I'm a history buff, but I can forgive the inaccuracies for two reasons: 1) While not ACCURATE, it's AUTHENTIC. The costumes, the way Mozart behaved, the little details like Salieri's sweet tooth and Emperor Josef saying there are too many notes; it perfectly captures the time period. 2) The story is told by a senile old man, so of course he's going to say certain things.

I'm 20 years old, so I've only seen the director's cut. Literally almost no one on my age has watched this film. I only saw it because my piano teacher recommended it. It has powerful messages like an ancient allegorical short tale, but with the production of a full blown opera. Gorgeous scenes, great acting, and probably the best music a movie can have (I've singed Mozart's requiem in a choir and is quite the experience!). I don't care it's historically inaccurate, it's a movie that wants to pass those messages; it could do it at any setting, but chose this great one. I'm a musician myself, and villainery aside, I can relate to Salieri best. I always saw this movie as a lesson about mediocrity. I could never be as good as some musicians I've met, and I'm just mediocre relative to them. If I only knew my work, I would be very happy, but knowing I can't achieve the beauty people like Mozart have, I get somewhat envious. Like movie's Salieri, he is a great composer, but not quite as good as Mozart. And all the feelings he gets become relatable. Theology makes all of this even greater and you can apply it to anything, not only music. So, the last line of the film is like a catharsis to me, it's like Salieri breaks the fourth wall and absolves me, you, anyone that can feel mediocre in front of a great master. It's like he's giving me a reason to strive towards what I like, to not get envious, but to get creative. And that's why I love this movie so much. I've become that one person that doesn't leave you in peace until you've watched it. For me it just transcends favouritism in films, but if I could pick my favourite, it would be this one. I hope young people see your video and watch this masterpiece, and let it be as cathartic as it was to me.

I saw a video of someone analysing this movie and how George Lucas should have structured Episode II more like this film in order to fix Anakin's characterization

I generally agree with this video, specially regarding the scene with Katerina. One other thing I do think helps the director's cut: the subplot where Salieri spreads the rumor that Mozart molests his teenage female students. That explains why later on he can't get any pupils, which goes unexplained in the original version.

I think you miss the possibility that Salieri had a change of heart during the night of composing with Mozart, that he recognized that Mozart was sharing his genius with Salieri in an intimate personal way that nobody else had experienced, that Mozart was practically giving him the gift of understanding straight from God, and that, by morning, Salieri no longer intended to kill him. When he says, “Because, madame, I was at hand”, the unspoken message was “and you weren’t”. Salieri was in a position of taking care of Mozart and his music, possibly learning to appreciate him as a man and a colleague, and the twist was that right after he was granted entrance into Mozart’s inner genius, Mozart died. At least, that’s how I interpreted the ending of the theatrical release.

Amadeus is an absolute masterpiece - thanks for drawing attention to it

Amadeus is an indisputable masterpiece, a mind-blowing feat considering Forman's One Flew Over the Cuckoo's Nest is also in that league. Still, Amadeus needs more discussion - much more - because it's hard to get people interested in seeing it these days. It doesn't "pop" for us the way OFOTCN does. The best way I've found to gin up interest is to tell people it's not essentially about Mozart or classical music; it's about the falsity of the phrase "Beauty is in the eye of the beholder," at least with respect to art, and unpacking the implications of that falsity. While not an admirable character, Salieri in many ways is sympathetic because, when confronted with the nearly divine majesty of Mozart's compositions, he doesn't immediately begin lying to himself about aesthetic realities. He doesn't tell himself, "Meh, it's all subjective anyway, so I'm just as good as Mozart." He sees the truth of the matter and it corrodes his soul like acid. It's worth considering that perhaps much of the motivation for asserting relativism, at least in aesthetics, is precisely to avoid the fury, resentment, envy, and despair that the alternative would virtually guarantee. It's a therapeutic move more than an intellectual one. Salieri is perversely noble for refusing that therapy. He is honest enough, despite being otherwise mendacious, to acknowledge what is plainly true: Mozart's music is objectively superior to his, and it will very likely always be so. As a result, his anger is not really directed at Mozart but at God (or Nature, if you prefer) for distributing sublime genius so arbitrarily. Mozart is just a pawn in Salieri's quest for vengeance against God. He received the gifts that Salieri, in his mind, rightfully deserved; therefore God is unjust, his world is wrong, and the proper crusade is to foil his plans. Hence the ironic significance of the title *Amadeus,* i.e., "lover of God." In short, the film is so successful because it tells the truth, one that any aspiring artist will immediately recognize in fear and trembling.

