Amadeus (Director's Cut) [Blu-ray Book]

AMADEUS [1984] [Director's Cut] [Special Limited Edition DigiBook Package] [Blu-ray] The Man! The Music! The Madness! The Murder! The Motion Picture! Everything You Have Heard Is True!‘Amadeus’ The Man! The Music! The Magic! The Madness! This is the incredible, mostly true story about the relationship between two composers in 18th century Vienna. Antonio Salieri, the successful court composer for Emperor Joseph of Austria, and Wolfgang Amadeus Mozart, a child prodigy who, while vulgar and irritating, writes the greatest music the world has ever heard. The film unfolds in a series of flashbacks, as Antonio Salieri is consumed with jealously by Wolfgang Amadeus Mozart's natural talent, and is unable to accept the knowledge that he will never possess the genius of a man he cannot stand. The film is presented in the Director's Cut, which features about 20 extra minutes of footage from the theatrical release.FILM FACT: 1985 Academy Awards® Won: Best Actor in a Leading Role for F. Murray Abraham. Best Adapted Screenplay for Peter Shaffer. Best Art Direction for Karel 'erný and Patrizia von Brandenstein. Costume Design for Theodor Pist'k. Best Picture and Best Director for Milos Forman. Best Makeup for Dick Smith and Paul LeBlanc. Best Sound Mixing for Mark Berger, Thomas Scott, Todd Boekelheide and Christopher Newman. Nominated: Best Actor in a Leading Role for Tom Hulce. Best Cinematography for Miroslav Ond'í'ek. Best Film Editing for Nena Danevic and Michael Chandler. 1985 Golden Globe® Awards Won: Best Actor for Motion Picture Drama for Tom Hulce. Best Supporting Actor for Motion Picture for Jeffrey Jones. BAFTA Won: Best Cinematography for Miroslav Ond'í'ek. Best Editing for Nena Danevic and Michael Chandler. Best Makeup Artist for Dick Smith and Paul LeBlanc. Best Sound for Mark Berger, Thomas Scott and Christopher Newman. Nominated: Best Actor for F. Murray Abraham. Best Costume Design for Theodor Pist'k. Best Film for Milos Forman and Saul Zaentz. Best Production Design for Patrizia von Brandstein. Best Adapted Screenplay for Peter Shaffer.Cast: F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Roy Dotrice, Jeffrey Jones, Charles Kay, Simon Callow, Jonathan Moore, Roderick Cook, Patrick Hines, Richard Frank, Christine Ebersole, Cynthia Nixon and Nicholas KeprosDirector: Milos FormanProducer: Saul ZaentzScreenplay: Peter ShafferComposers: Wolfgang Amadeus Mozart and Antonio SalieriCinematography: Miroslav OndøíèekVideo Resolution: 1080p [Technicolor]Aspect Ratio: 2.40:1 [Panavision]Audio: English: 5.1 Dolby TrueHD, English: 5.1 Dolby Digital, Spanish: 5.1 Dolby Digital, French: 5.1 Dolby Digital, German: 5.1 Dolby Digital and Italian: 5.1 Dolby DigitalSubtitles: English SDH, Spanish, Portuguese, Japanese, German SDH, Danish, Dutch, Finnish, Italian SDH, Korean, Norwegian, Polish and SwedishRunning Time: 180 minutesRegion: Region A/1Number of discs: 2Studio: Warner Home VideoAndrew's Blu-ray Review: revered composers of all time, and Antonio Salieri, the once respected but long-since forgotten court composer of Emperor Joseph II in Vienna, Austria, in the latter years of the 18th century, ‘Amadeus’ [1984] is a not a traditional historical drama in any sense of the term. Peter Shaffer's 1979 play and subsequent screenplay adaptation, partially inspired by a 19th century play by Alexander Pushkin and subsequent opera by Nikolay Rimsky-Korsakov, takes the lives of these artists as a starting point for a highly fictionalised drama of envy and audacity; it's the anguished cry of a cultured artist with aspirations beyond his talents who declares war against a crude, boorish young man who has been graced with the genius he so desperately craves.Their music may seem high-brow by contemporary standards, but back in the 18th and 19th centuries, popular classical composers were the rock stars of their day, often achieving great wealth and privilege and engendering the admiration of everyone from peasants to kings. Though many were serious, aloof, and square, Wolfgang Amadeus Mozart, perhaps more than any of his peers, embraced the role. He partied, spent frivolously, and died young under mysterious circumstances. 