Amadeus ★★★★★

This film. This film right here. A masterpiece in every sense of the word. F. Murray Abraham as Antonio Salieri and the relatively unknown Tom Hulce as the titular Amadeus who needs no further introduction put down two of the best performances in movie history, and although they do not even share as much screen time together as you would expect from a story about (one-sided) rivalry, their chemistry is just beyond belief. Salieri’s villainous quest to destroy that what he believes is God himself taunting him is made completely and utterly empathetic through his simultaneous admiration for the gift of music created by that very malefactor. And then Mozart, who believes his opponent to be nothing short of a true friend; the movie presents him almost as comic-relief at first (and successfully so, since Hulce’s guffawing is the definition of contagious), but his evolvement over the three-hour experience is astounding. Not only is he a complex, and in his own way very loveable character by the end of the movie, his relation with Salieri by then has actually transformed into something that nor the term friendship, nor the term mutual respect would accurately describe, but which is incredibly powerful (yes, emotional) nevertheless. Let me not forget about Elizabeth Berridge, who besides the cutest face and two other great assets, adds another brilliant role and performance thereof to the film’s credits as Wolfie’s pretty, caring wife Constanze. With absolutely no criticism at all towards this astounding piece of filmmaking from my side, and with the wish for it to continue far beyond its already long runtime, and with its score, cinematography, set pieces, costumes and make-up, which deserve more praise than I could possibly capture in my regular size review, there really is only one rating that accurately pronounces my utter admiration for Amadeus.

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