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Amadeus (Director's Cut) de F. Murray…
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Amadeus (Director's Cut) (edició 2010)

de F. Murray Abraham (Actor)

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303967,466 (4.36)7
Adapted from Shaffer's play, the film presents the life of Antonio Salieri, a mediocre 18th century Viennese composer obsessed with and jealous of the musical genius of the age: Wolfgang Amadeus Mozart.
Membre:cielbie
Títol:Amadeus (Director's Cut)
Autors:F. Murray Abraham (Actor)
Informació:(2010)
Col·leccions:Videos
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Etiquetes:No n'hi ha cap

Detalls de l'obra

Amadeus [1984 film] de Miloš Forman (Director)

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Vienna, 1823. Un anziano Antonio Salieri tenta il suicidio in casa sua, tagliandosi la gola mentre invoca il perdono di Mozart, della cui morte egli stesso si autoaccusa. I suoi servi accorrono, attirati dalle urla e, poco prima che l'anziano compositore perisca per le ferite autoinferte, lo fanno trasferire in un manicomio. Qui Salieri, non molto tempo dopo, riceve la visita di un giovane sacerdote che lo sprona a confessare i suoi segreti e i tormenti che lo affliggono e che lo hanno spinto al gesto estremo. All'affermazione sulla visione eguale di Dio di fronte a tutti gli uomini, Salieri è scettico e comincia così a suonare qualcuna delle sue melodie per dimostrare che Dio non offre la sua misericordia e i suoi doni a tutti. Infatti, il prete fatica a riconoscere le melodie suonate da Salieri, tranne una, Eine kleine Nachtmusik, scusandosi perché ignorava che fosse sua: Salieri, con sorriso ironico, gli risponde che non lo è e aggiunge con tristezza che «questo era Mozart: Wolfgang Amadeus Mozart».

Inizia così a raccontare, attraverso un lungo flashback ambientato più di 30 anni prima, le vicende che lo videro in stretti rapporti con il compositore salisburghese. Salieri narra di come sin da bambino abbia sempre sognato di diventare un grande compositore come Mozart, del quale sentiva le storie che raccontavano in giro che gli fecero sviluppare un sentimento di invidia non tanto per la sua fama di prodigio, quanto per l'appoggio e gli insegnamenti che aveva ricevuto da suo padre. Infatti Antonio, rispetto a Mozart, aveva sempre trovato l'ostacolo del padre circa la possibilità di sviluppare questa sua ambizione. Trovando conforto nella preghiera, Salieri chiese a Dio di fare di lui un grande e celebre compositore in cambio della sua castità e della sua umiltà. ( )
  BiblioLorenzoLodi | Mar 4, 2020 |
Amadeus (1984)

F. Murray Abraham – Antonio Salieri
Tom Hulce – Wolfgang Amadeus Mozart

Elizabeth Berridge – Constanze Mozart
Roy Dotrice – Leopold Mozart
Simon Callow – Emanuel Schikaneder
Jeffrey Jones – Emperor Josef II
Christine Ebersole – Katerina Cavalieri
Jonathan Moore – Baron Van Swieten
Roderick Cooke – Count Von Strack
Charles Kay – Count Orsini-Rosenberg
Patrick Hines – Kappelmeister Bonno
Nicholas Lepros – Archbishop Colloredo
Kenneth McMillan – Michael Schlumberg
Barbara Bryne – Frau Weber
Richard Frank – Father Vogler
Cynthia Nixon – Lorl

Screenplay by Peter Shaffer, based on his play (1979)
Directed by Milos Forman

Warner Home Video, 2002. Premium Edition. 2DVD. Director’s Cut (2002). Colour. 173 min. 2.35:1. Dolby Digital 5.1. Disc A: Movie + Audio commentary by Milos Forman and Peter Shaffer. Disc B: Bonus documentary “The Making of Amadeus” (60:43).

=========================================

I have said pretty much all I have to say about this masterpiece in my reviews of Shaffer’s original play (Harper Perennial, 2001; Penguin Classics, 2007) and the soundtrack. I have nothing to add. I will limit myself here to a few remarks about the Director’s Cut. This was first released in 2002 and includes some 20 minutes of additional material. It has become much the most popular version, yet there are still people who argue it is inferior to the original theatrical release. I do not think this is the case at all.

Here Be Dragons (i.e. spoilers)

The differences between the theatrical release and the Director’s Cut are decently summarised on IMDb. To cut the long story short, the original does make sense. But the Director’s Cut makes a much better sense. Two important issues, sexual innuendo and money troubles, are greatly developed in it.

The most substantial addition is the scene in which Salieri humiliates Constanze. He lets her undress almost completely and then calls the servant to show her out. Salieri does make Constanze an indecent proposal in the original in return for his favour with the emperor (“and not to be vague, that is the price”), but we see nothing more. Thus the Director’s Cut makes Constanze’s attitude to Salieri, when she comes home in the end and finds him there, more believable. Otherwise it seems exaggerated that she should be so angry with him. A mere proposal, however indecent, is far less humiliating than striptease and rejection.

