That was not Mozart laughing, Father... that was God.

Rating: 6/10 (2 September 2013)

Almost 10 years after Cuckoo's Nest, Milos Forman takes us on another travel down the abyss of the human psyche.
In the center of it all: Antonio Salieri. Old and haggard, he recounts those years of his time as Hofkapellmeister to Emperor Joseph II in which his path crossed Wolfgang Amadeus Mozart's. He, Salieri, the methodical worker, well-respected in the upper crust, but devoid of any lightness of being. In contrast: fidgety wunderkind Mozart, unaccustomed and without etiquette, oil in the water of a society with extremely limited capability of understanding his talent.
The actions by and conflict between these two characters are the poignant essence of this film. Already their very first encounter is symptomatic of the rest of the movie. Salieri operates exclusively in the shadows while Mozart's and his bride-to-be's improper behavior results in his late arrival to a presentation to the Emperor. When Salieri, shortly afterward, gets a look at Mozart's flawless musical works, he becomes increasingly aware of his own insufficiencies. His initial praying to God that He may grant him the ability to match Mozart's compositions changes towards the end into surrender and the willingness to commit plagiarism. Into the intention of publishing Mozart's work as his in order to escape mediocrity and irrelevance to future generations. And into worse.
Yet Mozart's biggest rival is the only one to really recognize his abilities. While his complex works keep coming up against brick walls, partially induced by Salieri's cabals, Mozart has to witness how the people enthusiastically celebrate presentations which he deems no more than mindless amusement for his little boy.
In the final act, magically attracted, yet massively repulsed, Salieri schemes Mozart into letting him be an assistant in the mastermind's creative process. Imperfection becomes more visible than ever. Disaster takes its course.