Amadeus is a masterful cinematic piece that beautifully captures the brilliance of classical music and the complex genius of Mozart. It stands as a compelling tribute of creative rivalry.

Undoubtedly it's a masterpiece. Fine balance between dramatic, comedic and ironic.

Heavy themes on how a man question gods plans with a set on opera.

If you watch one movie about a classical musician, let it be this one

Antonio Salieri and Tom Hulce are brilliant and hilarious. One of the few movies that I rewind instead of fast forwarding.

An absolute masterpiece

A fascinating dramatic comedy that is a very deft portrayal of the artistic process —and all the envy, pride and ego that go hand in hand with that process . The author (of both the play and the screenplay) simply uses a highly fictionalized Mozart as a springboard for his mediation on the art, the artist, and their world. Thankfully, he is not interested in writing a factual biography of the musical genius. This beautiful, tragic fiction is far more interesting.

Amadeus was written by the wonderful playwright Peter Shaffer, who I met in Manhattan as an acting student. A kind and charming old man, he was moved to tears by the then premiere of his niece’s play. Shaffer’s works involve a great deal of practical dialogue, and we often cold read them to each other in class. The success of Amadeus onstage lead to the film adaptation; an enduring production criticized for its historical inaccuracies. It’s true that this film takes liberties with what we know of Mozart, but I believe that creativity enriches the movie, especially since we’re informed this is fiction. Amadeus’s introduction oozes character and vulnerability, quickly enchanting the viewer. F. Murray Abraham is completely invested in his part, and the passion with which he works is inspiring. Tom Hulce devised his character’s unusual laugh, which you will hear in the film. His portrayal is boisterous and energetic! In order to trigger genuine feelings in an audience, an actor must honestly live the script’s moments as if they were his own genuine experiences. While watching this film, notice how natural the actors appear: their poses are ordinary and their gestures mundane. You can recognize their feelings because they aren’t embellishing. Every aspect of this film is peak cinema and among the highest quality that Hollywood achieves. The acting, at times, may feel very eighties, due to lack of European accents and the American ensemble. This is, however, a small defect in an otherwise flawless film. Amadeus teaches us how love becomes envy due to wounded pride, how we often see others as a threat, and how very destructive we can be to each other. Winner of endless accolades and eight Academy awards, Amadeus is essential cinema and a timeless classic.

Great movie but slightly flawed due to the various historical inaccuracies.

A perfect movie in everyway. Directing, acting, cast, cinematography, costumer design, setting, score.....

Best laugh ever in movie history.

Overated. There is nothing special about this movie. The costumes and sets were incredible. Everything else was average.

Historical accuracy doesn't matter when the film is this good. I still can't think coherently after watching this just like the first time. What a masterpiece!

I didn’t like it all that much, but there’s no denying the quality of Amadeus.

A masterpiece of a movie. A character based movie that sings. The music, acting, characters, and setting work. And the best part of the movie was how real antonio Salieri felt. The hatred he had in his heart felt real, and the envy he felt for Mozart made him relatable. Both his young and old self was interesting, relatable, and human. The music was excellent. And the plot worked. Mozart felt like a genius child prodigy who was immature. Who was controlled by his father until he married and became man out of his depths with his marriage.

Uff que buena película, por años tuve un poco de miedo de verla pero cuando me animé no hubo vuelta atrás y fue un viaje que disfruté demasiado. Ahora que si no te gusta la música “clásica”, el teatro y ese tipo de cosas dudo que te encante. Pero definitivamente es grandiosa película !