IRL Salieri: I have never met this man in my life....(he gud tho) film Salieri: *P E A C E W A S N E V E R A N O P T I O N* (oh yeah, History Buffs has a vid on this)

I saw this movie in the theater in 1984 when it came out, and I’ve never seen the “director’s cut”. Up until this moment, I took the Salieri walk-out scene to be a very cold, rude, wordless rejection of Stanzi’s request. I thought Salieri was so amazed and impressed by Mozart’s work in the pages, that his heart was so very hardened with envy and hatred, that he walked out on poor Stanzi’s pleadings- in other words, a big NO! That has been my assumption since 1984. So Stanzi’s later coldness and distrust of Salieri at the end made sense to me (and my family who saw it at the same time).

Damn, I had no idea about the missing scene that wasn't missing. I was wondering what on earth the "one fatal flaw" would be, racking my mind for what I could possibly have missed; which strikes me as a tad ironic, considering I once wrote an essay for a media studies class putting forth the argument that Amadeus's climax is a perfection of the cinematic artform. Golly, this film and the two Godfathers are my favorites, so I'm glad whenever I see someone else gush about the same.

Your analysis is bang on, it's one of the greatest films ever made and that scene made the finale electric. When it premiered on broadway in 81 it starred Tim Curry as Mozart, Jane Seymour as Constanze and Ian Mckellen as Salieri. You'll never get a trio that good again in anything. I was lucky to get Kenny Bakers autograph on the DVD.

Amadeus (the Director's cut) is my absolute favorite film and I am so happy to see that there are other fans out there who appreciate this masterpiece. I watch it every year on my birthday and I learn something new every time. I hope to see more of your critical analysis of this film. Big fan of your channel!

I know it's not required but I think maybe having one very short sequence with women of the court gossiping and giggling about Constanze being humiliated would have really emphasized the effectiveness of Salieri's plot against her, since to my recollection we never see evidence in the rest of the film that word of what she did spread further than that single servant who saw her. Of course, we can read between the lines knowing that servants of the aristocracy in these times constantly spread gossip about their employers, so one could also chalk this up to the film respecting the audience's intelligence once again. My headcanon is that people absolutely would have gossipped and mocked both Mozart and Constanze, but the gossip would have been quiet enough to never find its way back to Mozart for him to discover Salieri's true nature so that part of Salieri's plot went off perfectly, but he had to destroy the reputation of an innocent woman to achieve it.

While we all know Mozart, I would like to stress that Joseph II was arguably one of the best emperors Austria ever had. He was dedicated to the principles of enlightenment; one can strongly feel this even in the movie. Working since 16 years abroad I watch this movie everytime I feelt homesick, lonely or burnt-out and it gave me a morality boost every time I watch it. As a matter of fact, one can also learn a lot about what means Austria and Austrian culture at its best from this movie and I strongly encourage everyone to watch this movie also from this angle. Being asked what might be Austrian culture at its best? It is the focus on music as the connecting link in society and between ethnicities. Due to many offcial languages, we never had our own "national epos"; but we had music; I trust it was a positive political decision to use music instead. I love how serious they took music in those days. Just as serious as we take AI or a new algotithm. Thank you for sharing your analysisi of the movie and looking forward to your comments.

God, the whole discussion on what to cut, is so insanity inducing. Personally when it comes to fiction I like the "more is better". Like a like the long wandering inner monologues and discriptions Dostoevsky does in his books. I like the long wandering camera takes of Tarkvosky. But I definitely see where you are coming from, knowing when to cut is really the essence of knowing how to make a film. Directors must by necessity have that anal obsession about editing to make a cohesive film.

It makes complete sense for Salieri to rage-quit after seeing Mozart's genius on the page. He can't cope in the moment so he has to go. This is an ultimate blow, to see how effortless Mozart's writing is, especially since Stanzi is apparently innocent of just what it means to write music like this in one go. How could Salieri possibly explain his feelings at this moment? Sure, it's awkward - but he couldn't do anything else but walk out. I've not seen the director's cut, I realise now - so this is the version I'm familiar with and it does make sense to me.

