part i of what will be a very long and in-depth series of my favourite movie. my insta: @leoavantmusic my soundcloud: / leo-avant my spotify: open.spotify.c...
I absolutely love the movie. I was already an Amadeus fan before I saw it but I became obsessed afterwards. My favorite Mozart piece now is the Serenade for Winds. It is absolutely gorgeous. There is a reason that Amadeus won 8 out of the 10 Oscars that it was nominated for.
after watching amadeus, it quickly became an all-time fav and couldn't stop thinking about it. seeing this vid on my fyp got me so excited, and after watching it, it's rlly made my appreciation and love for this movie even greater!!
Fun film. Not historically accurate at all, though they did get Mozart's sense of humor right. "There's a lot of farting during the night, And the farts resound with thunderous might." -- W.A. Mozart
Amadeus is such a good fucking movie, it's very unpretentious and doesn't take itself too seriously, but it also indulges in a lot of serious themes and does it with a lot of effort and artist merit. There's so much to like about it, it's approachable but also something you can indulge in. Excellent review and analysis mate, thanks for making this
6:56 I think that's a stretch, lol...and that's coming from someone who might sometimes be guilty of stretches in interpreting films (like saying this or that is because of this or that political aspect of the time a film came out, etc)...there's no way they have cats walking around because of Mozart, lol...or that would greatly surprise me...
One of Mozarts names is "Theophilus" which is Greek for the Latin name "Amadeus". Incidentally, Mozart's widow Constanze was also instrumental in marketing the "Amadeus" brand, i.e. the Latinized Theophilus (Gottlieb - also the German version is sometimes used). In her very first letter to Emperor Leopold II, in which the 30-year-old asked to be granted a pension, she described herself as the "surviving widow of the late Wolfgang Amadeus Mozart". Mozart himself did use Amadeus in a self-deprecating context though, for example in a confessional parody that he sent to his father on November 14, 1777, in which he was known as "Johannes Chrisostomus Amadeus Wolfgangus Sigismundus Mozart”. Although he did occasionally call himself "Amadé". (Mozart officially called himself Wolfgango Amadeo during his time in Italy, and later Wolfgang Amadé or Wolfgang Amadè). Over time, Mozart gave himself more than a dozen names. I remember back in 1984 when tAmadeus screened for almost two years in one movie theatre at Salzburg and I watched it severall times. Great movie, although there is a lot of fiction in it that has nothing to do with the real Mozart. For example that Salieri is said to have killed Mozart was a conspiracy theory that prevailed in some quarters after his death, but is in no way correct. But you should read the "Bäsle Briefe" (unfortunately I don't know what they are called in English). But they are all letters that Mozart wrote to his cousin "Maria Anna Thekla Mozart" - and that's why I think that the cinematic portrayal of Mozart as a person is exactly how I imagine the person to be who wrote these letters. They are very funny and extremely crude.
In Mozart’s time, it was very common to “translate” a person’s name into its equivalents in other languages, as the GreekTheophilus was translated into the German Gottlieb, the Italian Amedeo, the French Amadè and the Latin Amadeus. By comparison, Beethoven was known as Ludwig in German-speaking countries, Luis is France, Luigi in Italy and Lewis in England.
When Salieri's servant samples the dessert, just before they break down the door to find him bleeding, it's also a reference to the 2nd act finale of Don Giovanni, where to the tune of "Non piu andrai" Leporello steals a taste of Don G's dinner.
12:03 I think he’s playing the finale from Mozart’s “the Marriage of Figaro” that we see later in the film. This would be very interesting bc even years after Mozart’s death, Salieri is still in awe of him
I bow deeply to you in gratitude for this series because I, too, deeply love and revere this film and have done since it came out in 1984 when my biology professor would blast Mozart in the lecture hall before class started. 🙏
I literally just started watching Amadeus again, I put it on pause to make this comment lol. As a musician I noticed something interesting during the first scene between the priest and Salieri, 12:04 when the priest walks in the room and starts speaking with him, Salieri does not look up from the piano and continues to play. Now USUALLY, as a musician, you do that to resolve the melody. Salieri keeps playing until he hits a chord where tension is at a maximum within the chord progression, one more chord would have resolved the piece of music. but the chord with the most amount of tension and before the resolve of the melody is where he stops and starts to engage with the priest. I think this is foreshadowing of Constanze locking the requiem away, unfinished. Ultimately leaving Salieri’s plan unresolved. Just a thought, maybe there’s nothing behind this theory, but I wanted to share!
Great series I share your love of this movie I first watched it when I was 10 way back in 1998 and it was literally the soundtrack of my life for two years. I would watch it at least weekly. Personally I prefer the original version to the directors cut and you can get the original 1984 on DVD
totally mesmerized by this movie when it first came out. I love the theatrical release better than the director's cut because I felt it was too dark (still magnificent). ONE of my favorite parts is where Salieri is describing Mozart's piece to the priest: a lingering note unwavering and then being taken over by a clarinet---I saw the music that day. "this was no composition by a performing monkey." I still listen to his music because of this movie.
My all time favourite film , although i have the dvd i couldn't resist seeing it twice recently at the cinema, a masterpiece of film making, the acting amazing and i love that the minor characters stand out.
It is a sad thing that this Director's Cut is the only version available. It is inconsistent with the Oscar-winning version, which is an obvious Salieri take on the story. The Director's Cut adds scenes that are inconsistent with that assumption.
I wouldn't delete any of the scenes from the Directors' Cut, I think all the scenes are great and necessary in their own way. I still see it as Salieri's take on the story, and I don't know what scenes have been cut but the fact that I have absolutely no clue which scenes would have been cut means each scene is crucial at least from my point of view.