'Amadeus' may perpetuate the legends and myths that swirl about this musical icon, but Milos Forman's film adaptation celebrates the composer's genius so completely, anyone who sees this Oscar® winning work will take away one emotion above all others.The story of Salieri's pathological jealousy and scheming attempts to sabotage Mozart's reputation and career is historically dubious to say the least--historians have noted that their professional rivalry was also marked by mutual respect and they even collaborated on a (now lost) cantata and his "mediocrity" a matter of context. Salieri was an influential composer and teacher in his day, no genius but a consistent creator of popular works whose work (like those of so many of his contemporaries) fell out of favour while the undeniably magnificent work of Mozart became part of the classical canon. But it is that contrast between the revered and the forgotten that makes Amadeus so compelling, with the aging artist living out his life in the shadow of the dead Mozart and recounting the story of how he killed Mozart (or so he says) to a dubious priest.'Amadeus' is largely fictitious, but it cleverly takes seeds of truth and grows them into a compelling, substantive narrative. Both Mozart and especially Antonio Salieri are well-drawn, complex creations, and Peter Shaffer (who won a Tony Award for his play and an Oscar for his adapted screenplay) instils in them a multitude of conflicting qualities. We admire Mozart, but it's hard to like him; we can relate to Antonio Salieri, yet can't condone his reprehensible actions. What makes Antonio Salieri such a marvellous character is that despite all his ill will, it's impossible for him to temper his unabashed wonder over the perfection of Mozart's music. Sure, he takes glee in sabotaging Mozart, but he's also the composer's biggest fan. And tragically, the pure, simple beauty of Mozart's notes and phrases, music that elevates so many and plunges Antonio Salieri's soul into darkness.All the acting is terrific, especially F. Murray Abraham as the tormented, conniving Antonio Salieri. His scenes as an elderly man recalling his relationship with Mozart and confessing his sins are riveting, and devoid of the affectations so many less talented performers employ when playing "old." Tom Hulce captures Mozart's randy playfulness and sly conceit, as well as his sober sense of purpose and enslavement to music. His silly laugh becomes grating over time, but, of course, that's the point. As Mozart's commoner wife, Elizabeth Berridge is far better than I remembered her to be, and her no-nonsense, rough-around-the-edges personality nicely contrasts with the stuffy, fawning atmosphere of the emperor's court. (The Director's cut more completely develops her relationship with Antonio Salieri, and adds more depth to her character and performance.) And in a small supporting role, a teenage Cynthia Nixon ['Sex and the City'] makes a notable splash as a naive servant girl Salieri hires to spy on the Mozarts. On its surface, 'Amadeus' may seem like a story of revenge and bitterness, but it's really about the transformative power of music, and how it can shape and twist fragile human psyches. It's a stirring, impeccably produced work and deserving of all the accolades it received.Released in 1984, five years after the original stage production debuted in London, the film was a popular and critical hit and swept the Academy Awards® by winning eight Oscars, including Best Picture, Best Director for Forman, Best Adapted Screenplay for Shaffer and Best Actor for F. Murray Abraham. In 2001, Forman (with the blessings of both Peter Shaffer and Saul Zaentz) prepared a longer "Director's Cut" for a new theatrical release, incorporating about 20 minutes of extra footage unseen in the original cut, which of course has been included in this Special Blu-ray release.‘Amadeus’ brought a new popular interest in the music of Mozart (the soundtrack recording became one of the best-selling classical albums of all time) and turned the classical composer into a pop-culture figure (which reached its height or perhaps it’s so called swan song, with the dance hit "Rock Me Amadeus" by Austrian singer Falco). The most surprising reverberation from the movie was the rediscovery of Antonio Salieri, all but forgotten for well over a century until the movie inspired orchestras to seek out his works and companies to revive his operas. But even with this minor resurgence of interest, it is the music of Wolfgang Amadeus Mozart that makes this film sings with the voice of angels.Blu-ray Video Quality – Though Warner Home Video 1080p encoded transfer is far from perfect, 'Amadeus' makes a fairly solid transition to Blu-ray, especially when one considers its age. Many scenes are slightly on the soft side, but there's a healthy complement of sharp, well-defined images that burst forth with excellent contrast and vibrant colour. Noticeable grain preserves the film-like feel and suits the period setting well, but never garners undue attention, even in dimly lit scenes. There's a lot of colour on display like reds are especially lustrous and rich and the transfer handles the faint variances with ease. Though primaries shine, I was extremely impressed by the delicate pastel tones, powder blues, sea greens, and lavenders, all of which are exceptional. Many costumes flaunt intricate patterns and lots of adornment, but there's never any shimmering or breakup. Blacks possess appropriate depth (the tone really stands out in the gentlemen's jackets), shadow delineation is quite good, and fine details, such as wood grain and the weave of paper documents, can