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What our customer's say!

"learned something", I've loved this movie for years and bought this dvd to replace my old vhs version. I was surprised to find only one disc and moreso to discover that it is reversible. When it came to the end of side one I wasn't sure what to do, but tried flipping it over and sure enough, there was side two. I didn't know there was such a thing and a couple of friends I asked didn't know it either. I don't buy a lot of current dvd's, maybe this is old stuff, but it was news to me..lol..

"my favorite movie", This is my very favorite movie. I have seen it more than 10 times, in the cinema as well as through Netflix. It never ceases to fascinate me. The concept of seeing Mozart through the eyes of a competitor, Salieri, makes the story very poignant. Through Salieri's eyes we see and realize the magnificence of Mozart's musical creations. Highly recommended.



"Excellent!", This thoroughly enjoyable, pneumatic movie tells the story of Mozart's rise-and-fall on the music scene in 18th-century Austria. Told in flashback form from the point of view of musical rival Antonio Salieri, it covers with a broad hand the more salient points of Mozart's life, and dispenses with historical accuracy for a more expressive and emotionally communicative feel.

The acting's of a very high standard, with F. Murray Abraham giving a committed, layered and impressive performance as the jealous Salieri - not overshadowed by Tom Hulce's flashy, deceptively superficial turn as Mozart - which is a big deal, considering Hulce's performance is one of those show-stopping, scene-stealing turns that you don't really see anymore. If Abraham won the Oscar for this, then Hulce, for his part, is fantastic at portraying the decadence and the fevered genius behind the screenplay's reading of Mozart's character, but also gives the man impressive depth and pathos, when necessary. These two principal actors are more than amply supported by the excellent Elizabeth Berridge as Mozart's plagued wife Constanze, Jeffrey Jones as Emperor Joseph II and a very young Simon Callow as Mozart's friend-and-colleague Emanuel Schikaneder. Also, a pre-pre-pre "Sex and the City" Cynthia Nixon does an excellent job in her tiny role as the Mozart family maid.

The behind-the-camera talents of director Milos Forman, art director Karel Cerny and cinematographer Miroslav Ondricek are the real stars of "Amadeus", though - the film's style is as operatic and fantastical as its treatment of Mozart's biography, and the tone and pacing of the sumptuous visuals lend a very palpable sense of doomed-genius-reaching-critical-mass to the film. There are no slow points, nothing is visually flat, and every detail and flourish imaginable has been crammed in - like the painted fantasies of Mozart's opera sets, "Amadeus", works beautifully as a baroque spectacle, and, 24 years after its original release, remains a testament to the creative genius of its crew. Mozart's operas are staged with a wisely underplayed sense of drama, furthering the viewer's connection with the more important driving forces behind their creation - the lives of those involved - and the visual feel of the movie is that of floating haphazardly through a chaotic swirl of decadence, art and high-octane drama.

I'm no big fan of classical music, and remain unconverted - but as an exercise in storytelling, "Amadeus" is a treat for any and all fans of solid, gripping films. It hits home runs on all the fronts it chooses to show you, and, while not an exhaustive or particularly accurate account, is a deeply engaging and thoroughly enjoyable piece of cinema. Highly recommended!

"I LOVE THIS MOVIE!", Even though I typically only watch The Director's Cut of this film, this version is still good to have. For one, it's the original theatrical cut of the movie that was released back in 1984, second, it has a feature that the two-disc director's cut does not have: an optional isolated music-only track that plays along with the film. It's great because it features music that has never been included on any of the various soundtrack album permutations that have been released over the years.

Now, if Warner Bros. would just hurry up and blu-ray this sucker, everything will be good.

"More historical accuracy would have done more justice to the movie", This movie was one of the best Hollywood has ever produced. I do not have to repeat the salient features one more time, as scores of reviewers already did that.

