Classic Movie Review: Amadeus (1984)

This movie is probably less well remembered than the 80's pop song that it inspired and definitely less so than the Simpsons parody of that song. But Milos Forman's Academy Award-winning film has a certain something that most blockbuster movies of today are lacking. Amadeus has a certain charm that most epics are missing out on and that has a lot to do with it's extravagant subject and amazing acting.

One night in Vienna, old Italian composer Antonio Salieri (F. Murray Abraham) attempts suicide, claiming that he killed famed composer Wolfgang Amadeus Mozart (Tom Hulce). After being admitted to an insane asylum, he tells his story to a young priest. From a young age Salieri committed himself to excelling in music, eventually rising to become the court composer for Austrian Emperor Joseph II (Jeffrey Jones). When Salieri hears about Mozart, he expects a regal genius, but rather finds a young man who wants nothing but fun. He finds this vulgar and makes it his life goal to ruin Mozart's career.

One of the things that may turn people off watching this is that it features a lot of classical music and composers writing their music. But that's only a small part of it and not at all the focus. Rather the hatred one man has for his rival and the passion he has to bring him down. Many times throughout the film Salieri acknowledges the genius that Mozart is and does nothing to contain his jealousy. However this rivalry is completely one sided, which makes it even more compelling to watch. Mozart believes that Salieri is doing his utmost to help, rather than undermine his popularity in the city of Vienna. This kind of bizarre feud is something you'd expect from second grade celebrities on Twitter. But despite the fact that the story seems so genuine, none of it is true. The historical accuracy of Amadeus is practically non-existent, something which people today would be disgraced at. But in this case, it doesn't matter at all. You are so swept up by the story and characters that it doesn't matter if any of it happened or not, it's just a whimsical journey you get caught up in (at least if you're watching from Mozart's perspective).

It's super fun to watch Tom Hulce as Mozart. He is able to bounce from being a giddy playboy to a petulant child in an instant and he has the most infectious (if sometimes annoying) laugh captured on film. His performance is complemented completely by F. Murray Abraham, who is a lot more reserved than his rival. They appear as both sides of a demented coin. It's no surprise that Abraham won the Oscar for Best Actor, but it is to see that both of them were nominated for that award. It would have been a hard choice. The supporting cast is wonderful, especially Jeffrey Jones as the slightly coddled Emperor, whom no one wishes to offend, as well as Simon Callow, who plays one of Mozart's alcoholic friends.

Even at three hours running time (that's for the Director's Cut), this movie is never boring. Forman is an absolute master of the screen, who fills this period piece with so many details that it's a good time just to watch what's happening in the background. It's a shame that it isn't as well known because it definitely holds up thirty years later, which is a standout for a movie that could have only thrived and died in the time it came out, which is the case for a lot of Oscar winners from this time.

The Grand Budapest Hotel

If there has ever been a more esoteric film, The Grand Budapest Hotel is it. All the fans of Wes Anderson's films will immediately pick up on the formalities of his work and enjoy the film immensely. But don't think that if you haven't seen any of his films previously that you won't see it because you'll be missing out on some larger picture. Rather, it is a great introduction to his world. I think that may have to do with Ralph Fiennes, who comes fresh to the films of Wes Anderson.

Indeed, the majority of the film falls on the more than competent shoulders of Fiennes. This film, however, is a huge departure for him as he usually plays insidious characters (Harry Waters in In Bruges, Amon Göth in Schindler's List, Voldermort in the Harry Potter films). He plays Gustave H., the bubbly concierge at the titular hotel, where he wines and dines many of the older female clientele. One such guest, Madame D. (the wonderfully enigmatic Tilda Swinton), ends up being murdered and Gustave is the prime suspect. This is after he becomes the most profitable recipient of Madame D.'s will.

To help Gustave clear his name is the young lobby boy Zero Moustafa. He is played by the talented young Tony Revolori, for whom this is his first major role. He and Fiennes make an excellent comedic duo playing off each other perfectly and you can feel as though the role of mentor that Fiennes takes up must have spilled over to reality.

A lot of the humour in the film comes in very punctuated moments that are both absolutely absurd and shocking. But there are a lot of jokes that are very quick and funny, mainly quips spouted by Gustave, a lot of them to do with poetry or advice for young Zero.

Of course there are a huge number of other people in this film. F. Murray Abraham plays an older Zero and gives the film some of it's more emotionally insightful moments. Adrien Brody's foul-mouthed Dmitri also gives the film some more comedy as his swearing at times seems completely unwarranted (I should know).

From a technical standpoint this is a fun film to watch. Anderson's trademarks of models and fixed camera angles are all here, but the the most enjoyable thing about the film is that it's aspect ratio changes throughout the film. This has largely to do with the fact that the film is a series of flashbacks piled on top of each other.

Verdict: A hugely enjoyable film for everyone to watch. It is fantastically funny and at the same time has some beautifully reflective scenes. Watch out for the Schindler's List reference toward the end.