@@leoavantmusic I understand your point of view. The scenes that were added, if I remember correctly: the meeting between Mozart and Catherina Cavalieri in the backstage; the scene in which Constanze offers herself to Salieri; the scene of the meeting between Mozart and Salieri to ask for financial help and the concert with the dogs. These scenes seem to me to add unnecessary sentimentality to the understanding of the story. But it could be that you are right and my affective memory makes me refuse another version.
@@marconea9715 I haven’t started part 3 yet but I’ve been planning on acknowledging that scene already and specifically referencing a youtube vídeo that pointed out that the scene was pointless, for me, instinctively I just like the scene as I like all the scenes and feel they do add something useful whjch I will be explaining about it in part 3, well I’ve started writing part 3, just haven’t started recording the voiceover or editing yet, Btw, Amadeus is playing at Royal Albert Hall!!! I’m seeing it, gonna be a live orchestra obviously
Agree with one exception - that the scene where Constanza visits Salieri for the purpose of “buying” Mozart’s appointment was important. It more fully established her devotion to her husband and more fully illustrated Salieri’s decline to a malevolent and destructive force. Without that scene (even though we didn’t quite understand so at the time) Constanza’s tearful scene in their bedroom hold less meaning. Additionally, we can say that since the film won its fans and awards based on its original form, it is that which is most worth seeing, with additional scenes best available as a dvd extras feature…or perhaps the dvd could have been released as a two- sided disc, with each version of the film available. I would see that as a best option. For those that have never seen the original release and have only gotten to know the film by way of the director’s cut, I strongly suggest you seek out the original version for viewing. I am confident that when you do, you will more fully appreciate why the deleted scenes were actually not included in the 1984 release of the film.
@@leoavantmusiche scenes of Constanza offering herself to Salieri (the nude scene) was added and takes any sense of ambiguity away Salieri’s personality. He becomes a transparent villain. That stupid scene of Mozart giving a piano lesson in the house with the dogs (and coming back asking for money) was stupid and adds nothing. Those two scenes plus needlessly extending a few scenes, really screwed up the pacing and themes.
The movie hasn't aged. The cinematography, acting and style is so good that it doesn't even feel like a made-in-80's movie. It feel like it could have been made in the past decade.
Excellent analysis. As a side note, I would like to point out that one of the Mozart’s real names does in fact mean Amadeus, namely: Theophilus, that is the greek version of Amadeus, kind of latinized: Theo (God) Philus (Friend/ Beloved). BTW This version is a little cheesy because of the added scenes. The 1984 version (which I saw in the cinema) seems perfect to me.
I feel like people who saw the original version feel a personal connection to it cause its the one they remember whereas I feel a personal connection to the directors cut cause its the only one i know, and if someone could comment every particular moment that is cut from the film in the original, that would be a big help cause then I can see which scenes I have to defend the most hahah
I saw this movie at 10 years old. The teacher played it in class. After watching it, I decided to become pianist. 13:14 Never heard of the Kaiser Chiefs and now I can't unhear Mozart over this song, ROFL.
I saw this movie in the theater ( yep ,I'm that old) as a teenager. Like many young people, I thought classical music was for the most part old , musty & irrelevant so seeing this film was a real eye( & especially ) ear opener; I mean Mozart had pink hair ! ( or a pink wig) In short I loved it & even bought the soundtrack. I still love it 40 yrs later & always find new things on rewatching that I didn't notice before (& thanks for pointing out even more of this true cinematic classic👌)
I've been putting off watching this series because I just KNOW it's going to be an absolute treat, and I can only watch it for the first time once XD This is my favourite movie of all time and has been since I was a kid watching it on the theatrical version VHS lol. Also just wanna say: that scene where Salieri plays a piece by Mozart and it's recognized instantly by the priest - just as Salieri knew it would be - has to be one of the best examples of 'show, don't tell' that I've seen in film. That succinct interaction drives the idea of the utter enduring pervasiveness of Mozart's work - and his own's obscurity - better than any sort of conversation. All men equal? As if!
I see this film over and over and I can't find anything wrong or bad, just sit in front of the TV and enjoy. I wondering if is not the effect of Mozart's masterpieces or if is the performances I don't honestly know and I don't know if I care about. BTW, excellent analysis.
Its a good movie but i feel like people dont know what it wants to be. I think to many people take it as actual history and not as a good "what if" movie
I have not seen the directors cut. I did see the original when it came out. At the time I didn't realize it was a long movie and the theater had only one nightly showing instead of two. So I showed up about an hour late and decided to watch a Friday the 13th movie instead. I've never seen a 13th movie since but have seen Amadeus a few times.
I believe you; lots of the earlier video games not only displayed artistic skill in graphics but musical pieces; games like 'Phoenix', 'Donkey Kong Junior', 'Venture', etcetera.
Hey good evening man, how do we get part six??? Is there any way I can get it from you a different way? Amadeus is my all-time favorite movie I watch it 3 to 4 times during the holidays your timing was perfect but unfortunately there was a snag.
I really did enjoy watching this analysis... but was a bit confused when he said that 'Amadeus' wasn't his real name. While he said that, it showed part of his full birth name as 'Theophilus', but isn't 'Theophilus' just the literal Greek translation of the Latin "Amadeus"???
In 2002 they added like 20 minutes which made the film worse. The 1984 original is perfect and is sadly hard to find. There are rumors it’s being restored for the 40th anniversary next year.
YOUR VIDEO is AWESOME! As a Juilliard grad who watched it when it first came out before I went to college - I knew it was one of the greatest films I'd ever seen. I want to caution you though, against watching the Director's cut. Sure there's spots that are overly embellished about Mozart and Constanze's lives - but the DC goes too far. Thank God I didn't see it way back then. Anyhow - BRAVO - great series on the analysis of one of my favorite films. And you're hilarious btw.
