Amadeus (1984)

Amadeus is one of the finest biographical dramas ever made, as much about Salieri’s envy and mediocrity as about Mozart’s genius. Forman and his team revel in Prague’s beauty, while the majestic music and standout performances, especially F. Murray Abraham’s, make it an unexpected box-office and awards triumph.

The critic calls Forman’s film a sumptuous, witty, dark, moving and majestic masterpiece that stands above its era’s shallow blockbusters, praising its exploration of self-aware mediocrity versus blind talent and the performances of Tom Hulce and F. Murray Abraham.

The critic praises the film's mesmeric quality and F Murray Abraham's villainous performance as Salieri, highlighting the dazzling set pieces and the rivalry between the composers.

The review finds the Director’s Cut even better than the already spellbinding original, highlighting how added scenes deepen the relationships and make the majestic, bawdy, unnerving, funny and tragic bio-mystery unmissable.

The review lauds the film's provocative, irreverent take on the Mozart-Salieri rivalry and its bold vulgarity, contrasting it favorably with modern biopics while noting its enduring influence.

The critic notes the film’s dated early-1980s American sensibility and shallower take on status over inspiration but savours the stops-out acting, especially F. Murray Abraham’s Salieri and Tom Hulce’s gauche Mozart.

The critic calls the film a magnificent, fun, tender, funny and charming tragicomedy that succeeds in humanizing Mozart while exploring the envy of his rival Salieri. The one element singled out for praise is the casting and portrayal of Mozart as a goofy, immature kid with a ridiculous laugh rather than a tortured genius.

Forman has turned Shaffer’s play into a lively, showbiz-inflected cartoon of the 18th century, with Mozart and Salieri as a Roadrunner-and-Wile E. Coyote pair whose rivalry ends in moving tragedy. The director’s caricatural approach and energetic adaptation compensate for the loss of the play’s darker moments.

The critic praises the film as a handsome, music-filled screen version that celebrates genius in an illuminating, moving and just fashion. The one element singled out for praise is Salieri's description of hearing Mozart's music for the first time, capturing its divinity and emotional impact.

Salieri becomes a hate-filled monster bent on ruining Mozart, yet emerges as the more tragic figure because he alone fully appreciates the genius he envies. Forman draws perceptive links between the composer’s life and work, though the American accents are intrusive.

The critic finds the film a disappointment despite strong material, with the play's stature diminished on screen and Forman's naturalistic approach ill-suited to its stylized origins. The one element singled out for complaint is the shift in focus away from Salieri toward a one-dimensional, bratty portrayal of Mozart.

The re-release of the Director's Cut restores key operatic sequences and improves the film's shape. It praises the strong performances, especially F. Murray Abraham as Salieri, and calls the result a cinematic delight.

The critic describes Amadeus as one of Forman’s triumphs and arguably the greatest film about jealousy, focusing on the intense rivalry and contrasting personalities of Salieri and Mozart. It singles out the perfect tonal balance of silliness and seriousness along with the exquisite production and performances.

The critic calls Amadeus an exhilarating film that examines artistic genius through the lens of jealousy, praising the sumptuous period detail, the recreation of Mozart’s works, and the brilliant performances by F. Murray Abraham and Tom Hulce. It notes how the film moves briskly despite its length and highlights the strong supporting turn by Elizabeth Berridge.