Adapted from Peter Schaffer’s play, the script modulates from moment of great comedy to desperate sadness. The story is told in flashback by Salieri, who now resides in a mental asylum and has just had a failed suicide attempt. As a sympathetic priest listens to his tale, Salieri recounts his traumatic and disturbing tale. The direction of Milos Forman is wonderful, both restrained and indulgent, it captures the many sides of the composing industry as well depicting the sadness of the human condition. The fact that the film is so historically inaccurate does not matter a jot. Rather than attempt to paint a vivid picture of Mozart’s life, Forman instead goes for a painting of jealousy, and in doing so, he has achieved his masterpiece. The title, Mozart’s middle name, Amadeus, translates to “Loved by God”, and Salieri spends the whole film opining as to why it is Mozart who chooses to be loved, not him. Mozart, who seemingly has no appreciation of his massive talent, and chooses to piss and debauch his life away rather than making the most of it. And this is the central message of Amadeus: hard as it is to accept, sometimes it is those that deserve it the least are blessed the most.
With the images of the movie three pieces of his music by Waldo de los Ríos (1934-1977), Argentine composer, conductor and arranger:
1)First mouvement (Molto allegro) of the Symphony No. 40 recorded with the Manuel de Falla orchestra, which reached the top spot in the Dutch charts and scored a top 10 hit in several other European countries.
2) Fourth movement (Rondo Allegro) of "Eine Kleine Nachtmusik"
3)Aria “Voi che sapete” of “Le nozze di Figaro” sung by Naria Lalanne