(Truth to tell, I am not sure the original contained even the proposal. So far as I can remember it did, but I might be wrong. And if it didn’t, Constanze’s final dislike, to say the least, must rest only on Salieri’s refusal to help. Then it makes even less sense than his kindly offering royal favours for sexual ones.*)

The other naughty addition is the scene in Caterina Cavalieri’s dressing room in which Salieri realises that “he’d had her”. This is obviously less important, but it does add another jealous motive to Salieri’s rich collection. He was in love with that girl, “or at least in lust” (even Father Vogler allows himself a thin smile at that trite wordplay). The scene in which Salieri confides to the emperor that Mozart is “not entirely to be trusted with young ladies alone” is also new in the Director’s Cut.

The financial troubles are heightened in a number of short but vital scenes. Mozart is shown arguing with his wife about money and even begging Salieri for a loan. Whatever the real Mozart was, this one is proud enough to detest grovelling. If he does it, that can only mean he is in serious straits. The two scenes with Herr Schlumberg are also related to the pecuniary picture. The second one, in which dishevelled and drunk Mozart again begs for money (some years later), is a powerful proof of his almost destitute condition. Besides, it is a fine piece of bittersweet comedy. The first scene with the same “very distinguished gentleman” (Salieri’s words) is the notorious lesson with the dogs. It is hilarious, to say the least, but it also makes a neat point. Mozart has a good reason to hate lessons. They not only take time that would be better employed in composition, but they are complete waste of time.

There are many other smaller additions, but they all, one way or another, make the big picture richer and deeper. For instance, the brief scene with Salieri and Van Swieten towards the end is telling how far Mozart has sunk in debts – and how indifferent and callous are even people, like the Baron, who are presumably his admirers. Even that memorable moment, one of my favourites, when Salieri desperately hopes that the first Mozart composition he ever saw “had to be an accident” is not in the original. Neither, of course, is the menacing addition in a changed voice: “it’d better be.”

The Director’s Cut of Amadeus runs for about three hours. I wouldn’t want to be without a single minute of it. The movie no more contains too many minutes than Mozart’s music contains too many notes.

PS. The bonus documentary on the second disc of this Premium Edition is a gem. It contains extensive interviews with Forman, Shaffer, producer Saul Zaentz, production designer Patrizia von Brandenstein and much of the cast (Abraham, Hulce, Berridge, Jones). In just an hour, the documentary covers the whole thing from the time Forman was reluctantly taken to see the play and said “if the second act is as good as the first, I’ll make a movie of it” to the mammoth job of casting and its problems (Meg Tilly was to play Constanze but injured her leg while playing football and Berridge was cast in the last moment) to the shooting in former Czechoslovakia with plenty of secret police on the set and Forman in the tricky position of persona non grata for the communist regime at the time. There’s plenty of fascinating trivia about Prague and its extensive 18th-century architecture, lots of extras and logistic problems on the set, make-up magic (it took F. M. Abraham four and a half hours to become the old Salieri), the fire hazard when they were shooting in the wooden theatre where Don Giovanni had had its premiere and so on.

__________________________________________________
*Indeed, I was wrong. It is hard to find the theatrical cut of Amadeus these days, but here is one copy (albeit horribly dubbed in Spanish). No indecent proposal at all. Salieri simply leaves briskly (around 57:35), having apparently refused to help but nothing more. ( )
  Waldstein | Sep 1, 2019 |
CHECK SHELVES
  VPALib | Mar 6, 2019 |
See entry for DVD copy. ( )
  librisissimo | Sep 9, 2018 |
158 min
  herriot | Sep 7, 2018 |
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Nom de l'autorCàrrecTipus d'autorObra?Estat
Forman, MilošDirectorautor primaritotes les edicionsconfirmat
Abraham, F. MurrayActorautor secundaritotes les edicionsconfirmat
Baker, KennyActorautor secundaritotes les edicionsconfirmat
Berridge, Elizabethautor secundaritotes les edicionsconfirmat
Callow, Simonautor secundaritotes les edicionsconfirmat
Ebersole, Christineautor secundaritotes les edicionsconfirmat
Hausman, MichaelProducerautor secundaritotes les edicionsconfirmat
Hulce, TomActorautor secundaritotes les edicionsconfirmat
Ohlsson, BertilProducerautor secundaritotes les edicionsconfirmat
Ondrícek, MiroslavDirector of Photographyautor secundaritotes les edicionsconfirmat
Shaffer, PeterScreenwriterautor secundaritotes les edicionsconfirmat
Zaentz, SaulProducerautor secundaritotes les edicionsconfirmat
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Adapted from Shaffer's play, the film presents the life of Antonio Salieri, a mediocre 18th century Viennese composer obsessed with and jealous of the musical genius of the age: Wolfgang Amadeus Mozart.

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