Customer Reviews

Amadeus - Director's Cut (Two-Disc Special Edition)

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I first saw "Amadeus" around 1984 when it was first released. Besides being a visual and musical masterpiece of film making, it kick-started my life-long love of and appreciation for classical music.

I won't repeat the story synopsis as it's already been thoroughly described both by Amazon.com's critical review and multiple customers here already.

I will say though that this edition, 'The Directors Cut', is a major improvement over the first DVD release. First, (and finally!!), the movie is now a single-side DVD...gone is the annoying 2 sided 'flipper' that the first release was. You can now watch "Amadeus" from start to finish without having to get up and turn it over. For my money, that's reason enough alone to own this new version.

Secondly, 'The Directors Cut' now adds about 20-30 minutes of previously deleted scenes, placed back into where they were originally intended. Personally I find some of the newer stuff enhances the story overall and fills in some details that were left vague in the original theatrical release. I won't give away any details, but there is a new scene between Mozart's wife, Constanza, and Salieri, Mozart's chief musical rival (and secret arch-enemy) early in the movie that puts an whole new perspective of Salieri's twisted and battered psyche.

As for the DVD itself, the picture and sound quality are both exemplary. Included is a second disk with bonus material including interviews and making-of extras.

If you loved the original, you owe it to yourself to pick up this version. If you're new to classical music and Mozart, this is the best place to start.

lr** Jan 30,2003

HIGHLY RECOMMENDED.

If you're a fan of the original theatrical cut of "Amadeus" you'll have mixed feelings about the "Director's Cut". While I perfer the latter for a number of reasons, the feeling and flow of the original theatrical version differs somewhat from the "Director's Cut". The most important part are extended scenes that include Salieri agreeing to help Constanze if she has an affair with him. He ends up rejecting her when she shows that she so loves her husband that she would be willing to do so. A number of the opera scenes are extended as well with more business after the show between Mozart and his leading lady. There's also a longer sequence involving Salieri's visit to Mozart comissioning the "Requiem". Most of the material adds to the power of the film while a few sequences just give additional back story on various characters. The original theatrical version which won an 8 Oscars runs about 25 minutes shorter than the 3 hour "Director's Cut". Forman also provide a fascinating commentary track for the film along with writer Peter Shaffer ("Equus").

The image quality for the "Director's Cut" is superior to the original theatrical version. The film was restored to its original luster for re-release resulting in much more natural flesh tones and a sharper visual image as well. The colors which play in important part in conveying the themes of each sequence are more robust and vivid. The theatrical version looks quite good although it was first issued on DVD as a "flipper" (meaning you had to flip it over) DVD after roughly two hours to watch the last third of the movie. The big advantage for the theatrical version is Neville Mariner's score on an isolated track.

The second disc of the "Director's Cut" has one terrific extra, a brief talent list and the original theatrical trailer. The marvelous behind-the-scenes documentary covers the highlights and difficulties that Forman faced in translating Shaffer's stage play to the screen. At nearly 40 minutes it could have provided more background including outtakes, rehearsals and auditions but it's quite a few documentary as it is. There was plenty of room on the second disc to include Mariner's isolated score but the documentary is really all we get.

As to which is better--it's a toss up. Both versions of the film work extremely well although I prefer the "Director's Cut" for the added footage, the sharper more robust image quality and the higher definintion anamorphic transfer. I do miss the isolated Marriner score of Mozart's music that appeared on the original disc in 5.1. Given the capacity of the second disc, it could easily have been transferred and would have added value to this special edition.

A story of envy, lust and anger "Amadeus" focuses on the brief life of Wolfgang Amadeus Mozart. Mozart (Oscar nominee Tom Hulce giving a terrific performance) was a child prodigy who composed his first piece at the age of 4 and produced a remarkably large body of work for such a brief life. His nemesis is court composer Antonio Salieri (Oscar winner F. Murray Abraham in a remarkable performance). This is really Salieri's story as his jealousy drives him to destroy Mozart. Salieri is so consumed with his jealousy, that while recognizing the beauty and originality of Mozart's music, he can't help but want to destroy its creator. Salieri's quaint compositions can't hold a candle to Mozart's complex, original and brilliant pieces.