This film was for sure a masterpiece. I absolutely love Tom Hulce’s performance. When I look at paintings of Mozart I just wonder what he must have been like irl. It’s mind boggling to listen to his later pieces and thing a mortal composed such outer worldly music. ❤
Man, is this the best Amadeus analysis on RUclips? I would like to believe so, you did your research very well, also by mixing humor and the use of Mozart's music in the background, as a fan of classical music, Mozart and this film, I couldn't be more grateful, something this film learned very well from Barry Lyndon (my mom's favorite Kubrick film, as she likes period dramas, her least favorite is A Clockwork Orange, and EWS which she saw on it's day, she understands them really well, but wouldn't revisit them, I get it even if I liked them, it's not for everybody) was the use of natural light photography and candlelight, I like movies with image quality as nice that it looks like it was filmed yesterday, i bet a lot of people couldn't tell if this movie is from the 80s at first glance, those are films that does not age (like the ones you mentioned, 2001 and Apocalypse Now). I need to watch the other parts. Eine Kleine Nachtmusik (or A Little Night Music for the bros) is a meme, I've seen meme music evolution videos that include it, it's even free to download and use in the RUclips music library to stock. I know a lot about Mozart but I had no idea that he had composed a "cat" piece, I have to hear that, it reminds me of Gioachni Rossini's "Duet of Cats", the lyrics are just "Meooow, meow, meow," something like that, well, Beethoven composed a piece for the death of a puppy (no joke), I always thought Amadeus would be a good name for a cat, it all makes more sense now, and I love cats, thank you. 13:50: you did well to mix up my childhood, I grew up with Winnie the Pooh and the use of Salieri's music is well enhanced.
I am NOT a fan to the director's cut. At all. The original theatrical version, I think, was far better. The scenes that extend the director's cut are gratuitous and even, in the funeral scene, melodramatic. We didn't need to see Constanzia reduced to a topless, would-be harlot. I think it detracted from her character, and also detracted from Salieri's as well.
i say this rather prematurely, considering i’m eight and a half minutes in, but i just checked your uploads. thank you so much. like, thank you so much. i had a similar experience with the movie before first seeing it in full about three days ago. although i’d never seen the requiem scene (just…just), i’d been interested in the movie for years, but with it never streaming anywhere, I’d say oh well and it would slip through the cracks again when it came time to rent a title or totally legally find it from other sources. of course, I’d seen the show-off scene. i assume that you have at least a substantial appreciation of music, as it ties into so much of this, and you probably get into it more, but i am currently in my last year of undergrad in music school getting my ed degree and it holds up with musicians just as well that my theory v professor played the show-off scene to exemplify a technical concept (i need to email him now!!!!). it was my birthday a few days ago so i took my loved ones hostage and said it needed to happen because the director’s cut was on amazon prime. of course, just as i expected, i loved it. loved loved loved. i am already a little silly film nerd as well (i also need to log this into letterboxd), plus as a newly-diagnosed autistic person, i had heard about mozart going down my representation rabbit-holes. this managed to be a well-crafted film from a film standpoint, a musical standpoint, and i know mozart is supposed to be a little fool who’s only a conduit to god, but i love him and see too much of myself in him. i gravitate from thing to thing and my train of thought can’t be interrupted until i’m done with it. i give into my vices; being a former gifted student who has special interests, i feel like a mozart when it comes to my actual responsibilities. plus, the theme about him only serving god *kind of* hit home for me very much. i’ve had perfect pitch and a very good inner ear for my whole life, and i found out it’s very likely linked to my autism and technically deems me a savant. obviously, i’m nowhere NEAR the level of genius where mozart resides, but the theme of not having to work for what i’ve attained in my growth as a musician is just as true for me. the imposter syndrome i get amongst my peers is staggering. without this film, i probably would have never seen that connection and kept viewing mozart just as salieri did; an untouchable, dedicated musician with a work ethic like no other. i obviously keep in mind the historical inaccuracies/rumors, but this film gives so much depth to a world i’m very much familiar with but had only been reading from a page out of music history textbooks. it’s safe to say you’ll see me lurking in the comments but i just wanted to let you know now: thank you. you’ve done something special and i’m only eight minutes in
I was ten when this film came out, and remember watching it on VHS with my parents and aunts and uncles. I was enthralled and totally invested in the movie from start to finish. I would take minor exception to one point of yours. The acting in this movie is superb, with two exceptions. Mozart's wife is a horrifyingly bad actress, one wonders how she got the role. And Cynthia Nixon as the chamber maid is noticeably poor. It's a testament to the quality of this film that neither performance detracts from the masterpiece that is the final product. Otherwise, spot on!
Mozart's wife is a bad actress? I would say her acting is very modern and ahead of the 80s. Maybe that's what it is. I think she is the perfect role and did some of the best acting in the entire film, out of all characters I feel the most empathy for her, I would argue she feels the most real out of all of them. (I'd say almost the same for the chambermaid too, another great performance) But this is interesting if you could explain in further detail your opinions on them, that would be great, cause this would help with the things I say in my future analysis'.
@@leoavantmusic Sure. She literally sounds like an American from the 1980's who was picked up and placed in the 1700's. I don't mean her accent, it's not like Hulce or Abraham, or anyone for that matter, tried to affect a location appropriate accent. She speaks like a modern day American, woodenly at that, and it totally takes you out of the scene. You feel the most empathy for her as she's the only main character who's not a schemer or a reprobate. I think the fact that she never landed a major role after this movie and worked mostly in TV (which back then was a huge step down from film acting) rather adds some real world proof to this. I believe the other actors in their roles, I don't come close to doing so with her. As for Nixon, she's chewing the scenery in every scene she's in. You can act upset and afraid in a believable not over the top fashion. See Veronica Cartwright in Alien for an excellent example, just as upset but in a much more believable fashion. Nixon is mugging and hamming it up. Compare her to the other attendees at Motzart's funeral. And she was supposed to be frightened of him, definitely not fond of him as the other attendees were, even Salieri. At the end of the day this is, of course, just opinion, and I would reiterate that I enjoyed your analysis as I stated above.