Ever gave a film a second chance, and found the viewing somehow more enjoyable? During my early venturing in broadening my filmic horizons, I approached Milos Forman’s 1984 Academy Award Best Picture winner “Amadeus” out of both recommendation amid the categorical trek, only to find it distastefully overwhelming with production merits in the aesthetic edges. Through many discoveries and attended film studies since high school through college, not only my appreciation for film gotten more opened but also critically sharpened as noted with some revisitations receiving corrected ratings with flaws and qualities seen much clearer than before. Opportunely prompted, “Amadeus” is a periodical art worth revisiting, tolerably backed up more critically. Its very form remains intact and admittedly turned out better, by a slight margin. As a young lad, Antonio Salieri became aspired, determined and disciplined to pursue a path as a composer who would give back to the deity he prayed to with apparent spiritual loyalty at grateful heights. He soon admired and learned from other sounds across some chords, with one of them being Wolfgang Amadeus Mozart’s divine and miraculous music that surpasses his own. For a hardworking devout he’s become, Salieri is shocked to witness Mozart’s true personality outside the orchestra platform: vulgar in frolicking with others, and free-spirited in deflecting societal seriousness. This unexpected discovery, though personal for Mozart, who shows unworthy stature behind a genius push Salieri further into disbelief on why God favored Mozart over his devoted prayer, eventually becoming a religious enemy as vengefully turned his back with obsessive envy in sabotaging his rival’s downfall. The devious unorthodox scheme he puts into play becomes a pretentious friendship that Mozart would cherish, blinded by the deception that would seal the fate for both men who sought through their passions only to be blindsided costly. Forman was concerned about the film’s exposure during the culture’s transfiguration regarding tastes in music becoming further appealing to younger generations – as the industrial demographics filtered more youthfully in passing eras. The period drama strives artistically and aesthetically with evident objective ambitions indulging in elaborative designs with natural lighting, consisting of a meticulously sensed one-sided rivalry and elegant discourse in the mixture of passionate creativity conflictingly challenging strict norms (recent viewing of “Chevalier” provoked a scolding scoff towards that very aspect). Those production merits are doubtlessly admirable qualities assisting as acoustic echoes with polished screenplay by Peter Shaffer transitioning his 1981 play onto screen, leaving the artistic license in determining additional lengths that certainly add onto the fictional imaginary clash. In addition, you have immersive cinematography of the spacious void filled by replicative music as transportive link. The boundless expression here may be proven overwhelming to disjoint engagement by topical disinterest as ideally forewarned with lingering curiosity to identify elliptical lapses in narrative judgement. From that, the entire picture functions mainly as buildup towards the symbolically layered conclusion, brewing impactful power at captivating peak which furthers the haunting affection. Albeit attributed towards the critical power, selective, typically soulful performances are memorable. F. Murray Abraham as Salieri steadily delves into the human condition’s dangerous embrace under envy, a sin he deviously personifies supposedly his defining height. His opposite in meaningful form Tom Hulce as Mozart has been the most affecting, not to mention under central haunting attribution, in embodying the morally ambitious spirit and heartened innocence that strikes resonance over the intolerant circumstances. While the main pair [specially] gained further recognition afterwards, Elizabeth Berridge as Mozart’s caring wife Conastanzee is noted comparably inactive, but her performance shows critical characterization with pure, clean consciousness. Did I enjoy “Amadeus” the first time? Not really. Was it worth giving it another chance once enough timespan has passed? Yes, since I appreciate the overall craft more and found how tolerable objectivity varies. The contexts are bold and striking when properly grasped rather than initially faded into the powerful haze, and exceptionally designed through the overall art direction neatly reviving periodical history. Aside from those, the film more so invites than recommends, narrowing admirers as the sole demographic who actually acknowledge, evaluating its faithfulness, of the performed material, alongside admiration towards the specialized art serving respective monumental legacies. Per the critical lenses, and considering the acclaimed consensus, “Amadeus” is a jarring presentation ranged acceptably at decent enjoyment. (B)

There are not much movies which can entertain me and challenge me on the highest level. But this one certainly can!

This is my all time favourite movie ever. Love costumes music above ALL….. the actors were unbelievable!!!! Why can’t they make more movies like this?????

Timeless classic! 10/10