Featuring inspired supporting performances by Christine Ebersole, Jeffrey Jones, Simon Callow ("Three Weddings and a Funeral"), the only performer that doesn't do anything for me is Elizabeth Berridge as Constanze. She replaced Meg Tilly just prior to shooting. The stunning production design, cinematography and sharp direction make "Amadeus: The Director's Cut" an experience worth savoring. This deluxe edition features a running commentary by director Milos Forman, writer Peter Shaffer ("Equus"), a great 30 minute documentary on the making of the movie and a terrific 5.1 Dolby Digital remastered soundtrack. Restored from the original film elements, the film hasn't looked this robust and colorful in quite some time. The digital anamorphic transfer looks marvelous and almost rich enough to eat. This version doesn't replace the original theatrical version but is more of an enhanced experience for those who loved the first film. Since this version runs roughly three hours, be prepared for a long evening.

Highly recommended, this examination of the destructive power of jealousy still resonates with power, passion and wonderful music. If you're not an opera buff, I'd suggest skipping this for, while the film is powerful, part of the power comes from appreciating the music that Mozart wrote. We see a lot of excerpts from a variety of Mozart's operas throughout the movie. Whichever version of the movie you choose, you'll sure to be delighted. I'd give the "Director's Cut" a slight edge for better picture.

I first saw "Amadeus" around 1984 when it was first released. Besides being a visual and musical masterpiece of film making, it kick-started my life-long love of and appreciation for classical music.

I won't repeat the story synopsis as it's already been thoroughly described both by Amazon's critical review and multiple customers here already.

I will say though that this edition, 'The Directors Cut', is a major improvement over the first DVD release. First, (and finally!!), the movie is now a single-side DVD...gone is the annoying 2 sided 'flipper' that the first release was. You can now watch "Amadeus" from start to finish without having to get up and turn it over. For my money, that's reason enough alone to own this new version.

Secondly, 'The Directors Cut' now adds about 20-30 minutes of previously deleted scenes, placed back into where they were originally intended. Personally I find some of the newer stuff enhances the story overall and fills in some details that were left vague in the original theatrical release. I won't give away any details, but there is a new scene between Mozart's wife, Constanza, and Salieri, Mozart's chief musical rival (and secret arch-enemy) early in the movie that puts an whole new perspective of Salieri's twisted and battered psyche.

As for the DVD itself, the picture and sound quality are both exemplary. Included is a second disk with bonus material including interviews and making-of extras.

If you loved the original, you owe it to yourself to pick up this version. If you're new to classical music and Mozart, this is the best place to start.

lr** Feb 10,2003

HIGHLY RECOMMENDED.

The first thing I did with this was watch the "making of" bonus documentary. I had only recently re-watched the film, and wasn't sure I wanted to see it again, so soon. But when I realized how much extra footage was there, I got curious. With all the formerly excised bits put in, the flow of the narrative becomes clearer. Salieri becomes more pathetically wicked, and Mozart becomes more worthy of our empathy; especially from the standpoint of "the plight of the artist". We more fully understand their motivations.

Even Mozart's wife's character is complexified, as well as their marriage (a short spat scene). Thus it takes on a character unlike the original. It's just a bit less "easy", as most Hollywood productions are these days.

But I'm still not sure I prefer this. This is because, although, as I say, this "psuedo biography" makes more sense in its narrative, the scenes that were added are sometimes questionable from a qualitative standpoint. There is an American actor who plays a patron, for example, who hires Mozart to teach his young daughter music; but the scene is so over the top, that it's easy to see why it got cut. Though, you'll understand (and it speaks volumes about how Mozart is portrayed), why Mozart is so smugly sucking on a wine bottle as he walks through the busy streets afterward.

But the scene in which I always thought Salieri's final reaction to Frau Mozart's ploy to get him to help them--wherein he drops the portfolio and leaves the room--makes a lot more sense here. So some of the revived scenes fix small annoyances like this one.

So, as I say, if, like me, this is one of your favorite films, you won't be disappointed by this version, but you will begin to think, perhaps, that the film would have seemed a bit flawed if all of this had been released in the first place. And even wonder if it would have been so popular. So buy the original theatrical version, and rent this--you may like it, but it's left me conflicted--and thus you may decide for yourself before plonking down the loot, how you feel.

Some movies are like old friends, and it's a little difficult to adjust, if say, for instance they show up with a nose job....same deal here.