Never have seen the director's cut, but I do love this movie: I love the screenplay better than the stage play, which, as I remember, focuses almost exclusively on Salieri to the detriment of Mozart's character. There is a very wonderful moment in the stage play where Salieri brings up the house lights and addresses himself directly to us, but the screenplay, I feel, is a much rounder, richer showcase for both central characters as well as the secondary characters, especially the wonderful Roy Dotrice as Papa Mozart - Jeffery Jones, horrible human being though he is, delivers a great Emperor, with the way his "mm-hmm" seems to echo in an empty cranium. And the use of the music during the movie is outstanding. Perfect movies - personally, I have a few: "Babette's Feast". "Amadeus" for sure. "Casablanca". "Hobson's Choice". "Kind Hearts and Coronets". "The Red Shoes". "What's Up, Doc". "Young Frankenstein". Some are smaller movies, some very grand, most start from a careful script featuring relatable, troubled people in conflict, rounded out with either deceptively simple or eye-filling cinematography. Looking forward to looking at your other entries in this series.

I love Amadeus either way, but I agree The Director’s Cut has “too many notes” and given a choice, I definitely prefer the original version. However, I still don’t think the Stanzi scene is necessary because over the years Salieri played so many tricks on Mozart behind his back, and as duplicitous as Salieri was, I don’t think it was a secret to anybody in their musical sphere that he had it out for Mozart. They struggled financially, his operas were sabotaged, and Mozart obviously didn’t get the teaching position she begged Salieri for. Mozart regularly complained about the Italians, so she had plenty of other reasons to be suspicious of Salieri being alone with Mozart, especially when he refused to leave when asked the first time.

Fantastic analysis! You elucidate why this is such an amazing movie seeing things I never consciously noticed (such as dual character study, moving seamlessly from hilarity to horror, etc.) I know in my own writing, especially under the influence of inadequate writing coaches, I've been persuaded to add exposition I didn't think my story needed and came to regret. That definitely can happen. No surprise that a director's cut could make that mistep. But the idea that the theatrical release would leave something out which then the director's cut would very importantly put back in, but bloat the story up with other non-essential elements - - this is exactly the kind of re-vision process mess that gives writers migraines...! And I love that it's sweet, devoted Stanzi, who in her enthusiasm to push Mozart to be the breadwinner, and willingness to morally and emotionally compromised herself for the sake of their survival, who would have had such an incriminating encounter with the antagonist and thus see through Salieri... The irony for him, her guilt over trying to help in a way that seems to have harmed, the cupuppance of a cad and her wounded dignity avenged, her new wisdom as a wife... GREAT~💥‼️‼️💥

In one scene, after Salieri puts on a successful opera, Mozart sits in disgust having no part of the performance and deriding every note in his mind. After the opera, Salieri asks Mozart for his opinion only to get a back-handed compliment. "What can one say when one hears such sounds, but... Salieri" he mocks. I noticed in this scene that Salieri looks for Mozarts praise, because he always seeks it from the outside. From external reward, applause glory , not from within. Salieri is in fact a great man in his own right. He surpassed his father's condemnation to become a teacher and excellent musician in the highest court. He dotes on his students and truly loves music, as we can see for his recognition of Mozart's great Talent. But Salieri's great flaw is that he can not see his own greatness. On the other hand, Mozart is a great musician and performer, but he can't see any one else's greatness through his own arrogant pride and childish ways. In that scene I saw both men as villainous in certain ways. It's when Salieri destroys Mozart that he ironically loses his own greatness. Mozart's punishment was death and Salieri's was his remaining life. A great film.

I was a basic 18 year old who watched this movie and I ended up loving it. I think it's Forman's best work, I hold it in a higher regard than One Flew Over Cuckoo's Nest.

I own the theatrical cut on VHS and director's on DVD. Love them both. One of the best films I've ever watched

I agree with your analysis and I also love this movie which is one of my favorites. I actually forgot that the scene with Stanzie and Salieri was cut from the theatrical release. I would agree that the scene with Caterina in her dressing room serves no purpose and even weakens the distance between Mozart and Salieri, coming off as almost too "chummy" if that makes sense in that moment. The other scene I think should have been removed from the director's cut is the one between Constanza and Mozart's father. Not when he arrives or questions her housekeeping (since it helps when Salieri's spy maid is introduced) but the rest of the bickering between his father and Stanzie because it makes him a less imposing figure. I think it should have been kept to his father acting disapprovingly and then to Mozart suggesting they go out to have fun.