@@baronbloodington yes, I was a kid when the movie came out. The fame of this movie is a result of its tapping into the zeitgeist of the 80s, the boomers' unconsciousness of their vain delusions of cultural knowledge placed into them by Hollywood. American Hollywood completely dominating the world's perceptions. So of course Constanze Mozart was a wooden-sounding American 80s chick. The self-love of these people appropriating the story and music of Mozart for their own "grandiose" film and using it to demean Mozart, Salieri, the Catholic religion, Vienna of the late 18th Century, etc.
@@2ndavenuesw481 I don't think that's a fair assessment, given that the film is based on a play by an Englishman. Also, the film is very true to the setting, even if the events are not historically accurate. The film is a masterpiece of cinema, so while accusations of "Americanising" a story can certainly be applied to some films I don't think such an accusation sticks in this case. The actress was a second choice, and we don't know what other, secondary, considerations went into her casting (I'm alluding to #metoo possibilities here, as well as others). Your position also ignores that almost all of the other actors (Salieri, Mozart, the Emperor for example) are also American and do a superb job.
The sad truth is that more people care about Mozart because of this film than actually care about his works or music. It is the yehudi Schaeffer pillaging the past by hopelessly distorting it. Whatever merits the film may have in the skill of production, acting and story-telling, it is a poisonous film without genuine artistic merit.
Same with Richard iii it’s just a fictional story told using a real historical backdrop, if anyone starts hating on Salieri because they watched Amadeus and then made assumptions, it’s not like that’s gonna change the history books, historians and people who are actually interested in the truth will still know what actually happened. This story exists not to misinform people about the truth, it’s just to tell an original story about jealousy and envy.
@@leoavantmusic Richard III's reputation was the basis for the play and that was basically fact. It's not even the false fictional account that is the problem per se. "Amadeus" the film is about substituting for the past the sensibilities of 1980s Hollywood. It's impossible to take that goofball actor who plays Joseph II, or the actor who plays Mozart, or any of it seriously. Costumes have been criticized as being poorly done. The plotting is weak, so everything is interlarded with excerpts from the operas. Put into people's minds that the crudity and vulgarity of boomer hollywood in the 80s IS THE REALITY what Mozart and his time is about. I was a just a kid but the film put me off Mozart. Only when I much older could I sit down and really start to appreciate him, when the movie was just a distant memory. I do not believe people in awe of this film will ever appreciate Mozart.
So here's a plausible explanation for the motives behind the play and film. Peter Schaeffer is a Jew, he's probably read of many famous Jews like Einstein praising Mozart, enlisting him as a kind of world-historical ally. And in all of this, Schaeffer is unnerved. Why is the GREATEST of all TIME in music, favored by God, a gentile? So what we have here is the JEWISH APPROPRIATION OF MOZART into a kind of vulgar three stooges groucho marx peewee Herman character who is secretly hated by the venomous Catholic who made a vow of celibacy and is motivated by insane and deranged jealousy. AND THIS BECOMES THE BASIS FOR HOW modern people SEE MOZART. This film has supplanted his operas and appreciation for classical music. These costumed boomer slob actors of the 80s are NOW THE REAL MOZART in the minds of a whole generation. Mozart writes a scatological letter and this becomes the basis for a whole absurd caricature of the American Mozart and his bimbo wife and the absurdly miscast Joseph II. Schaeffer has grabbed the spoils of the Egyptians and completely distorted the memory of Mozart, and basically REPLACED MOZART. Jewish appropriation. Salieri's (FICTIONAL) jealousy and murder of Mozart conceal the real motive of the film itself. To blot out Mozart's memory while stealing most the credit for it in the public imagination!
This is one of those rare masterpieces where the (somewhat intimidating) 3hr runtime doesn't strain your attention. Instead, each scene - each moment - manages to draw your focus in deeper and deeper, until you're so emotionally invested in this story you're bawling by the end of it.
I absolutely love the movie. I was already an Amadeus fan before I saw it but I became obsessed afterwards. My favorite Mozart piece now is the Serenade for Winds. It is absolutely gorgeous. There is a reason that Amadeus won 8 out of the 10 Oscars that it was nominated for.
after watching amadeus, it quickly became an all-time fav and couldn't stop thinking about it. seeing this vid on my fyp got me so excited, and after watching it, it's rlly made my appreciation and love for this movie even greater!!
Fun film. Not historically accurate at all, though they did get Mozart's sense of humor right.
"There's a lot of farting during the night,
And the farts resound with thunderous might."
-- W.A. Mozart
Amadeus is such a good fucking movie, it's very unpretentious and doesn't take itself too seriously, but it also indulges in a lot of serious themes and does it with a lot of effort and artist merit. There's so much to like about it, it's approachable but also something you can indulge in.
Excellent review and analysis mate, thanks for making this
6:56 I think that's a stretch, lol...and that's coming from someone who might sometimes be guilty of stretches in interpreting films (like saying this or that is because of this or that political aspect of the time a film came out, etc)...there's no way they have cats walking around because of Mozart, lol...or that would greatly surprise me...
