Amadeus

Peter Shaffer’s original screenplay, “Amadeus”, may have nearly no historical accuracy to it all. And yet, it doesn’t have to; the story is compelling enough on its own. Anyone watching the film for the first time will probably be surprised that Mozart is not even the lead character; rather it’s his nemesis, the rival composer, Antonio Salieri.

F. Murray Abraham plays Salieri, a talented composer. He has given his life to God and he has promised God his chastity in exchange for the ability to compose music. Then he meets Mozart, a crude young man, whom Salieri believes God sent to humble him. Salieri’s rage at God consumes him and he believes his real gift is now merely the ability to recognise his own mediocrity compared to Mozart’s talent.

Every aspect of the film is perfect. It’s a different kind of period piece, one that allows the backdrop of nineteenth century Vienna to be nothing more than the background. The costumes and the hair don’t distract and are therefore more interesting. Milos Forman’s direction is terrific, he keeps his characters at the heart of the film and everything else serves their development. The acting is great, the best of which is Tom Hulce as Mozart and Abraham as Salieri. Hulce plays Mozart, not like the tortured genius we imagine, but like an immature oaf. And Salieri may be one of the most tragic characters in recent memory. Thus, “Amadeus” is a film even music historians can appreciate.