be striking. Close-ups aren't as crisp as those in new releases, but they're revealing enough to catch beads of sweat glistening on the brows of many actors, especially Tom Hulce. Stable, true flesh tones predominate, and Abraham's heavy makeup as the elderly Salieri looks, for the most part, very natural, even in high-definition. Some digital doctoring has been applied to spruce up the image, but it's subtle enough to keep critical characteristics intact. A few close-ups look a bit smooth, but the effects are never so blatant that I felt distressed or annoyed. Without question, 'Amadeus' has benefited enormously from this 1080p encoded image upgrade, but the image still can't rival the perfection of its subject's artistry.Blu-ray Audio Quality – The artistry of course is Mozart's glorious music. In the grand scheme of things, it doesn't really matter if dialogue is intelligible, surrounds kick in, or effects are distinct on this 5.1 Dolby TrueHD sound track; the music needs to be damn near perfect. Without proper dynamic range, tonal depth, and a broad sound field, the impact of Mozart's melodies on Antonio Salieri personally and the audience at large would not be nearly as great, and the story would suffer. Now, some may say Warner's penchant for 16-bit audio compromises Mozart's musical canon, but I can't imagine a better sonic treatment. From delicate strings to bombastic bursts of brass, from a soprano's trills to a robust basso aria, the track provides exceptionally pure, full-bodied tones with wonderful texture and shadings. Both symphonic and operatic sequences fill the room, immersing the listener in Mozart's playful, elegant, and passionate strains. Close your eyes and you'll swear you've been transported to a cavernous concert hall. During dramatic scenes, the audio is anchored up front, but noticeable separation enlivens the action, while subtle ambient effects occasionally grace the rears. Dialogue is very well prioritized, so we rarely miss a word of Peter Shaffer's Oscar-winning adaptation, and details such as the palace's squeaky wood floors and the ruffling of the layered period clothing are all vividly rendered. Aside from a few potent rumbles during the Don Giovanni segment, the subwoofer is almost silent, but low end bass is gorgeous whenever the music dips into that register, and conversely, even the highest soprano notes resist distortion. Again, say what you will about the 16-bit, Warner Home Video deserves kudos for this 100%.Blu-ray Special Features and Extras:Audio Commentary: Director Milos Forman and writer Peter Shaffer settle in for a substantive three-hour chat that covers many topics. The two men obviously like and admire each other and create a comfortable rapport, and their lively banter keeps the track moving. Shaffer insists that even though the story itself is pure invention, "there was a basis of truth in everything I did." A Mozart scholar, Peter Shaffer imparts a wealth of fascinating titbits about both composers that adds a great deal to the film; most notably, his belief that Mozart died of kidney failure brought on by ingesting too much mercury, which he used to ease the effects of syphilis. He says "a piece of gossip led to a disputed truth" that Antonio Salieri poisoned Mozart, and this controversial nugget inspired him to write the original play. Forman points out where deleted scenes have been reinserted and both men criticise a few of their own creative choices. This is an essential track for anyone whose interest has been piqued by the people, events, and subject matter of the film.Special Feature Documentary: The Making of ‘Amadeus’ [2002] [480i] [4:3] [61:00] This riveting film takes a look behind the scenes at one of the 20th Century's cinema classics and at one of contemporary cinema's most maddeningly brilliant directors, Milos Forman. Using never before seen materials, from original costume and set sketches to an innumerable collection of intimate on-set photography, blended with vibrant and revealing new interviews of the cast and crew, The Making of ‘Amadeus’ weaves a spellbinding tale, filled with drama and humour. And at the centre of it all is the indisputable creative genius of Milos Forman and a cast of characters behind the lens as unique and idiosyncratic as that of the fictional world of in front of the lens. From start to finish, The Making of Amadeus takes an unblinking look at the trials and tribulations of this mammoth production effort. From the conflicts as Forman goes head-to-head with the world-renowned playwright Sir Peter Schaffer as they take Amadeus from stage to screen, to the seven months of on location filming in communist era Czechoslovakia. With sets crawling with undercover secret police, Milos Forman returns to his native land from exile for the first time in 20 years. He discovers that in order for the film to succeed he must put all his personal emotions aside. In a world