One of Mozarts names is "Theophilus" which is Greek for the Latin name "Amadeus". Incidentally, Mozart's widow Constanze was also instrumental in marketing the "Amadeus" brand, i.e. the Latinized Theophilus (Gottlieb - also the German version is sometimes used). In her very first letter to Emperor Leopold II, in which the 30-year-old asked to be granted a pension, she described herself as the "surviving widow of the late Wolfgang Amadeus Mozart". Mozart himself did use Amadeus in a self-deprecating context though, for example in a confessional parody that he sent to his father on November 14, 1777, in which he was known as "Johannes Chrisostomus Amadeus Wolfgangus Sigismundus Mozart”. Although he did occasionally call himself "Amadé". (Mozart officially called himself Wolfgango Amadeo during his time in Italy, and later Wolfgang Amadé or Wolfgang Amadè). Over time, Mozart gave himself more than a dozen names. I remember back in 1984 when tAmadeus screened for almost two years in one movie theatre at Salzburg and I watched it severall times. Great movie, although there is a lot of fiction in it that has nothing to do with the real Mozart. For example that Salieri is said to have killed Mozart was a conspiracy theory that prevailed in some quarters after his death, but is in no way correct. But you should read the "Bäsle Briefe" (unfortunately I don't know what they are called in English). But they are all letters that Mozart wrote to his cousin "Maria Anna Thekla Mozart" - and that's why I think that the cinematic portrayal of Mozart as a person is exactly how I imagine the person to be who wrote these letters. They are very funny and extremely crude.
In Mozart’s time, it was very common to “translate” a person’s name into its equivalents in other languages, as the GreekTheophilus was translated into the German Gottlieb, the Italian Amedeo, the French Amadè and the Latin Amadeus. By comparison, Beethoven was known as Ludwig in German-speaking countries, Luis is France, Luigi in Italy and Lewis in England.
I’m right there with you. I have loved this move since it single-handedly gave me a life long love and appreciation for classical music.
When Salieri's servant samples the dessert, just before they break down the door to find him bleeding, it's also a reference to the 2nd act finale of Don Giovanni, where to the tune of "Non piu andrai" Leporello steals a taste of Don G's dinner.
12:03 I think he’s playing the finale from Mozart’s “the Marriage of Figaro” that we see later in the film. This would be very interesting bc even years after Mozart’s death, Salieri is still in awe of him
I bow deeply to you in gratitude for this series because I, too, deeply love and revere this film and have done since it came out in 1984 when my biology professor would blast Mozart in the lecture hall before class started. 🙏
Wow sick professor, one of my teachers introduced me to bjork, she's great but not mozart hahaha
I literally just started watching Amadeus again, I put it on pause to make this comment lol.
As a musician I noticed something interesting during the first scene between the priest and Salieri, 12:04 when the priest walks in the room and starts speaking with him, Salieri does not look up from the piano and continues to play. Now USUALLY, as a musician, you do that to resolve the melody.
Salieri keeps playing until he hits a chord where tension is at a maximum within the chord progression, one more chord would have resolved the piece of music.
but the chord with the most amount of tension and before the resolve of the melody is where he stops and starts to engage with the priest.
I think this is foreshadowing of Constanze locking the requiem away, unfinished. Ultimately leaving Salieri’s plan unresolved.
Just a thought, maybe there’s nothing behind this theory, but I wanted to share!
I loved this movie. It seems somewhat possible. Beautiful locations and outfits.😊
MY SENTIMENTS EXACTLY. I'm in love with every part of this movie. What an absolute treasure.
Great series
I share your love of this movie
I first watched it when I was 10 way back in 1998 and it was literally the soundtrack of my life for two years. I would watch it at least weekly.
Personally I prefer the original version to the directors cut and you can get the original 1984 on DVD
totally mesmerized by this movie when it first came out. I love the theatrical release better than the director's cut because I felt it was too dark (still magnificent). ONE of my favorite parts is where Salieri is describing Mozart's piece to the priest: a lingering note unwavering and then being taken over by a clarinet---I saw the music that day. "this was no composition by a performing monkey." I still listen to his music because of this movie.
I’ve been watching Amadeus since 86! I’m 41 now😂😂. I went as Mozart for Halloween at some point. I love your analysis💪👊.
My all time favourite film , although i have the dvd i couldn't resist seeing it twice recently at the cinema, a masterpiece of film making, the acting amazing and i love that the minor characters stand out.
It is a sad thing that this Director's Cut is the only version available. It is inconsistent with the Oscar-winning version, which is an obvious Salieri take on the story. The Director's Cut adds scenes that are inconsistent with that assumption.
I wouldn't delete any of the scenes from the Directors' Cut, I think all the scenes are great and necessary in their own way. I still see it as Salieri's take on the story, and I don't know what scenes have been cut but the fact that I have absolutely no clue which scenes would have been cut means each scene is crucial at least from my point of view.
@@leoavantmusic I understand your point of view. The scenes that were added, if I remember correctly: the meeting between Mozart and Catherina Cavalieri in the backstage; the scene in which Constanze offers herself to Salieri; the scene of the meeting between Mozart and Salieri to ask for financial help and the concert with the dogs. These scenes seem to me to add unnecessary sentimentality to the understanding of the story. But it could be that you are right and my affective memory makes me refuse another version.
@@marconea9715 I haven’t started part 3 yet but I’ve been planning on acknowledging that scene already and specifically referencing a youtube vídeo that pointed out that the scene was pointless, for me, instinctively I just like the scene as I like all the scenes and feel they do add something useful whjch I will be explaining about it in part 3, well I’ve started writing part 3, just haven’t started recording the voiceover or editing yet,
Btw, Amadeus is playing at Royal Albert Hall!!! I’m seeing it, gonna be a live orchestra obviously
Agree with one exception - that the scene where Constanza visits Salieri for the purpose of “buying” Mozart’s appointment was important. It more fully established her devotion to her husband and more fully illustrated Salieri’s decline to a malevolent and destructive force. Without that scene (even though we didn’t quite understand so at the time) Constanza’s tearful scene in their bedroom hold less meaning. Additionally, we can say that since the film won its fans and awards based on its original form, it is that which is most worth seeing, with additional scenes best available as a dvd extras feature…or perhaps the dvd could have been released as a two- sided disc, with each version of the film available. I would see that as a best option. For those that have never seen the original release and have only gotten to know the film by way of the director’s cut, I strongly suggest you seek out the original version for viewing. I am confident that when you do, you will more fully appreciate why the deleted scenes were actually not included in the 1984 release of the film.