Music apart, and in so far as human behaviour is concerned; this movie describes, without a sense of annoyance, the vicious innovations of man's cunning and cleverness, consolidated mainly in the person of Antonio Salieri.
Interesting to see Salieri, in neat costumes and ingratiating in obvious feline way, set himself to captivate the emperor's attention and please `his friendly enemy' Mozart.
Perhaps the main source of competition between Mozart and Salieri was related to who would be able to win Da Ponte's librettos before the other. Of course the movie tells us that Salieri contrived to get rid of Mozart and blocked his advancement from becoming the Emperor's Kapellmeister.
Five main events are not shown in the movie:
1)Mozart's claim that Salieri tried to poison him (this was never proved).
2)The two notorious pupils Mozart taught, Beethoven and Sussmayr.
Beethoven was a great admirer of Mozart and later used him as a model (Piano concerto No 4 - G major - and Mozart's K503 - C major - is one example)
3)In his last days Mozart composed his unfinished masterpiece (and never will) `The Requiem' that he discussed with Sussmayr (not Salieri). However there is no proof that Sussmayr was actually able to complete Mozart's Requiem.
4)In Mozart's presence Salieri was brusque and even harsh in manner to Constanze (Mozart's wife), behaving like he was the only man in the Royal Family.
5)Mozart's friendship with Hayden (They both were members of the same Masonic Lodge)

Nevertheless, this movie inspires you with so many sentiments that one feels the loss of Mozart is like the loss of one's soul.

AMADEUS: DIRECTOR'S CUT

(USA - 1984/2001)

Aspect ratio: 2.39:1 (Panavision)
Theatrical soundtrack: Dolby Digital

Many years after the death of Mozart (Tom Hulce), aged and embittered court composer Salieri (F. Murray Abraham) relates to a disbelieving priest the story of his obsession with Mozart's musical genius and how it led to jealousy, betrayal, and possibly even murder...

Sumptuous evocation of a time and place, using Mozart's glorious music both to propel the story and underline the emotional dynamics of Peter Shaffer's extraordinary script. Based on his well-received stage play, and completely reworked for the screen, AMADEUS (1984) - and its updated version, reviewed here as AMADEUS: DIRECTOR'S CUT, released in 2001 - portrays Mozart's world as a romantic marriage of Royal palaces and candle-lit garrets, populated by eccentric emperors and their devious, toadying lackeys.

The composer himself is played by Hulce as a spoiled, egotistical brat who indulges his passion for earthly pleasures with all the enthusiasm he brings to his musical compositions. But the film is anchored by Abraham in an Oscar-winning turn as Mozart's nemesis Salieri, consumed by envy and hatred whilst simultaneously awed by his rival's genius, the genius which Salieri had wished for himself, only to be denied by a mischievous God. The scenes in his asylum cell - where the elder Salieri confesses his 'crime' to a naive priest (Richard Frank) - are a tour de force, played with an intensity that simply burns up the screen.

Beautifully designed and photographed, and bolstered by a magnificent supporting cast (including Jeffrey Jones, Simon Callow and Kenneth McMillan in a role completely excised from the original theatrical print), the movie unfolds like an operatic melodrama which builds to a shattering climax, as the two central characters reach an understanding (of sorts) during the writing of Mozart's 'Requiem', only to be divided forever by an unexpected tragedy. A masterpiece.

NB. Incredibly, the MPAA has given the film an R rating for a brief sequence in which a female character bares her breasts to the camera. Surely this kind of sexual squeamishness belongs to the Dark Ages, not the 21st century?! There's nothing here which warrants anything more than a PG-13.

I love Mozart and bought the VHS version of 'Amadeus' shortly after it became available. The DVD version is far superior, although not because of the additional scenes in the Director's Cut. The visuals effect is clearer than the VHS version and seems fresh and vibrant. Maybe my VHS version faded over time.

This is absolutely the best movie about any musician or composer ever done. The music is without doubt the best assemblage of Mozart's best.

Although the Gran Partita could have been played a bit longer and without the abrupt conclusion that Marriner introduced. The Adagio is my favorite piece of music and must have been given to Mozart to write by God. A point made several times in the movie by Salieri. The dramatic effect in the movie is amplified by the playing of the music by the small wind ensemble, the crowd assembled to hear it, and Mozart's (Tom Hulce's) late appearance to take over as the conductor. This scene brings tears to my eyes every time I watch.

After I recently bought the DVD version, I researched the Gran Partita on the internet and was amazed at the wealth of material and feeling for the piece. This is paralleled in the movie by Salieri when he describes how he reacts to the printed music. His words are remarkably how most commentators view this music. In fact the more I read the more I realized how much this single piece of art is revered throughout the music world. Which led me to believe that Peter Shaffer (the writer) must have done quite a bit of research before writing the screenplay for the movie.

This is a must buy for any DVD collection!

This is not a straight biography. Mozart's vulgarity and financial difficulties are exaggerated. Haydn never appears. Salieri was a better composer than "Amadeus" suggests (he enjoyed a revival during the 1990s). "Don Giovanni" ran more than five performances, and was not a flop -- and anyway, five performances were a success in an era when the longest running play of all time was the "The Beggar's Opera," with its epic 29 performances.

