Enthralling, flamboyant, extravagant, operatic epic

Rating: 9/10 (26 September 2005)

Review: Flamboyant and extravagant would be the best way to sum up this masterwork by Milos Forman. The obvious American accents of Tom Hulce (Wolfgang Amadeus Mozart) and Elizabeth Berridge (his wife Constanze) are somewhat misplaced in the setting of 18th century Vienna as is the use of 'mom' and some swearing which seem a bit juxtaposed with what is otherwise a stunning recreation of the period. It could also be argued that German and Italian would have seemed more authentic and appropriate for the language but if one can get over these small quibbles, then overall this is a very entertaining movie with some brilliant performances from the two male leads.
The mesmerising performance of F. Murray Abraham as the downright nasty Antonio Salieri is the obvious highlight of this film but Tom Hulce really brings Amadeus himself to the screen. His depiction of the great composer is, like the film, flamboyant and extravagant혰almost childlike in places혰which indicate a young man robbed of his childhood by his overbearing father; a theme which constantly reoccurs in the movie. Hulce's over the top laugh at the most inappropriate moments adds perfect comic relief to the proceedings which are at times quite dark. Both Tom Hulce and F. Murray Abraham were nominated for Best Actor in a Leading Role at the Academy Awards; Abraham eventually beating his co-star to the coveted prize. Elizabeth Berridge - albeit with her American accent - is very good as Mozart's somewhat neglected wife; she often comes second to Mozart's work and his affairs with other women. She plays the character well and interacts excellently with Hulce. Jeffrey Jones is in amusing form as Emperor Joseph and the rest of the supporting actors do a competent job.
The cinematography is sumptuous and lush with the vibrant colours and beautiful photography making it very pleasing to the eye. The costume design and stunning set and art decoration recreate an authentic looking 18th century Vienna; the palace of the emperor, the streets and opera halls all look meticulously produced and realistic. And then we come to the music. A faithful and wonderful recreation of Mozart's music is present throughout this film혰it is essentially the lifeblood that runs through the whole piece. The opera scenes are visually very impressive and sound magnificent; these are also the scenes where we see Salieri most at awe of Mozart whom he admires and despises with equal measure. One of the most noticeable things about the music in this film is how it's linked very much with what we see on screen; Salieri reads Mozart's sheets of music and the same music swells in the background혰offering the audience an insight into just what Salieri sees and hears when he reads the sheets. Likewise the penultimate scene of the film where Salieri is helping Mozart to complete his Requiem Mass is stunning. The interaction of the two actors is brilliant and the music playing in the background to complement their descriptions of the beats and instruments is quite beautiful to watch. Milos Forman's inextricable linking of Mozart's death with the Requiem Mass shows a man who was so passionate about his music that ultimately it contributed to his death.
Forman's direction once again proves that he is one of the very best of his generation and explains why he has been able to cross over and have commercial success in the same way as other European directors such as Roman Polanski and Jean-Pierre Jeunet.