"I regret we have no servants to show you out, Herr Salieri." BING! BING! BING! The added scenes of the Director's cut (Caterina and Costanze) layer a sexual (very personal) revenge on top of the professional, compositional envy. I agree with you; Salieri was unsure Costanze would come and was horrified that she did. In the scene where she is bravely undressing herself, the 40+ year old virgin is...lost; doesn't know what to do, how to react. I don't think Salieri delayed calling his servant, to deliberately humiliate her.

Loved this film, that laugh was iconic.

Man you’re pumping these out like the baby factory in Mad Max Fury Road.

Glad your doing these again- your pre-tyrion film reviews were great so was hoping you'd get back to them

This is such a great analysis, having watched the theatrical cut first on dvd and then owning the directors cut on blu ray later. I never understood just quite the level of animosity between Salieri and Constanze. The directors cut does have fat in it that did not need to exist but that element is crucial.

I think you’re spot on here. Everything you’ve said rings true. The scene should have stayed in the original, and would have added even more to an already incredibly great film. Conversely, its addition in the director’s cut is diluted (well, the entire film is, actually) due to the addition of the other ponderous and unhelpful scenes. Between the two versions, the original theatrical release is best - hands down. But that version actually could have been improved upon in the way that you described, with the Salieri and Stanzi scene being allowed to run to its originally intended length. Oh, and one more thing - this film has truly been my favorite film since I saw it (three times!) in the cinema. Simply adore it! Oh, and one more thing to add to my “one more thing”: let’s not forget the scene which follows Constanza’s almost intimate meeting with Salieri: she’s totally distraught when her husband (Mozart) finds her weeping in bed, and she tearfully declares her love for him. That scene, in addition to the death scene, makes more sense and carries more weight once we better understand why she was crying so bitterly - she was willing to sacrifice herself in devotion to the man she so fully loved.

My dad used to play this movie when I was a little kid. My brothers (and even my dad) would usually get bored and leave the room by the halfway point but I would be absolutely glued and enraptured. Since I was a kid this has been my favorite movie OAT. EDIT: I should add, I was watching the theatrical cut not the directors cut as a child lol

My family and I just watched this film, and it's so good. I actually got into a fun argument with them about how I thought that Salieri might not of been as mediocre as he believed, as he was able to understand Mozart's work better than anyone else, and his own need for recognition meant that he was making work specifically designed for the boring upper class that didn't understand anything about music other than what they were told. That if he wasn't so locked up in his own ego and his own need to be recognized, he might of been free to make pieces that while not popular with the establishment, been what he really wanted to make. It's such a wonderfully well written movie.

I've had all these exact thoughts ever since I first watched Amadeus (Director's Cut) and read up on the differences with the theatrical cut. Thank you for articulating it here! And yeah, someone really should make a fan edit that's somewhere in between the two: ~2 hrs, 50 min long, I imagine.

When I saw that you were featuring Amadeus in this series, I definitely thought you jumped the shark as I find it to be an amazing piece of cinema. Good thing I watched the video

There is only one flaw in my opinion in this cinema masterpiece: the 80s inspired wigs. Every time I see the film the only thing that disturbs my immersion into the film is stuff like pink wigs or wigs that have a slight 80s flair to them and are not wholly appropriate to the era the film is supposed to take place in. Some of it is subtle but it is enough to disturb the immersion of the audience. Other than that the movie is flawless.

What a feast this film is. Visually luscious, musically stunning, cinematically mesmerising with such balance of colour and light we feel totally transported to Vienna.

So stoked when I saw this in my feed. Right there with ya on favorite film. I'm not as well watched or written as you, but this movie always had me going through all sorts of emotions from beginning to end. Personally, I do feel for Salieri despite what he does. His upbringing and struggles against great envy of Mozart for his desires of musical talent. He is jealous how easily it comes to Mozart whereas he is self disciplined and does all the "right" things by being a tutor and a part of the King's musical committee and so on, and yet he isn't even close to Mozart even in his dreams. Great video, thank you.

I clicked on this because, despite only ever seeing Amadeus a few times (the original cinema version at the time of release and then the original cut VHS) I could not imagine what the one fatal flaw could be! In my opinion it was that rarest of things, a flawless movie. But when you explain your reasoning for wanting the director's cut scene where Salieri humiliates Constanzi edited back into the original, it does make absolute sense. I always assumed that when she locks away the score at the end, Constanzi must have knowledge of Salieri's machinations that we had not seen on screen. Her reaction to him is so extreme, so you are correct, that deleted scene does really help explain what goes on between them. Such an incredible film though. I do tend to find Director's Cuts of films tend to be bloated, obviously there are a few notable exceptions, but it's as though directors get too close to the project to have real clarity and lose the perspective that the endeavour is actually for the audience experience and not their own.