There are other nits to pick, but they miss the point. Mozart is the title character, but he's not the main character; in fact, he's a Deus Ex Machina for the story of court composer Antonio Salieri's struggle with God. Having sacrificed everything -- country, leisure time and sex -- for music to glorify his Lord, Salieri is wounded to see a young, unhinged genius surpassing all competitors and barely breaking a sweat doing so. Like a spurned lover, he questions God's justice, and determines to rob the deity of his voice on Earth. The film explores the consequences of Salieri's actions -- for himself, for Mozart and for the muse they both served.

This is an ambitious idea that could have easily descended into a simple revenge plot, but all involved keep their eyes on the higher drama. F. Murray Abraham, given the role of his life, captures Salieri's agony beautifully. He's jealous of, and repulsed by, Mozart the man, but is completely in love with the music, and you can see both feelings written on his face as he attends Mozart's operas. Tom Hulce as Mozart is a good counterpoint: He effectively creates a crude Mozart, an intentionally ahistorical representation.

Forman's directing is excellent, and he deserved his best director Oscar. It's a shame, though, that the added scenes in this director's cut intensify the focus on Mozart, which seem to reflect his subsequent films' glorification of outsiders than the artistic choices for this particular masterpiece. In "Amadeus," where Mozart is a supporting character, his gradual alienation from the world serves the main plot beautifully. It also works in "The People Vs. Larry Flynt," despite Forman's efforts to glorify the title character, because Flynt becomes the catalyst for a thoughtful meditation on free speech. But when Forman celebrates eccentrics for the sake of being eccentric -- think "Man on the Moon" -- his films become little more than litanies of deeds, without an explanation of their importance or attempt to connect them to a larger theme.

It's strange to say that the director's cut adds too many scenes with Mozart. But the extra footage gives us too much of the composer's relationship with Vienna, showing his rejection by court society and undermining Salieri's obsession (if Mozart is so unsuccessful, why is Salieri trying to destroy him?). And it distracts us from the fact that "Amadeus" is not about Amadeus. It's about his rival. Mozart's music gives the film beauty; Salieri's agony gives it power. In the end, Salieri matters more.

Most certainly, 'Amadeus' discovers the accolades it receives. It is a true classic and ingenious fusion of music, spectacle, intrigue, performance, and directorial vision. Please note that the new director's cut has about 30 mins. of added footage. Some of this footage includes a scene containing sex/nudity. For this, the timid souls of the MPAA served up a new 'R rating.' The original theatrical version was rated 'PG.' The added footage is a great highlight and does not diminish this phenomenal film, rather it enhances key plot points. 'Amadeus,' just like Mozart's music, is masterful and unique. See it, then see it again.

This is painful for me on two counts: in general I am a big fan of director's cuts, and "Amadeus" is one of my favorite films of all time. But not this "Amadeus." I am obliged to politely disagree with those who feel the added scenes contributed in any way. Rather, they bog down the story and keep threatening to send the plot scampering away on wild rabbit chases. As much as I like Christine Ebersole, her expanded scene following the "Seraglio" performance adds nothing, absolutely nothing, and weakens the effect achieved so chillingly with one baleful glance in the theatrical release.

The worst blunder is the added scene between Salieri and Constanze. I have no idea what Schaffer and Forman were thinking even to script and film it. This is a variation on a key scene in the stage play. There, it brilliantly showed Salieri's conflicted and tortured soul: with Constanze more predatory, it further developed the character of Salieri as God's victim. Here, it has been rewritten in a way that only makes him look sadistic, and to an utterly innocent non-combatant in his war with God. The only thing this scene contributes is a nice chill to Constanze's later line "I regret we have no servants to show you out." Oh, and snag a completely gratuitous R rating.

Other scenes have some value in showing Salieri's conspiracies to isolate Mozart in society and ruin him financially. But they are eddies, backwaters that ultimately drag the story and momentum down. It's almost as if the theatrical release achieved what F. Murray Abraham's Salieri said about Mozart's music: displace one phrase, and there would be diminution. That's what this cut is.

Most disappointing of all are the "extras," which are surprisingly lean and uninformative for such a landmark film. There is only one commentary (author Peter Schaffer and director Milos Forman), and even that is full of prolonged silences interspersed with banal, unrevealing chatter.

Okay, I've seen it. Now I'll be selling it and returning to the vigor, pace, scripting and complex but perfectly woven plot lines of the theatrical release.