User-Film-Bewertung [?]: unterirdisch schlecht mittelmässig gut weltklasse "Amadeus" wurde im "Director's Cut" um 20 Minuten Handlung, Musik und Sound. September Der Film "Amadeus" kommt in die Kinos. Der Regisseur Milos Forman zeigt Mozart in dieser Kino-Adaption als infantilen. So ist vieles, was dieser Film so spannend und großartig erzählt, eine reine Fiktion, aber macht Wolfgang Amadeus Mozart besser fassbar für uns heutige. Im.
BR-KLASSIKAmadeus ein Film von Milos Forman mit Tom Hulce, F. Murray Abraham. Inhaltsangabe: Wir schreiben das Jahrhundert, der Schauplatz ist Österreich. User-Film-Bewertung [?]: unterirdisch schlecht mittelmässig gut weltklasse "Amadeus" wurde im "Director's Cut" um 20 Minuten Handlung, Musik und Sound. September Der Film "Amadeus" kommt in die Kinos. Der Regisseur Milos Forman zeigt Mozart in dieser Kino-Adaption als infantilen.
Amadeus (Film) Navigation menu VideoAmadeus (1984) - The abduction from the Seraglio (HD)
Anime Happy Family Stream Deutsch Demand (AoD) ist Amadeus (Film) Onlineshop, dass Amadeus (Film) Sendung nach der Ausstrahlung noch mindestens eine Woche im Netz on Demand zur Verfgung steht. - InhaltsverzeichnisVideos anzeigen Bilder anzeigen. Amadeus získal mimo řady jiných prestižních ocenění také osm Oscarů: jako nejlepší film, dále za režii, za mužský herecký výkon v hlavní roli (F. Murray Abraham), za scénář podle předlohy, výpravu, kostýmy (T. Pištěk), masky a zvuk%(K). Amadeus je ameriški epski zgodovinski biografski dramski film iz leta , ki ga je režiral Miloš Forman po scenariju Petra Shafferja in temelji na njegovi istoimenski enddivestment.comnje je postavljeno na Dunaj v drugi polovici stoletja in prikazuje izmišljeno biografijo Wolfganga Amadeusa Mozarta, avtor jo je opisal kot»fantazijo na temo Mozarta in Salieria«.Producent: Saul Zaentz.
Photo Gallery. Trailers and Videos. DID YOU KNOW? Crazy Credits. Alternate Versions. Rate This. The life, success and troubles of Wolfgang Amadeus Mozart , as told by Antonio Salieri , the contemporaneous composer who was insanely jealous of Mozart's talent and claimed to have murdered him.
Director: Milos Forman. Writers: Peter Shaffer original stage play , Peter Shaffer original screenplay. Stars: F. Watch on Prime Video buy from EUR9.
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Top Rated Movies 84 Won 8 Oscars. Edit Cast Cast overview, first billed only: F. His father, being a gifted composer himself, recognized his talents and essentially took him on the road to perform for various nobles and audiences.
This one is perhaps the most easily debunked on our list, but one the film embellishes on immediately. Though we cannot speak for what occurred between Salieri and God, we do know that he was not chaste or celibate.
In fact, he married and had children, and there are even rumors of a supposed affair with Catrina Cavalleri. This is perhaps done to increase the fictional Salieri's devotion to composing great music, by presenting the fact he's willing to forsake desires of the flesh.
Though a wife and kids are definitely hard evidence against this idea, that doesn't mean his work was any less brilliant. When we are first introduced to Mozart in the film, he's not presented as the gifted, brilliant, and professional composer we're all expecting.
Quite the opposite, in fact. He's vulgar, childish, and chasing a girl through the Prince-Archbishop's home. Does this really sound like what Salieri had built up?
As surprising as it sounds, this side of Mozart is actually more accurate than most thought. He had a taste and talent for fart jokes and even wrote his strange brand of toilet humor into some of his writings.
Look up the composition "Lich mich im arse" if you don't believe us. The young priest Father Volger approaches Salieri for elaboration on Salieri's confession.
Salieri recounts how, even in his youth in the s, he desired to be a composer, much to the chagrin of his father. He prays to God that if He will make Salieri a famous composer, he will in return promise his faithfulness.