in which communist inefficiency reigns supreme and logic seemingly does not apply, the cast and crew embark on a voyage filled with some of the most memorable filmmaking experiences of their lives as east meets west. Featuring interviews with Milos Forman, producer Saul Zaentz, playwright Sir Peter Schaffer, choreographer Twyla Tharp, conductor Sir Neville Marinner, lead actors Tom Hulce, F. Murray Abraham, and Elizabeth Berridge, among many others, The Making of ‘Amadeus’ provides a riveting glimpse at a world most never get to see. Executed with a tenderness and craft rarely seen in other "making of films," The Making of ‘Amadeus’ is a film that can hold its own against the power of the work it seeks to chronicle.Original Theatrical Trailer [2001] [480i] [2:00]Special Compact Disc Compilation [57:00] An audio sampling of eight Mozart pieces from both the symphonic and operatic realms, performed by the Academy of St. Martin-in-the-Fields under the direction of Sir Neville Marriner, who supervised the music in the film. Liner notes connect each piece to its place in 'Amadeus,' as well as provide critical context and background. For those new to Mozart, this Compact Disc is a fine introduction, and should whet the appetite for further exploration.BONUS: Beautiful Production Booklet: Inside the DigiBook is a stunning gorgeous 36 page colour booklet with beautiful pictures, drawings and information about the film. There's also a heavy stock paper insert describing the Compact Disc's contents.Finally, if you've never seen `Amadeus,' then shut down your computer and Order this Special Limited Edition DigiBook Package ASAP. It is wonderfully acted, beautifully shot, and meticulously designed period classic that still holds up today. The Blu-ray edition is a great place to start. While its video transfer could have been more faithful to its source, it still offers a substantial upgrade over previous releases. Add to that an immersive audio track, an engaging collection of special features, and an attractive brilliant DigiBook that includes a 57 minute audio Compact Disc that is sure to please newcomers and long-time fans alike. What more are you waiting for? Like Mozart's immortal music, 'Amadeus' hasn't lost its lustre. The performances, direction, and production values of this absorbing epic film continues to impress a quarter century after its initial release. Though the 1080p encoded image transfer may not be reference quality, it's still a worthy upgrade, and the crystalline quality of the high-definition audio allows us to truly feel Mozart's music as well as hear it. Not all Best Picture winners deserve a spot on your Blu-ray shelf, but 'Amadeus' does 100%, and this handsome Blu-ray Collector's Edition will please fans and newcomers alike. That is why I was so pleased to receive this wonderful package, as I have always wanted to see this film and now I have got round to seeing it at last and I was not disappointed and you will also get so much pleasure out of this stunning Blu-ray package. Not only have you got a cracking script, brilliant talented acting, but you also get to hear all of Wolfgang Amadeus Mozart and Antonio Salieri stunning classical music and to hear it in the awesome 5.1 Dolby TrueHD, will be definitely beautiful sweet music to your ears. Highly Recommended!Andrew C. Miller – Your Ultimate No.1 Film AfifionadoLe Cinema ParadisoUnited Kingdom

With a name like "Amadeus," you probably know that the music in this is going to be GREAT. This is also a very good film if you don't mind the tragic tone of a man who has already fallen into insanity narrating it. There is a depressing tone throughout, and the end isn't exactly uplifting.It basically starts with Salieri (rival to Mozart and the soon to be narrator) attempting to kill himself. Naturally, his attempt fails, and he is taken to a mental hospital. When a priest comes to visit, Salieri begins the whole story of what happened. So naturally, the story is based on Salieri's memory. I will admit there is an interesting and creepy Edgar Allen Poe style there.Salieri becomes the court composer for the Emperor of Austria. And all seems well UNTIL Mozart comes into his life. We've all heard the stories of musical rivals before. But Salieri has to deal with not only knowing that while he is a good musician and teacher, Mozart is a genius, but he has to deal with Mozart's rudeness (to say the least) as well. The rivalry between them starts when Salieri makes a song to welcome him, and then Mozart decides to criticize it, embellish it, and laugh at Salieri. (Let's be honest. Salieri didn't deserve that, and anyone would have been hurt there.)Needless to say, the rivalry doesn't get better. It only gets worse, until Salieri decides to arrange Mozart's death somehow.One of the most depressing things about this film is the tragic paradox.. Salieri is pious, socially graceful, and skilled as far as a