Agreed 100%, but since there is no perfect cut, I prefer the theatrical version since I feel the other drags too much. Shame they didn't think of cutting around the nudity. So happy to hear the love for this movie, it's one of my favs as well!

I love the added scene between them. It sent shivers through me that Salieri would stoop that low. Yet when I look back on it, it takes away his chastity. He made a vow to God that he would give him his chastity. He never made the slightest move on Caterina. I think that the character of Salieri is to sexually naive to even think of that scheme. So now when I look back on the scene with Mozart and Salieri walking in on Caterina it makes more sense that he catches on a little late, that "the creature had her." Then the scene where Salieri turns away and walks off from Constanze and steps on Mozart's music after she admits they have no money "that money just slips though his fingers." She shows him his music, which are originals, no mistakes, no copies, finished as no music is finished. Here is his jealousy and pettiness. He made his vows to God, prayed to him, but God decided to speak through a man who spends all his money on nonsense, booze and finery. Of course he walks off like he does. I think Constanze sees him as a rich pompous asshole. She has just opened up about a hardship to someone she probably sees as a peer and friend to her husband. All this while servants bring her rich delicacies in Salieri's rich house. Of course she acts like she does when she meets him taking advantage of he husband in a poor house with no furniture and her husband dies. Just saying. Anyways Amadeus has always been a favorite and is one of the few movies in the day in age I actually own. Thanks for the video I thoroughly enjoyed it and had me thinking.

Alright, you've convinced me to edit a personal copy of "Amadeus" that cuts all the unnecessary scenes.

I think you're right. Taking out the scene where Salieri deliberately humiliates Constanze greatly weakens the dramatic impact of their final confrontation. The other cut scenes involved Mozart begging for money. They were (probably) removed because they were slowing down the pace. Removing them didn't damage the story at all.

...This is the most pragmatic and objective description I have ever heard....about anything. The narration in this Video itself....carries tremendous perfections. Thank you for posting....is good shit

i've seen this as a child. watch it once a year ever since. never met anyone really digging this movie

Well, thanks for this vid, Chris. You've made me realize that I saw this movie when I was 13 and not mature enough to appreciate it at all. I wouldn't have bothered seeing it again, but now I'm eager to rewatch it!

I agree, i'd like to see a version cut that includes the servant escorting Constanze out to make the film perfect.

I found this series this morning. And the wait (2 hours) has been too long already. Give us the Fatal Flaw of Midsommar! The suspense is killing me!

This film is nothing short of a masterpiece.

Great video Mac. Thanks for reminding me of this gem, it's been a long time since I last saw it. Hope you will make your OFF of Midsommar soon, I have so mixed thoughts about this movie

I agree; one of the few instances where I much prefer the theatrical to the director's cut, but didn't miss the frankly unnecessarily salacious Constanze/Salieri scene, even though it confused me a bit during the Requiem "reunion". Happy to see you love this film so much, it was a fond childhood memory, and later when I happened to run into Tom Hulce at a Juilliard elevator, quite a surreal moment.

I am an absolute lover of Amadeus, and I agree with you wholeheartedly. This shows how director's cuts are not necessarily better for adding content, and that editing is in itself an important component of the art of movie making. The theatrical cut is stronger and better than the director's.

I remember watching this movie a lot with my mom when I was younger (although she skipped through some scenes) and I really want to watch this again now that I’m older and definitely more mature than I was when I was nine

I love the film! I watched it soon after my mother died, and it brought a tiny bit of light into my life. I was a little disappointed to find that the main plot, that Salieri tried to kill Mozart wasn't true, more a story from the 19th Century, but it's still by far one of my favourite films.