Soon after, his father dies, which Salieri takes as a sign that God has accepted his vow. By , Salieri has become court composer to Emperor Joseph II in Vienna.
Seven years later, at a reception in honor of Mozart's patron, the Prince-Archbishop of Salzburg , Salieri is shocked to discover that the transcendentally talented Mozart is obscene and immature.
Salieri, a devout Catholic, cannot fathom why God would endow such a great gift to Mozart instead of him and concludes that God is using Mozart's talent to mock Salieri's mediocrity.
Salieri renounces God and vows to take revenge on Him by destroying Mozart. Mozart's alcoholism deteriorates his health, marriage and reputation at court as he continues to produce brilliant work.
Salieri hires a young girl to pose as the Mozarts' maid and discovers that Mozart is working on an opera based on the play The Marriage of Figaro , which the Emperor has forbidden.
When Mozart is summoned to court to explain, he manages to convince the Emperor to allow his opera to premiere, despite Salieri and the advisers' attempts at sabotage.
When Mozart is informed that his father has died, he pens Don Giovanni in his grief. Salieri recognizes the dead commander in the opera as symbolic of Mozart's father and concocts a scheme; he leads Mozart to believe that his father has risen to commission a Requiem.
He then plans to kill Mozart once the piece is finished and premiere it at Mozart's funeral, claiming the work as his own.
Meanwhile, Mozart's friend Emanuel Schikaneder invites him to write an opera for his theatre. Mozart obliges despite his wife Constanze 's insistence that he finish the Requiem.
After arguing with Mozart, Constanze leaves with their young son, Karl. Mozart's new opera, The Magic Flute , is a great success, but during one performance, the overworked Mozart collapses.
Salieri takes him home and persuades him to continue the Requiem, offering to take the bedridden Mozart's dictation. The next morning, Mozart thanks Salieri for his friendship, and Salieri admits that Mozart is the greatest composer he knows.
Constanze returns and demands that Salieri leave immediately. In her guilt, she locks the unfinished Requiem away, and Mozart dies from exhaustion.
Mozart is taken out of the city and unceremoniously buried in a mass grave during a rainstorm. Back in the present day, Volger is too shocked to absolve Salieri, who surmises that the "merciful" God preferred to destroy His beloved Mozart rather than allow Salieri to share in His glory.
Salieri promises, with bitter irony, to both pray for and absolve Volger along with all of the world's mediocrities as the "patron saint" of their order.
As Salieri is wheeled down a hallway, absolving the hospital's patients of their own inadequacies as he passes by, Mozart's laughter rings in the air.
In his autobiography Beginning , Kenneth Branagh says that he was one of the finalists for the role of Mozart, but was dropped from consideration when Forman decided to make the film with an American cast.
Mark Hamill , who replaced Tim Curry as Mozart towards the end of the run of the stage play on Broadway, recalled in an interview that he read with many actresses auditioning for Mozart's wife Constanze and after the reads, Forman decided to not cast him because of his association with the character of Luke Skywalker , believing that the audience would not believe him as the composer.
Meg Tilly was cast as Mozart's wife Constanze, but she tore a ligament in her leg the day before shooting started. Simon Callow , who played Mozart in the original London stage production of Amadeus , was cast as Emanuel Schikaneder , the librettist of The Magic Flute.
Forman collaborated with American choreographer Twyla Tharp. The site's consensus states: "A lavish, entertaining, powerful film about the life and influence, both positive and negative, of one of Western culture's great artists.
In , the film was nominated for eleven Academy Awards , including the double nomination for Best Actor with Hulce and Abraham each being nominated for their portrayals of Mozart and Salieri, respectively.
The film was nominated for, but did not win Oscars for Best Cinematography and Best Editing. Amadeus , The English Patient , The Hurt Locker , The Artist , and Birdman are the only Best Picture winners never to enter the weekend box office top 5 after rankings began being recorded in Saul Zaentz produced both Amadeus and The English Patient.
Forman also received the Directors Guild of America Award for his work. At the end of the Oscar ceremony, Laurence Olivier came on stage to present the Oscar for Best Picture.
As Olivier thanked the Academy for inviting him, he was already opening the envelope. Instead of announcing the nominees, he simply read, "The winner for this is Amadeus.