businessman in music. But it's his very knowledge that is driving him mad. Because he is the one who can see just how much Mozart's skills exceed his: "I spent all this time praising a sound that I alone seemed to hear." So he has enough knowledge to be hurt by Mozart's skills, but not enough to come close to them. To make it even worse for Salieri, not only is Mozart's music driving Salieri insane, but poor Salieri becomes addicted to the very music that is driving him insane.The other depressing thing is that Mozart is a musical genius. But he has little if any social grace. He can create masterpieces, but he can't fit it into the needs of the people who could offer him money and a living. He looks like he's going to fly into insanity when the Emperor explains that his works are just too long. ("There are too many notes.") It's as if Mozart considers himself subject only to the music without understanding that if you want to sell the music, you have to take (at least to some extent) into consideration the people you expect to win approval and wages from.In a sneaky way, the film does hint that if they hadn't had so much animosity towards each other, they probably would have been an unstoppable team. But it was not to be. What we can see from the film is that Salieri (despite falling short of being a musical genius) knew how to please the people and keep himself employed, whereas Mozart, despite being the musical genius that he was couldn't understand that the audience he played to was not at the musical level he was. (Thus they couldn't really appreciate his over the top work.)Very quick comparison of the Theatrical vs the Director's Cut. The DC has 20 extra minutes, but in my opinion, these extra 20 minutes don't help the film. (1) Salieri's conversation with the priest goes on a bit longer,(2) There is a scene in a dressing room where Salieri has a discussion with the woman he loves, and with Mozart present as well, he realizes she slept with Mozart, (3) Salieri prays for God to relocate Mozart for both of their sakes, (4) Costanza asks Mozart to be more cooperative with certain powers who could get him a teaching job, and he basically tells her to shut up. (5) Salieri at one point demands an 'R rated favor' from Costanza in return for helping Mozart get a job, (6) Salieri pleads to Christ to give him some inspiration for in which return, he will give Mozart a job, (7) Costanza takes off her to top to Salieri, but he can't bring himself to perform the act, (8) Salieri tells Emperor Joseph II that Mozart has been molesting his students, (9) Mozart asks Salieri for a loan, (10) Mozart tries to give a young girl a teaching lesson, but is unable to do so because of the noise her father's dogs are making. (I'll admit I thought that scene was funny.) Moving on,(12) Salieri discusses Mozart's declining financial status with the Baron, and (13) Mozart in a desperate state goes to borrow money from the father of the woman he tried to teach in the 10th scene I mentioned.The restored scenes (while interesting to see), in my opinion really don't add much to the film. If anything, they slow it down and restate things that we already know from footage in the theatrical version. My opinion is that you're better off with the theatrical version.Summed up, it's a great film with excellent music, and a creepy Edgar Allen Poe type narration. It is however depressing in that we have a genius who can't learn, and we have a man with good knowledge which doesn't allow him to create beyond a certain point, but it does allow him to see what he's lacking. Possibly the best thing about this film is that more of us can probably identify with Salieri, and while we might be disturbed by his fall into insanity, and his desire to 'end' Mozart, we might find ourselves wondering just how different we may have been given the same circumstances.In a chilling irony Salieri decides to start Mozart's undoing by (in disguise) asking Mozart to write a requiem for a man who died and didn't get the requiem he deserved. Perhaps Salieri on a subconscious level is talking about himself. Mozart did (in a way) kill the man Salieri was.(But if it's any comfort, Salieri did win an award for his role in this film, and when he accepted the award, he said good things about Mozart.)If I do have a complaint about the film, it's the tragic hopelessness of it. But then of course, history does show that Salieri ended his life in an institution and was screaming (even if in insanity) that he killed Mozart. Though of course, no signs of foul play were found when Mozart died, despite dying at a young age. It follows a very Cliff Marlowe style. By that I mean, its been said that "Marlowe isn't quite sure why man was put on the earth. But he did seem sure that the arrangement didn't work." And that is the kind of concept we have here in this film.However, even if the story is depressing and hard to take, the music is great.