One of favorite films period. Still waiting for it to come to 4k Blu-ray

agreed on every analytical point. This was a great film my only beef is that the laugh was a little over-the-top for me felt like it was too silly. My favorite parts are when salieri talks to the camera. There is another music kinda history film I still watch whenever I see it but is hard to locate - IMMORTAL BELOVED starring Gary Oldman as Beethoven. It's a great whodunit mystery, sad,poignant, but for the misplacement of a note, lives would have been completely different. The passion of the custody trial over Beethoven's nephew makes sense w the reveal of the ending. The scene at end where postman hands thhe recently found note, " Frau Beethoven ? I believe this is for you...", ahe goes inside, the camera frames a window, suddenly a woman is heard wailing, sobbing in a harrowing sound, of unfortunate realization of the other life that should have been. Did I mention the music of Beethoven throughout? The trandformation of Beethoven from liberal anti-monarch Napoleon supporter to Napoleon hater? This is in my top 5 movies of all time. Maybe Oldman (see The Darkest Hour, and The Professional w debut of Natalie Portman) had a hand in that ! Great analysis w behind scene info, loved this, but my film is slightly better...na na ne nyah na - st

I was 18 in 1984 and loved the movie. I never saw the directors cut but i think you are spot on.

The overwhelming popularity of Amadeus during its theatrical, cable tv, and VHS releases proves that this theory has the fatal flaw. People DID NOT watch the movie and leave confused about Constanze's (pronounced Cone-stahn-tsa btw, not Con-stan-zee) treatment of Antonio Salieri. I watched the theatrical version in 1989 and had zero questions about her behavior. I'm sure this is because at a time of desperate need and showing extreme humility, Constanze went to Salieri and without asking for a favor, (only consideration based on merit) Salieri's response to her was to dump her husband's original scores onto the floor, walk on them, creasing them in the process, and abandon her kneeling on the floor like a child without the assistance she'd requested. Add to that, that because Wolfgang was mocking Salieri throughout, even assuming (as this video points out ) that Salieri didn't like him , one can assume that Mozart complained to Constanze off camera as well, and so one can understand that Salieri's name might have been mud to Constanze. In the movie, Constanze didn't even like Emanuel Schikaneder a real life friend of Wolfgang's. No reason at all was given for that. Yet this video didn't question it once.

I'm afraid I agree with the Theatrical Cut removing the humiliation scene. My family used to watch Amadeus on Thanksgiving Day as some kind of tradition but eventually that DVD got scratched and we got a replacement, it was the Director's Cut. The humiliation scene was just not fitting at all for Thanksgiving, it is in it's own way a brutally uncomfortable scene that I would say darkens the tone of the movie too far, and the nudity just make it worse. While the ending make more sense, it comes at the cost of making the movie too dark and making Salieri far less relatable.

I used to think that the Stanze scene was unnecessary. But now i get it. Thanks!!

I saw Amadeus in the cinema when I was 16 and it's been my favorite movie ever since. But I always felt like something was missing in the story and now that I've seen this, the final puzzle piece falls into place. Thanks for that!

I first saw Amadeus in 1984 as an 18-year-old. Dork that I am I bought and put up an Amadeus poster in my room and bought the soundtrack on early CD. I am fortunate to own the 1997 two-sided Wide Screen DVD. To this day I can vividly recall most scenes from an image, snippet of dialogue, or passage of music. Amadeus and Lawrence of Arabia are my two favorite movies. BTW, a flaw can make an object more beautiful. "Kintsugi, also known as kintsukuroi, is the Japanese art of repairing broken pottery by mending the areas of breakage with lacquer dusted or mixed with powdered gold, silver, or platinum, a method similar to the maki-e technique. As a philosophy, it treats breakage and repair as part of the history of an object, rather than something to disguise." - Wikipedia

Amadeus was shot in Prague. I now live in Prague.

Goddammit. I realized now that I've never seen the director's cut. And I LOVE this movie. I can't believe that, all along, it had a scene that made it even better than I thought it was. Edit: for what it's worth, my original take on the ending (without the missing scene) is that in their final collaboration, Salieri's own twisted affection for Mozart, ultimately, is what won out and led to him carelessly allowing Stanzi to lock away the requiem.

My friend gave me his DVD of the theatrical cut. It's the version I first saw, and it's the one I also prefer. The story flows more smoothly. The scene where Constanza revisits Salieri and bares her breasts would obviously not be appropriate for all audiences, but adds nothing to the storyline. Neither does the chat with Madame Cavalieri in her dressing room as described. As for Constanza's outrage, it was clear to me from the theatrical version that she realized Salieri was no friend of her husband and enjoyed great success at his expense given his "mediocrity". Salieri's refusal to help after the initial meeting, and then walking over the manuscripts was reason enough to hate him.

Just saw this on the big screen two nights ago in nyc, for the first time in my life. First time it was on video in 1985 (?). The backstage scene did feel redundant and I agree that the scene where Salieri humiliates Constanza is vital. Closest thing to a perfect movie.