Olivier in his 78th year had been ill for many years, and it was because of mild dementia that he forgot to read the nominees.
Maurice Jarre won the Oscar for Best Original Music Score for his scoring of A Passage to India. In his acceptance speech for the award, Jarre remarked "I was lucky Mozart was not eligible this year".
From the beginning, writer Peter Shaffer and director Milos Forman both were open about their desire to create entertaining drama only loosely based on reality, calling the work "fantasia on the theme of Mozart and Salieri".
The idea of animosity between Mozart and Salieri was popularized by Alexander Pushkin in in a play Mozart and Salieri. In it, Salieri actually murders Mozart on stage.
This was made into an opera by Nikolai Rimsky-Korsakov 67 years later,  which in turn had its first screen adaptation by silent film director Victor Tourjansky in Another significant departure in the film is the portrayal of Salieri as a pious loner trapped in a vow of chastity, when in reality he was a married family man with eight children and at least one mistress.
Mozart was indeed commissioned to compose a Requiem Mass by an anonymous benefactor. In reality, the patron turned out to be Count Franz von Walsegg who was in grieving after the death of his wife, not Salieri disguised as the ghost of Mozart's father.
Amadeus premiered in as a PG-rated movie with a running time of minutes. It doesn't have the grace or the understatement of Barry Lyndon, and makes you appreciate the comparative meatiness of The Madness of King George.
Matters aren't helped in this regard by the annoying nature of the central character. Tom Hulce, a graduate of Animal House, is a good actor who clearly threw himself into the part: having never played piano before, he practised for more than four hours a day upon landing the role.
But while his skills are not in doubt, his Mozart is one of the most annoying and excruciating characters outside of an Adam Sandler comedy.
Just as we aren't supposed to hate Salieri, so we are not expected to entirely like Mozart. But all his juvenile qualities are overplayed and repeated ad nauseum: it's not so much "too many notes" as too many laughs.
As a result of both the framing device and the juvenile tone, we spend the first hour distant from our main characters.
We are distant from Mozart because he's an irritating little twit, and we are distant from Salieri because his narration keeps interrupting the action.
As a result the jealousy and scheming on the latter's part feels like a deliberate plot device rather than a natural result of their relationship.
The words are still pleasant on the ear, but you are left wishing that Shaffer could write more like his namesake Anthony Shaffer, creator of Sleuth.
About halfway in, specifically the section concerning Don Giovanni, Amadeus begins to pick itself up and grab its core themes by the scruff of the neck.
The death of Mozart's father, and the composer's accompanying decline into illness, give the film not only a darker tone but a depth that it didn't have before.
The serious reaction to a tragic event gives the film more credibility: by taking the matter seriously, it allows us to take the characters more seriously and for Salieri's subsequent actions to carry more weight.
The film merits a comparison in this regard with Rush, Ron Howard's thrilling drama about the rivalry between James Hunt and Niki Lauda.
Both stories concern a rivalry between two talented men, but this rivalry is initially presented in a broad, overly playful way; the film is still entertaining, but we are conscious of how little is going on between its ears.
Then something dark or unfortunate happens to one of the men which gives the drama a stake and the rivalry a meaning. Going dark is by no means a guarantee of a good story, but in both cases it is just what the films needed.
The main theme which this dark turn enables to unfold is the conflict between genius and mediocrity, and how graceless the two can be.
Mozart's genius is confronted by mediocrity on all sides - from Salieri, whose position as court composer is threatened; from the Prince, who has very limited taste; and from his courtiers who don't want their power to be undermined.
Neither Mozart nor Salieri conduct themselves well, with Mozart foregoing all decorum to defend his compositions, and Salieri working behind the scenes to bring about his downfall.
Mozart's lack of social grace is mirrored by Salieri's lack of morals. The role of parents in Amadeus is a key one.
Salieri's father discourages his son's ambitions, and his death serves as a misplaced vindication for Salieri, of both his Catholic faith and his musical ability.
Mozart, by contrast, is spoiled rotten by his father, who recognises his abilities but struggles to contain them beyond presenting Mozart as a performing monkey.
When his father was alive but out of the picture, Mozart is free to make a name for himself in a carefree manner - but with him dead, this carefree nature gives way to a desire for atonement, which leads him to work obsessively on the unfinished Requiem.