However, what disturbed me was this. This movie was based on historical facts. I am very sad to say that, the director, to elevate Mozart's greatness, went great lengths to put down Maestro Salieri to the extent that he showed Salieri having difficulty in composing a small welcome march to Mozart. That was the height of inaccuracy. No one becomes a court composer for nothing. Salieri did produce some of the great compositions of his time.

Based on Mozart's allegations of victimization, lot of research went in to find the truth behind them and found that Salieri was jealous but at no point he thwarted Mozart's chances of ascending into the greatness or gaining opportunities. In fact, the movie rightly portrayed that most of Mozart's financial problems, and missed opportunites were due to his lifestyle.

My point is this: Mozart would still stand great, and he was the best original musician the world has ever witnessed even when you set historical facts straight.

Read this reviews before You buy...

"DIRECTORS CUT", Having always liked the movie Amadeus...I foung the directors cut to be better than the theater version. There is about 20 minutes of additional footage that explains a bit more of the movie.

"what a terible waste", The "director's cut of AMADEUS is terrible IMHO.

How someone could transform an exciting, exhilariting movie like the original theatrical release of AMADEUS into a depressing, sad, bio is beyond my ability to understand.

Remember how Apocalypse Now was transformed into Apocalypse Redux? And how good the redux version was?

The Director's cut of AMADEUS is like the original cut of Apocalypse Now. Dark and depressing. If this version was edited by Milos Forman himself then he must have some serious issues.

I expected joy from THE DIRECTOR'S CUT of AMADEUS but received an honest rendition of absolute sadness. What can I say? It was just very sad.

It makes you understand the worth of film edting.

I'm sorry to have to write this, but that's the way it is. Only buy this cut if you're on prozac.

HOW ON EARTH DID THIS VERSION OF AMADEUS EVER FIND IT'S WAY ONTO A DVD?

Astonishing.

RD

"Stick with Theatrical Version", This version of "Amadeus" was fabulously disappointing. The writing in the extra scenes are atrociously bad. They don't flow at all and they are so badly written they make what was left in the theatrical version look bad. It's amazing to see how they made a Best Picture out of this movie.

The extra scenes are also dull, obviously written to flesh out a plot that didn't need fleshing out- you can infer everything these scenes add, or, make your own interpretation of Salieri's motivations and character. In this way, the scenes insult the intelligence of the viewer. And they're boring too! They slow the pace of the movie down, and it's far less exciting. That's something the theatrical version did well - it was very exciting.

For people who know the original well, you're not missing anything with the Director's Cut.

For people who have never seen Amadeus, at least see the theatrical version first.

"Amadeus", This DVD is super, what more is there to say. May not be historically accurate throughout, but it's a great way to introduce classical music to young people. Love it, recommend it.

"Mozart's Middle Name was Much More Impressive", This is a great film. I missed the theatrical premiere of Amadeus in 1984 as I wrongly assumed that it was a thinly veiled documentary on the life of Mozart. AMADEUS is a beautiful film that succeeds in adding depth to the two main characters. It is not a musical documentary.

AMADEUS was derived from the 1979 play of the same name and is loosely based on the life of Wolfgang Amadeus Mozart. The film focuses on the alleged rivalry between young Mozart and the Viennese Court Composer Antonio Salieri. The story is told from the point of view of an aging Salieri. In the movie Salieri, committed to an asylum after attempting suicide, confesses Mozart's murder to a priest. In doing so Salieri recounts his association with Mozart and thus the story of Mozart's rise and fall.

In watching the film you find no hard evidence of a homicide unless murder is defined as Salieri's infrequent attempts to stifle young Mozart's career. Indeed the only assassination activity we witness is Salieri confessing to the crime. Unlike the 1830's Russian Opera, Mozart and Salieri where there is no doubt that Salieri poisoned Mozart, the closest Salieri comes to harming Mozart is his mysterious appearance in dark costume to commission an a requiem - thus playing on Mozart's guilt over his father's death - and the all-nighter perpetrated after Mozart's collapse during the operatic The Magic Flute. The bottom line is that Salieri's plots were little more than egotistical unrealized schemes and boasts of unfair divine intervention.

