appears to be true) suggests maybe they were correct. Mozart shows the Emperor the music, and asks what notes to take out. Joseph II can't give any answer to that one.
The effect of Mozart's rise is to make Salieri feel that God tricked him in their deal - he would serve God by making beautiful music. But this bumpkin makes far better music. Bitter he watches for any opportunity to undercut his rival. Then Mozart's estranged father Leopold (Roy Doltrice) dies, and Salieri sees that this has an emotional effect on Wolfgang. Building on the latter's guilt, Salieri tries to send him into a decline. And soon Mozart's health begins to decline. He has been composing a requiem, and Salieri intends (pretending to befriend the dying Mozart) to steal it and claim it as his own work. I'll leave the outcome of that to the readers when they see the film.
"Amadeus" is told in flashback, with Salieri having attempted suicide about 1819 (a few years before his death), and recovering in a mental institution. He has also made a statement that he poisoned Mozart. This issue is not really settled in the film, and historically it is still debated with most musicologists thinking Salieri was hallucinating. Abraham's performance is wonderful, as he slowly comes to realize he has become the symbol of the mediocrity we mostly fall into. Hulce shows the bumptious reality of pure genius in Mozart, and how fragile it all was. Berridge is fine as the loyal Constanza, as is Jones as the rather good natured but fatuous Emperor, and (in his few scenes) Doltrice as the disappointed Leopold.
The historical Salieri was not the equal of the big three of Vienna in the 1780s to 1809 (besides Mozart, Beethoven, and Joseph Haydn), but he was respected, and even gave musical lessons to Beethoven in this period. His serious music will never quite be accepted by the public after the big three, but both the play and the movie reopened interest in him - his work is beginning to reappear in some concert halls.