The film is also interested in Catholicism, specifically the role God has in meting out talent and answering prayer. Salieri's prayers go unrewarded since he is asking God for the wrong things in the wrong way, seeking to curse rather than love his enemies.
At the end of the film, he comments that "God killed Mozart" rather than let him share in any part of his talent, including the transcription of the Requiem.
While the film's theological understanding of gifts is not entirely sound, it is an interesting lens through which to view and depict jealousy.
Much of the success of Amadeus lies in its music. Even in its weaker first half the music is wonderfully produced, conveying to us how great Mozart was instead of having people simply state his greatness, as in Gandhi.
More importantly, Forman does succeed in making the creative process of writing and composing both cinematic and exciting. In one really special moment, Salieri flips through Mozart's portfolio, and hears the music on the page perfectly formed in his head.
It's a wonderful moment which F. Murray Abraham superbly executes, keeping his character on a tightrope between envy and euphoria.
Amadeus is a film of two distinct halves, with the virtues of its substantial second eventually winning out over the frothy excesses of its first. Once you get past the costumes, the wigs and the irritating laughter, it does become an interesting, memorable cinematic venture with a brace of pretty good performances.
It doesn't quite deserve the reputation that won it the Best Picture Oscar, but among even that select group of films, you could do a hell of a lot worse.
Daniel M Super Reviewer. Oct 27, Who doesn't love this film? The costumes and locations alone are a feast for the eyes. Of course, the historical accuracy is close to zero, but I still love it as a period film.
Christian C Super Reviewer. See all Audience reviews. Antonio Salieri: I speak for all mediocrities in the world. I am their champion.
I am the patron's saint. Mediocrities everywhere I absolve you I absolve you all. Antonio Salieri: I will speak for you, father. I speak for all mediocrities in the world.
Antonio Salieri: That was Mozart. That giggling dirty-minded creature I had just seen, crawling on the floor! Antonio Salieri: So rose the dreadful ghost from his next and blackest opera.
There, on the stage, stood the figure of a dead commander. And I knew, only I understood that the horrifying apparition was Leopold raised from the dead!
Wolfgang had summoned up his own father to accuse his son before all the world! View All Quotes.
Best Horror Movies. Worst Superhero Movies. Best Netflix Series and Shows. Go back. More trailers. Painting With John.Auf der anderen Seite Salieri, ein von sich besessener Mann, der den gleichen Traum wie Mozart hat, innerlich aber an sich selbst zweifelt, Gott als Verbündeten verpflichtet, ihm den Traum zu erfüllen. August — Disneys "Bambi" hat US-Premiere Orchestrale Erotik Filme Vox für einen jungen Hirsch Mitten im Krieg zeigen die Walt Disney Studios in der Radio City Music Hall Der Sträfling Und Die Witwe Manhattan die Premiere von "Bambi". AktAcademy of St. Salieri hat einen Suizidversuch unternommen und ist in eine Irrenanstalt eingeliefert worden. Trailers and Videos. Geoff Brown. Nena Danevic Film Editor. AMADEUS is one of those "perfect" movies. Like Casablanca or Gone With The Wind, Citizen Kane, A Space Odyssey, Schindler's List, a handful of others, AMADEUS has its own formidable life. Gripping human drama. Sumptuous period epic. Glorious celebration of the music of Wolfgang Amadeus Mozart. This marvelous winner of eight Academy Awards(R) p. The life, success and troubles of Wolfgang Amadeus Mozart, as told by Antonio Salieri, the contemporaneous composer who was insanely jealous of Mozart's talent and claimed to have murdered him. Antonio Salieri believes that Wolfgang Amadeus Mozart 's music is divine and miraculous. Amadeus is a American period biographical drama film directed by Miloš Forman and adapted by Peter Shaffer from his stage play enddivestment.com story is set in Vienna, Austria during the latter half of the 18th century, and is a fictionalized story of Wolfgang Amadeus Mozart from the time he left Salzburg, described by its writer as "fantasia on the theme of Mozart and Salieri". Directed by Milos Forman. With F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Roy Dotrice. The life, success and troubles of Wolfgang Amadeus Mozart, as told by Antonio Salieri, the contemporaneous composer who was insanely jealous of Mozart's talent and claimed to have murdered him.