Landmark historical speculation

Rating: 9/10 (26 December 2005)

Amadeus presents a heavily fictionalized, speculative portrayal of Wolfgang Amadeus Mozart's last years, focusing powerfully on his relationship with Italian composer Anthony Saliere, and Mozart's wife, Constanzia. My review is based on first seeing the theatrical release in the theater during its first run, and then viewing the director's cut twice. In my opinion, the director's cut is a much better film, though the theatrical release would still earn an 8 from me.
Do not approach this movie looking for some objective presentation of historic fact. Do not go into this film expecting to see a tribute to one of the world's greatest composers. Do not see Amadeus in order to understand the workings of musical genius. Inasmuch as all of these are incomprehensible - probably as much to those who lived them as they are today - Amadeus fails to achieve any of these laudable goals. What is does achieve - and quite well - is the blending of elements of Mozart's personality, aspects of his historical context, and an ingenious plot which is spelled out in a very clever narrative style. The truth you get out of Amadeus - as with most good historical fiction films and novels, is the truth of the feeling of a particular time and place.
Amadeus immerses its audience in Europe's 18th century, but has just enough anachronism in its script to prevent losing its audience there. Mozart is a young prodigy who struggles with his own ego, over-sensitivity, arrogance, and self-destructiveness against a world which does not really know what to make of him. Salieri (Abraham) is his most ardent fan and admirer, but harbors a deep personal and professional jealousy, as well as an overwhelming self-centered guilt, and an even deeper conviction that his own perceived inadequacies reflect on his relationship to his creator. The third character, much better developed in the director's cut than in previous versions, is Mozart's wife Constanzia (Berridge) - seemingly the only fully rational and practical person among the principal roles. The film narrates the twists and turns of fate - the intrigues and folklore - which, even today tend to crowd out the facts of this part of Mozart's life.
Hulce, playing Mozart in what is easily his greatest performance to date, utters a couple of highly anachronistic and off-color remarks in the course of the film. ISince I do not hold historical FICTION to some arbitrary standard of authenticity, I can say that my reaction to these was probably exactly as they were intended: (1) Either Mozart was so creatively explosive that he occasionally happened upon 20th century phraseology through sheer coincidence and/or (2) We are supposed to find these phrases a little shocking and they are used as plot devices to give the film a sense of surreality. Either way, the films works very well as a work of art and a good story, and what some describe as problems of authenticity are, to my mind, nothing more than artistic license. Most movies are not meant to be encyclopedic recitations of 'what really happened'. Keep that in mind before you commit to watching this. The only danger with regard to this film is that it is SO compellingly portrayed that some people are likely to walk away from it believing that this REALLY is what happened.
F. Murray Abraham, who almost always does well, exceeds himself in this film, and well deserved his Oscar. Hulce is remarkable and the supporting cast are easily up to the task. The directing is subtle enough to be somewhat refreshingly unnoticeable, and the script and editing are excellent (at least in the director's cut). Very little can be said about the use of period music and costume which has not been said in the numerous awards and the high praise received from critics.
This is a great film. Highly recommended for adults of any age.