I loved this movie as a kid and still do nearly 40 years later. I’d never seen the director’s cut before and really enjoyed seeing the deleted scenes. They did, of course, make the movie much longer, which is par for the course. I think I prefer the original movie version, but this was great as well.As with all historical, biographical, or autobiographical movies, take the story with a grain of salt and research the characters if it interests you further.

Words cannot describe how I feel about this film.Impeccably directed, performed & with wonderful staging & art direction it is a truly astonishing masterpiece that must be seen in this glorious three-hour director's cut.Speaking to a Priest from an insane asylum, the aging royal court composer Antonio Salieri (F. Murray Abraham) recalls the events of years earlier, when the young Mozart (Tom Hulce) first gained favour in the court of Austrian emperor Joseph II (Jeffrey Jones).He speaks how Mozart had been his childhood idol and that when years later, he witnessed Mozart in all of his vulgar, clownish behaviour behaving badly at a concert it led him to be incensed as to how God could bless someone so vulgar and obnoxious with such other worldly genius.How could it be that he, Salieri, so disciplined, so pious and so devoted to his art be un-touched by God?Time goes by, and finding himself unable to match Mozart's talent, Salieri starts to use his influence in court to sabotage Mozart's career which eventually culminates in him visiting Mozart in disguise as a benefactor to commission the opera " Requiem. "Full of the most glorious music, dialogue and cinematography this is in my Top 5 films of all time.I can watch it again and again.I dismiss any quibbles regarding whether it is " historically accurate " and just allow myself to get swept along by the sheer majesty of it all.I hope you will too.

Il n'y a pas que la musique de Mozart, il y a le contexte historique, les décors magnifiques, les acteurs hors pair. Préférer absolument le doublage de la voix de SALIERI fait par Jean TOPART, bien meilleur!

Tom Hulce as Amadeus and F. Murray Abraham as Salieri completely capture this brilliant opus, Salieri claims to have murdered Wolfgang,out of jelousy. Its a vanguard of not only, excellent top quality acting but also conveys the cloak and dagger hemisphere of Chamber music of this era 1823. Music is subjective but this is a celebration of the finer points that we all love today. That's if you are appreciative of good music.......

Arrivato nei tempi prestabiliti questo articolo l'ho visto molti anni fa... Una bellissima biografia di un musicista davvero bravo ricco di emozioni

a phenomenal film with a far more realistic interpretation of mozart, nothing like the porcelain figure version, and you can easily confirm its closeness to how he really was by reading his letters. the distinctive laugh from tom hulce is an inspired idea which perfectly captures mozart's character. the astounding make up for salieri deservedly won an oscar and the whole film has some wonderful lines - "displace one note and there would be diminishment" - "a woman of taste isn't interested in looks, salieri, only talent interests a woman of taste" - "there are simply too many notes" - and so on - of course the music is wonderful and splendidly performed and the theory of mozart being killed by salieri, also figured in pushkin's book, is prominent in the story, a theory given some credence by the fact that mozart said that he suspected that he was being poisoned. i could go on and on - but just watch it! - it's a great film (filmed in prague if you want to spot the locations).