@@leoavantmusiche scenes of Constanza offering herself to Salieri (the nude scene) was added and takes any sense of ambiguity away Salieri’s personality. He becomes a transparent villain. That stupid scene of Mozart giving a piano lesson in the house with the dogs (and coming back asking for money) was stupid and adds nothing. Those two scenes plus needlessly extending a few scenes, really screwed up the pacing and themes.
I’m so glad it won best picture. It deserved it. Cinematic masterpiece.
The movie hasn't aged. The cinematography, acting and style is so good that it doesn't even feel like a made-in-80's movie. It feel like it could have been made in the past decade.
Idk how this does have more views. Truly an incredible review.
Maybe a bit too many notes though
Part two out tomorrow
Love your 'Too many notes' quote. - James D Watkins, artistic director of PHOENIX PRODUCTIONS.
A profound in-depth analysis of THE greatest film in cinematic history. James D Watkins, artistic director of PHOENIX PRODUCTIONS.
excellent analysis. also my favorite movie, watched countless times throughout my life.
My first favorite film.
I saw it in about '84.
I'm Binging this series, It's exactly what I needed
Excellent analysis. As a side note, I would like to point out that one of the Mozart’s real names does in fact mean Amadeus, namely: Theophilus, that is the greek version of Amadeus, kind of latinized: Theo (God) Philus (Friend/ Beloved).
BTW This version is a little cheesy because of the added scenes. The 1984 version (which I saw in the cinema) seems perfect to me.
I found out before you commented and will mention in the next part.
I feel like people who saw the original version feel a personal connection to it cause its the one they remember whereas I feel a personal connection to the directors cut cause its the only one i know, and if someone could comment every particular moment that is cut from the film in the original, that would be a big help cause then I can see which scenes I have to defend the most hahah
I saw this movie at 10 years old. The teacher played it in class. After watching it, I decided to become pianist. 13:14 Never heard of the Kaiser Chiefs and now I can't unhear Mozart over this song, ROFL.
glad someone acknowledges that joke haha
btw its 18:14 hahah
Amadeus is the Latin form of Theophilius, his given middle name
Watch the beginning of part 3
if you get the dvd watch the making of the movie everyone involved expressed how they loved it and that it was a masterpiece
This is amazing. Thank you.
Great review - and I laughed out loud at the Birdemic reference - glad you appreciate great cinema! 9:37
I have seen this movie several times. It is a masterpiece!
I saw this movie in the theater ( yep ,I'm that old) as a teenager. Like many young people, I thought classical music was for the most part old , musty & irrelevant so seeing this film was a real eye( & especially ) ear opener; I mean Mozart had pink hair ! ( or a pink wig) In short I loved it & even bought the soundtrack. I still love it 40 yrs later & always find new things on rewatching that I didn't notice before (& thanks for pointing out even more of this true cinematic classic👌)
I've been putting off watching this series because I just KNOW it's going to be an absolute treat, and I can only watch it for the first time once XD This is my favourite movie of all time and has been since I was a kid watching it on the theatrical version VHS lol. Also just wanna say: that scene where Salieri plays a piece by Mozart and it's recognized instantly by the priest - just as Salieri knew it would be - has to be one of the best examples of 'show, don't tell' that I've seen in film. That succinct interaction drives the idea of the utter enduring pervasiveness of Mozart's work - and his own's obscurity - better than any sort of conversation. All men equal? As if!
I see this film over and over and I can't find anything wrong or bad, just sit in front of the TV and enjoy. I wondering if is not the effect of Mozart's masterpieces or if is the performances I don't honestly know and I don't know if I care about. BTW, excellent analysis.
Its a good movie but i feel like people dont know what it wants to be. I think to many people take it as actual history and not as a good "what if" movie
I have not seen the directors cut. I did see the original when it came out. At the time I didn't realize it was a long movie and the theater had only one nightly showing instead of two. So I showed up about an hour late and decided to watch a Friday the 13th movie instead. I've never seen a 13th movie since but have seen Amadeus a few times.
I agree, even though i am not familiar with salieri, that first opera was so wonderful and almost wholly separate imo from his other works in the film
15:45 I remember when I first heard it. You ready for this?...Mario Bros. Seriously.
I believe you; lots of the earlier video games not only displayed artistic skill in graphics but musical pieces; games like 'Phoenix', 'Donkey Kong Junior', 'Venture', etcetera.
It's almost a retelling of Cain and able
best movie ever
Amadeus is a Latin version of the name Theophilus (Love God) and it was one of the many names Mozart was given when born.
Hey good evening man, how do we get part six??? Is there any way I can get it from you a different way? Amadeus is my all-time favorite movie I watch it 3 to 4 times during the holidays your timing was perfect but unfortunately there was a snag.
ruclips.net/video/uZZnr122nzI/видео.htmlfeature=shared
I shall watch this movie because of you sir!
I really did enjoy watching this analysis... but was a bit confused when he said that 'Amadeus' wasn't his real name. While he said that, it showed part of his full birth name as 'Theophilus', but isn't 'Theophilus' just the literal Greek translation of the Latin "Amadeus"???
In 2002 they added like 20 minutes which made the film worse. The 1984 original is perfect and is sadly hard to find. There are rumors it’s being restored for the 40th anniversary next year.
YOUR VIDEO is AWESOME! As a Juilliard grad who watched it when it first came out before I went to college - I knew it was one of the greatest films I'd ever seen. I want to caution you though, against watching the Director's cut. Sure there's spots that are overly embellished about Mozart and Constanze's lives - but the DC goes too far. Thank God I didn't see it way back then. Anyhow - BRAVO - great series on the analysis of one of my favorite films. And you're hilarious btw.
The line:" I will ruin your incarnation" is omitted from the directors Cut.
Any explanation as to why?
@marvdaniels5603 Don't know why but it was a dumb idea.
