Amadeus

I believe that there are two ways to critique Amadeus. The first, and the easiest for me, is as an artistic work only. As an artistic endeavor, Amadeus is a triumph. Particularly stunning is F. Murray Abraham's performance as the tortured Court Composer Antonio Salieri. Abraham portrays a talented yet mediocre musician who, having revered God all his life, shows us clearly that pride goes before the fall. It is Salieri's greed for fame, and …

…a bit unbelievable, but the use of various movements to accompany Mozart's dying, Constanze's return, and Salieri's passion is clever. The movie begins with the furious Symphony No. 25 in G minor, K. 183, and ends with the deceptively simple Piano Concerto in D minor, K. 466, 2nd movement. So begins and ends Mozart's life, in Peter Shaffer's Amadeus, starting off in a fury of noise and vigor, and in the end, slipping away quietly with time-taking ease.