AMADEUS can hardly be considered biographical other than occasional inclusion of historical events. Wolfgang Amadeus Mozart was admirably portrayed Tom Hulc, who a slightly older 20th century generation will remember as freshman Larry Kroger from 1978's ANIMAL HOUSE. Hulc played the part of Mozart stressing the composer's eccentric behavior and erratic mood swings in between his moments of genius. In Mozart we discover a composer with a musical photographic memory able to commit finished great works to paper without so much as a rough draft.
Mozart was multitalented pianist and composer of operas, symphonies, and concertos. He departs Salzburg for better prospects in Vienna. Unfortunately Mozart's inability to humble or ingratiate himself before Antonio Salieri's incurs the court composer's wrath.

F. Murray Abraham won a coveted Oscar as best actor for his portrayal of Salieri. In AMADEUS Salieri is torn between his outright admiration for the gifted young composer and his jealous envy of Mozart's talent. Salieri becomes obsessed with Mozart to the point of employing spies to report back on Mozart's work. Despite Salieri's best efforts to derail or retard Mozart's popularity with Emperor Joseph II, Mozart brazenly forces his way. As it turns out Salieri is one of Mozart's biggest fans and, though he often occupies obscure and low key vantage points at Mozart's performances, attends every one religiously.

At this point in the film we sadly witness the downfall of Mozart. The composer lives in excess of his financial means. As such he is constantly fretting about his debts, yet that does not stop him from additional binge spending. Mozart disdains the usual income generating scenarios of the day, specifically earning money through the musical tutoring of wealthy pupils, to the prolific production of works and displays of his talent at non-traditional venues such as an outdoor concert. It is a great way to advertise talent, but hardly a means to pay the rent.

Mozart is unable to come to grips with his father's disapproval of his marriage and his lifestyle. He immerses himself further into guilt after the death of his father. At this point in Amadeus, by means of the housemaid-turned-spy's report to Salieri, we are treated to the first hint that Mozart is not in good health. He is reported to be guzzling medicine by day and alcohol by night. This disclosure is the first clue that Mozart's days are numbered based on natural causes, not Salieri's baseless plots. Still Salieri formulates what he thinks will be the ultimate irony in donning Mozart's father's former costume and mask and appearing anonymously at the Mozart apartment door. In doing so he evokes both Mozart's fear and guilt over his deceased father, which only adds to Wolfgang's depression. Salieri's plan is to clandestinely commission Mozart to complete a requiem. His ultimate goal is to take possession of the completed requiem, claim it as his own work, and arrange its performance at Mozart's own funeral.

Mozart however, has the last laugh in that he is persuaded by another associate to compose a lighthearted opera. He puts aside the unfinished melancholy requiem and produces a successful performance. By this time his unknown illness has itself reached its climax and Mozart is felled during the performance. Escorted home to his empty apartment, Mozart is attended to by Salieri who offers to transcribe for Mozart and help finish the requiem. Mozart's wife, who returns only moments before an exhausted Mozart dies, foils Salieri in his attempt to snatch the requiem. The film then returns to an older Salieri recounting how his own music has been largely forgotten while Mozart's works have achieved legendary status. Adding insult to injury the maestro is then wheeled down a hallway (looking more like a dungeon) housing some of the other more obvious insane inmates of the lunatic asylum.

The AMADEUS soundtrack is chock full of beautiful segments of Mozart symphonies, concertos, and operas. The majority of the movie was lensed in (what was then) Czechoslovakia to provide period realism. The environs of Prague survived the Second World War without signficant damage and many of the historic buildings required little in the way of set dressing.

Although the film is part history and half fiction, it is a great introduction to the life and times of Wolfgang Amadeus Mozart. It certainly spurred me to pursue additional research on Mozart and his music.