@@jeffreykaufmann2867 Perhaps, the line would've added more complexity to the story.
this is my favorite movie too!
I found the non directors cut DVD on Ebay. I prefer the non directors cut as well.
why is there two guys discussing solar panels?
From birdemic shock and terror one of the greatest bad movies of all time
This film was for sure a masterpiece. I absolutely love Tom Hulce’s performance. When I look at paintings of Mozart I just wonder what he must have been like irl. It’s mind boggling to listen to his later pieces and thing a mortal composed such outer worldly music. ❤
I feel the same way about the lead singer/songwriter of my band, yes, shameless plug: @baileyoriginals
This was a lousy movie, antonio Salieri deserves much more credit than he gets. He trained Beethoven, Liszt and Chopin
@@beautifuldreamer3991 indeed very lousy
Man, is this the best Amadeus analysis on RUclips? I would like to believe so, you did your research very well, also by mixing humor and the use of Mozart's music in the background, as a fan of classical music, Mozart and this film, I couldn't be more grateful, something this film learned very well from Barry Lyndon (my mom's favorite Kubrick film, as she likes period dramas, her least favorite is A Clockwork Orange, and EWS which she saw on it's day, she understands them really well, but wouldn't revisit them, I get it even if I liked them, it's not for everybody) was the use of natural light photography and candlelight, I like movies with image quality as nice that it looks like it was filmed yesterday, i bet a lot of people couldn't tell if this movie is from the 80s at first glance, those are films that does not age (like the ones you mentioned, 2001 and Apocalypse Now). I need to watch the other parts.
Eine Kleine Nachtmusik (or A Little Night Music for the bros) is a meme, I've seen meme music evolution videos that include it, it's even free to download and use in the RUclips music library to stock.
I know a lot about Mozart but I had no idea that he had composed a "cat" piece, I have to hear that, it reminds me of Gioachni Rossini's "Duet of Cats", the lyrics are just "Meooow, meow, meow," something like that, well, Beethoven composed a piece for the death of a puppy (no joke), I always thought Amadeus would be a good name for a cat, it all makes more sense now, and I love cats, thank you.
13:50: you did well to mix up my childhood, I grew up with Winnie the Pooh and the use of Salieri's music is well enhanced.
Your analysis is like crack.❤
The Simpsons version is my favorite :)
Why does almost everyone forget to mention Russian writer Pushkin?
Cause that pesky old Pushkin stole my pencil back in primrary school, there’s just things you can’t forgive about a person.
2,4k views after 4 months. Another tragedy
It's early days mutha fucka
The fact that every person alive thinks of the laughing hyena of Tom Hulce was Mozart is a crime...
I am NOT a fan to the director's cut. At all. The original theatrical version, I think, was far better. The scenes that extend the director's cut are gratuitous and even, in the funeral scene, melodramatic. We didn't need to see Constanzia reduced to a topless, would-be harlot. I think it detracted from her character, and also detracted from Salieri's as well.
Oki
Le Génie c'est comme cela je l'aime ! C'est Dieu qui s'amuse et se moque de l'orgueil !
Mozart has BDE tbh
The directors cut has some interesting scenes, but it is an inferior film. The original is available… Just not officially.
i say this rather prematurely, considering i’m eight and a half minutes in, but i just checked your uploads. thank you so much. like, thank you so much. i had a similar experience with the movie before first seeing it in full about three days ago. although i’d never seen the requiem scene (just…just), i’d been interested in the movie for years, but with it never streaming anywhere, I’d say oh well and it would slip through the cracks again when it came time to rent a title or totally legally find it from other sources. of course, I’d seen the show-off scene. i assume that you have at least a substantial appreciation of music, as it ties into so much of this, and you probably get into it more, but i am currently in my last year of undergrad in music school getting my ed degree and it holds up with musicians just as well that my theory v professor played the show-off scene to exemplify a technical concept (i need to email him now!!!!). it was my birthday a few days ago so i took my loved ones hostage and said it needed to happen because the director’s cut was on amazon prime. of course, just as i expected, i loved it. loved loved loved. i am already a little silly film nerd as well (i also need to log this into letterboxd), plus as a newly-diagnosed autistic person, i had heard about mozart going down my representation rabbit-holes. this managed to be a well-crafted film from a film standpoint, a musical standpoint, and i know mozart is supposed to be a little fool who’s only a conduit to god, but i love him and see too much of myself in him. i gravitate from thing to thing and my train of thought can’t be interrupted until i’m done with it. i give into my vices; being a former gifted student who has special interests, i feel like a mozart when it comes to my actual responsibilities. plus, the theme about him only serving god *kind of* hit home for me very much. i’ve had perfect pitch and a very good inner ear for my whole life, and i found out it’s very likely linked to my autism and technically deems me a savant. obviously, i’m nowhere NEAR the level of genius where mozart resides, but the theme of not having to work for what i’ve attained in my growth as a musician is just as true for me. the imposter syndrome i get amongst my peers is staggering. without this film, i probably would have never seen that connection and kept viewing mozart just as salieri did; an untouchable, dedicated musician with a work ethic like no other. i obviously keep in mind the historical inaccuracies/rumors, but this film gives so much depth to a world i’m very much familiar with but had only been reading from a page out of music history textbooks. it’s safe to say you’ll see me lurking in the comments but i just wanted to let you know now: thank you. you’ve done something special and i’m only eight minutes in
it's a tragedy deep insightful videos like these only get this much views. btw write to film schools. you deserve 30min or an hour of a session time
I do wish I could teach film hahaha
@@leoavantmusic keep up the good work. looking forward to Part 6.
@@mz8755 so far only edited the first 25 seconds hahahah
I was ten when this film came out, and remember watching it on VHS with my parents and aunts and uncles. I was enthralled and totally invested in the movie from start to finish. I would take minor exception to one point of yours. The acting in this movie is superb, with two exceptions. Mozart's wife is a horrifyingly bad actress, one wonders how she got the role. And Cynthia Nixon as the chamber maid is noticeably poor. It's a testament to the quality of this film that neither performance detracts from the masterpiece that is the final product. Otherwise, spot on!
