Today we are accustomed to the great “Oscar”-winning films and the great box office record-smashing films belonging to different worlds. But, it wasn’t always so. Separation between the two was the long and gradual process, which became visible in 1980s. One of the more telling examples was Amadeus, 1984 biopic directed by Miloš Forman, film known for its spectacular “Oscar” harvest, almost unison praise by the critics and reputation of one of the best films ever made. Yet, despite all that, during its initial cinema run it made surprisingly low box office for the films of such reputation.
The film is based on eponymous stage play by Peter Shaffer, itself based on the urban legends about true cause of the tragic demise of one of the greatest composers in history of classical music. The plot begins in 1820s when elderly Italian composer Antonio Salieri (played by F. Murray Abraham) gets committed to lunatic asylum following suicide attempt, which was apparently motivated by troubled conscience over the role he had played in series of events three decades earlier. Father Vogler (played by Richard Frank) is a Catholic priest sent to hear Salieri’s confession. Through flashbacks plot is reset forty years earlier and describes how Salieri, born in rather unremarkable Italian provincial town, used hard work and perseverance to win the post of official court composer of Joseph II (played by Jeffrey Jones), Holy Roman emperor. In Vienna Salieri is quite familiar with the tales of Wolfgang Amadeus Mozart (played by Tom Hulce), young composer who already became household name in Europe as child prodigy under care of his domineering father Leopold (played by Roy Dotrice). Salieri, a devout Catholic, is so enthusiastic about Mozart’s music that becomes convinced that young musician must be the voice of God. When he actually meets Mozart, he is surprised to find him as vulgar, immature, irresponsible and irreverent man with tendency to insult people around him, Salieri included. As Mozart’s triumphs continue and Salieri’s music sinks to mediocrity, Salieri’s disappointment leads to envy and hatred. He begins to use his position and influence to sabotage Mozart’s career at every turn. Mozart nevertheless continues to produce masterpiece after masterpiece, apparently unimpeded by his own self-destructive lifestyle, much to the horror of his young wife Constanze (played by Elizabeth Berridge). But the most destructive Salieri’s weapon proves to be Requiem, composition Salieri has anonymously commissioned from his rival knowing that the physical and emotional cost of creating would likely bring genius composer to his early grave.
Failure of Amadeus to connect with the general audience isn’t that surprising. It is a film that runs for three hours, a very dark drama with depressive ending and has the plot revolving mostly about classical music. That is the subject least likely to attract attention of teenagers who were becoming the most crucial segment of cinema going audience at the time. On the other hand, Amadeus, with its background as celebrated Broadway play, immaculately reconstructed period setting and the script to rely on actors playing demanding roles belongs exactly to the kind of films that win “Oscars”. Amadeus is, however, somewhat atypical specimen, mostly due to its perceptive and iconoclastic director. Miloš Forman, former star of Czechoslovakian New Wave who had emigrated to USA following brutal suppression of Prague Spring, has proven to be very adaptive to his new country while being honest enough to explore its contradictions in his earlier “Oscar”-winning film One Flew over the Cuckoo’s Nest. Story set centuries ago during the glory days of Habsburg Empire (to which Forman’s native Czechia belonged) was apparently attractive to Forman, allowing him to return home both symbolically and literally. He was allowed to shoot film in Prague with Communist Czechoslovak authorities willing, at least temporarily, to ignore his dissident status over the prestige and financial benefits brought by his ambitious production. Streets of Czech capital, many of which had changed little or none at all since 18th Century, have been put to excellent use as location and the scene depicting the premiere of Mozart’s Don Giovanni was actually shot in the same Estates Theatre as Mozart’s opera in 1787. Music actually plays very important part in Shaffer’s script, with the plot and characters very much built around the most important pieces of Mozart’s work, namely his operas. It works well, although its impact is likely to be lost on the viewers unfamiliar with classic music, and especially those who know nothing about the opera.
Whether they are Mozart enthusiasts or not, viewers are likely to be impressed by the excellent cast of Amadeus. F. Murray Abraham, who was until that time relatively unknown stage actor, has turned Salieri not only into the best known role of his career (confirmed by Oscar for Best Supporting Actor) but also into word that would enter many vocabularies as embodiment of mediocrity, envy and malice. Forman’s and Abraham’s version of Salieri is, however, more complex. While in physical aspect Abraham adheres to popular conception of Salieri as villain by portraying him as mousy, black-clad and deeply unattractive character he also portrays him as the most perceptive and the most intelligent character in the film and this is exactly why he win audience’s sympathy in the end. Salieri is mediocre but capable musician and intelligent enough to recognise great talent and realise that he would never match Mozart; his tragedy is to see that such great talent is given to a person who obviously doesn’t deserve it. Tom Hulce paints another part of picture by portraying Mozart as 18th Century version of rock star – a rebellious, irreverent and arrogant artist oblivious to the excesses and his ability to insult, hurt and alienate friends and foes alike. Hulce does so by utilising interesting fashion choices (like his wig that could pass as part of 1980s punk rocker image), but the most memorable detail is his annoying laughter which his character uses in most inopportune moments, adding little bit of comedy to this generally sad story.
The rest of cast is quite good. Jeffrey Jones is very effective as Joseph, enlightened monarch who sincerely cares for the well-being of his subjects and wants to promote science and culture, but he is often hampered in reaching those goal by his limitations. In case of this film, Joseph wants to enter history books as great patron as music while lacking skills to recognise such works of art and being subject of manipulation by Salieri and Mozart alike. Jones is an American actor and, unlike most of similar high budget period pieces, doesn’t use British accent to play his noble aristocratic character and is allowed to use his native American accent, just like Hulce and the rest of the cast. Forman tried to be very consistent and have all the characters who spoke German in real life speak American English in the film. Even British actor Simon Callow, who plays character of Mozart’s friend and famous Viennese actor Emanuel Shickaneder, uses American accent. Forman was less fortunate with casting of Elizabeth Berridge as Constanze. While she is quite capable, the script makes her character undeveloped and inconsistent; she is introduced as silly lower class girl who shares irresponsible lifestyle with her “Wolfie” only to miraculously transform into dedicated spouse, mother and voice of reason by the end of the film. Berridge didn’t use this role to advance her career, unlike Cynthia Nixon (of later Sex and the City fame) who shines in the much smaller role of Lorl, maid hired by Salieri to spy on Mozart’s household. Like Shaffer’s play, Forman’s film isn’t likely to win favour among historians because of playing very loose with the facts, including the whole idea about Salieri killing Mozart which, thanks to Amadeus, became one of the most popular misconceptions about actual history. Film, while impressive, is flawed and this is even more apparent in 2002 Director’s Cut version which has few unneceessary, too melodramatic and exploitative scenes that are likely to spoil the good impression left by the original version. Amadeus could have been better if Forman tried to use more of its personal experiences by framing this story, both in his early dealing with Communist bureaucrats and his later dealings in Hollywood, which had and still has its share of Mozarts and Salieris. But this approach was even less likely to work among the general audience than the film built on the music which is, sadly, an acquired taste.
RATING: 7/10 (++)
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