This is superbly acted, technically outstanding and a densely literate and challenging exploration of the dark side of the human soul, and the soul’s demise, although is not so much about the life of Mozart and his contemporaries. This is where historical and artistic license is evident. Mozart was never so brazen (he was a man of intellectual and political standing), Salieri, his court composer and compeer, never so jealous.
One Flew over the Cuckoo’s Nest director Milos Forman’s portrayal of Mozart is therefore more than a bio pic: it goes deeper into the condition of the human soul. Based on Peter Shaffer’s play, Amadeus, although historically suspect, is a character-driven literate drama of jealousy, deception and murder.
Salieri, as an old man, confined to an asylum, confesses to a priest about his tormented life before God, his contemporaries and his relationship with himself. After attempting suicide, he is perplexed with remorse and guilt over being party to the death of Mozart. “For the first time I began to think really violent thoughts”, Salieri conveys to the listening priest. The real question in Salieri’s mind is how God could bless such an uncouth adulterer and drunk with the talent for producing “divine” music. Salieri wants the glory, but Mozart (“that thing” and “trained monkey” as Salieri calls him) receives the accolades.
Amadeus absorbingly and movingly portrays the destruction of Salieri through jealously and hatred towards God, although at the same time Mozart self-destructs through alcohol, sex, sickness and parties.
The character studies are deftly handled: complex and subtle nuances about the contradictions of their personalities add strength to the lavishly mounted costume drama.
Although set in history, and bogus history at that, the human drama depicted is universal in that of the human condition – the feelings, emotions and dilemmas associated with it.
This is one of the finer attempts at exposing those human aberrations; it is packed with a strong recurrent underlying tragedy of the human emotion of jealously adding potency when set around a religious parameter (Salieri’s faith in God is tested when he can’t compete with Mozart’s music ability).
Laden with beautiful music but dark and morose in dramatic tone, the conclusion of the film is profound, moving, and chilling for we have seen the film mainly through sympathising with Salieri.
Originally published 2000. Reviewed by Peter Veugelaers
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