Mozart's wife is a bad actress? I would say her acting is very modern and ahead of the 80s. Maybe that's what it is. I think she is the perfect role and did some of the best acting in the entire film, out of all characters I feel the most empathy for her, I would argue she feels the most real out of all of them. (I'd say almost the same for the chambermaid too, another great performance) But this is interesting if you could explain in further detail your opinions on them, that would be great, cause this would help with the things I say in my future analysis'.
@@leoavantmusic Sure. She literally sounds like an American from the 1980's who was picked up and placed in the 1700's. I don't mean her accent, it's not like Hulce or Abraham, or anyone for that matter, tried to affect a location appropriate accent. She speaks like a modern day American, woodenly at that, and it totally takes you out of the scene. You feel the most empathy for her as she's the only main character who's not a schemer or a reprobate. I think the fact that she never landed a major role after this movie and worked mostly in TV (which back then was a huge step down from film acting) rather adds some real world proof to this. I believe the other actors in their roles, I don't come close to doing so with her. As for Nixon, she's chewing the scenery in every scene she's in. You can act upset and afraid in a believable not over the top fashion. See Veronica Cartwright in Alien for an excellent example, just as upset but in a much more believable fashion. Nixon is mugging and hamming it up. Compare her to the other attendees at Motzart's funeral. And she was supposed to be frightened of him, definitely not fond of him as the other attendees were, even Salieri. At the end of the day this is, of course, just opinion, and I would reiterate that I enjoyed your analysis as I stated above.
@@baronbloodington yes, I was a kid when the movie came out. The fame of this movie is a result of its tapping into the zeitgeist of the 80s, the boomers' unconsciousness of their vain delusions of cultural knowledge placed into them by Hollywood. American Hollywood completely dominating the world's perceptions. So of course Constanze Mozart was a wooden-sounding American 80s chick. The self-love of these people appropriating the story and music of Mozart for their own "grandiose" film and using it to demean Mozart, Salieri, the Catholic religion, Vienna of the late 18th Century, etc.
@@2ndavenuesw481 I don't think that's a fair assessment, given that the film is based on a play by an Englishman. Also, the film is very true to the setting, even if the events are not historically accurate. The film is a masterpiece of cinema, so while accusations of "Americanising" a story can certainly be applied to some films I don't think such an accusation sticks in this case. The actress was a second choice, and we don't know what other, secondary, considerations went into her casting (I'm alluding to #metoo possibilities here, as well as others). Your position also ignores that almost all of the other actors (Salieri, Mozart, the Emperor for example) are also American and do a superb job.
Your commentary is so fast it is painful to listen to.
Then put it on 0.5 speed :)
The sad truth is that more people care about Mozart because of this film than actually care about his works or music. It is the yehudi Schaeffer pillaging the past by hopelessly distorting it. Whatever merits the film may have in the skill of production, acting and story-telling, it is a poisonous film without genuine artistic merit.
Same with Richard iii it’s just a fictional story told using a real historical backdrop, if anyone starts hating on Salieri because they watched Amadeus and then made assumptions, it’s not like that’s gonna change the history books, historians and people who are actually interested in the truth will still know what actually happened. This story exists not to misinform people about the truth, it’s just to tell an original story about jealousy and envy.
@@leoavantmusic Richard III's reputation was the basis for the play and that was basically fact. It's not even the false fictional account that is the problem per se. "Amadeus" the film is about substituting for the past the sensibilities of 1980s Hollywood. It's impossible to take that goofball actor who plays Joseph II, or the actor who plays Mozart, or any of it seriously. Costumes have been criticized as being poorly done. The plotting is weak, so everything is interlarded with excerpts from the operas. Put into people's minds that the crudity and vulgarity of boomer hollywood in the 80s IS THE REALITY what Mozart and his time is about. I was a just a kid but the film put me off Mozart. Only when I much older could I sit down and really start to appreciate him, when the movie was just a distant memory. I do not believe people in awe of this film will ever appreciate Mozart.
@@2ndavenuesw481 cool
So here's a plausible explanation for the motives behind the play and film. Peter Schaeffer is a Jew, he's probably read of many famous Jews like Einstein praising Mozart, enlisting him as a kind of world-historical ally. And in all of this, Schaeffer is unnerved. Why is the GREATEST of all TIME in music, favored by God, a gentile? So what we have here is the JEWISH APPROPRIATION OF MOZART into a kind of vulgar three stooges groucho marx peewee Herman character who is secretly hated by the venomous Catholic who made a vow of celibacy and is motivated by insane and deranged jealousy. AND THIS BECOMES THE BASIS FOR HOW modern people SEE MOZART. This film has supplanted his operas and appreciation for classical music. These costumed boomer slob actors of the 80s are NOW THE REAL MOZART in the minds of a whole generation. Mozart writes a scatological letter and this becomes the basis for a whole absurd caricature of the American Mozart and his bimbo wife and the absurdly miscast Joseph II. Schaeffer has grabbed the spoils of the Egyptians and completely distorted the memory of Mozart, and basically REPLACED MOZART. Jewish appropriation. Salieri's (FICTIONAL) jealousy and murder of Mozart conceal the real motive of the film itself. To blot out Mozart's memory while stealing most the credit for it in the public imagination!
This is one of those rare masterpieces where the (somewhat intimidating) 3hr runtime doesn't strain your attention. Instead, each scene - each moment - manages to draw your focus in deeper and deeper, until you're so emotionally invested in this story you're bawling by the end of it.
THAT WINNIE THE POOH CUT TO @13:54 HAD ME BALLIN
17:53 HE WAS TRYING TO HIDE HIS GUILT