I'll be checking this film out ASAP

Love the breakdown. Amadeus has always been my favorite film. As a kid, I was always confused by the added tension between Constanza and Salieri near the end. Throwing that one scene in would be perfection, yet I'm happy I got to see the dogs annoying him.

Never watched this movie. May give it a go on your recommendation, Mac.

WOW ! You´ve summed it to a tee !

I'm 35, I saw this movie at 32 and haven't be able to forget it.

I’ve seen both and I disagree. I think the added scene cheapens tHe movie. When he just walks out on her that’s not trivial. She asked for help from him at her most desperate hour and also has seen that he loves the music and yet he just walks out? Let me give you the subtext “Fuck you” that’s the subtext and it’s hardly subtle. So yes she realizes he is an enemy at that point. So seeing him at her husbands side when Mozart is very sick, especially working on that piece he said was killing him is going to make for very awkward tension indeed. This is just over analyzing imho.

I grew up with the theatrical version (on VHS) and it has always been one of my favorite movies. but man, I never knew about those scenes. I just assumed she was being hasty and wanted him out cause he had been there all night, and it was the parting to much that was causing Amadeus to have problems. but yea! wow yea! that changes everything. great video dude

I agree with you 100% I saw Amadeus the first time around here in London, England... The theatrical cut is the best version hands down..!! and i really dont like the directors cut.. 20mins that didn't need to be added..!! IMHO

I thought i noticed sonething odd when i saw this movie recently ( last watched on vhs when i was a kid ). The Stanzi scene really stood out and i rewound it to see if i missed something. Thanks for explaining all this!!

So my first viewing of this film was an interesting introduction. In 7th grade piano class the music teacher played this movie for some reason (but in retrospect as to this teacher getting arrested 1.5 years ago for planting cameras in the band room for himself. That information changes why he thought this movie was ok to show to 7-12 grade students).

It's never a bad idea to watch a Miloš Forman's movie... And the most underrated and forgotten one is "Taking off", that is, the most hilarious movie ever ...

In the original cut, Salieri covers Costanze’s breasts with the portfolio as he was standing over her, leaving her embarrassed. At least that is how I interpreted it.

"There are simply too many notes"

This is such an amazing film we watched this a few times in music class. We all loved it ❤️

My favourite film too! I have a habit of watching it every New Year's Day. I guess it's the perfect way of openig my cinematic year : ) And BTW great analysis!

Damn dude, you are fast with these.

Awesome video. Amadeus is my second favorite movie. I had the pleasure of seeing the original as a kid on VHS. Unfortunately being on the spectrum and a ADHD kid I never fully appreciated it, in fact I thought it was boring. Fast forward years later and I rediscover the movie late high-school after my love for movies was growing. I think it was added to Netflix or something. Rewatching it I felt underwhelmed, but for some reason I felt compelled to give it another shot and I rewatched it again and after that I liked it. Then I saw it again, after that I loved it. With each viewing I started to appreciate and pick out all the details and great performances and soon enough it rose to my number 2 spot on my favorite movie list, which as far as I'm concerned is pretty rock solid.

It has been a long time since I have seen a video that I have to agree 110%. You just said everything I always thought!

Didn’t expect to laugh my butt off during a video about Amadeus. You’re very funny when you wanna be! I adore this movie. For the most part I prefer the theatrical cut, but I feel like I agree with every point you made. Great video bro!

As a writer, your first piece of advice was a diamond.

I watched this film as a teenager, (the original, theatrical cut - yep, I'm THAT old 😏) and fell in love with it. So much so, that a couple of years later, it inspired one of my assignments when I was an art student. But yeah, I DO remember that scene with Constanze and Salieri baffling the heck out of me - I too, was like "Whu - you're just walking away? Huh? What does THAT mean?"

I have seen the theatrical release more than a doizen times, loving it every single time. Watching the director's cut provided a lot of aha moments, filling in gaps, even if some of these may have been just subtlle nuances. Like compating an initial skecth to a final painting, the director's cut rpovides full depth and colour of Forman's masterpiece

I have never seen the director’s cut, only the original theatrical version. (I was in my 20’s when this came out.) I always thought it was odd at the end when she said that they didn’t have servants to see Salieri out. It just didn’t sit right. Now that you’ve discussed the cut scenes (both in the dressing room and when Salieri dismissed her, it makes sense.

it’s weird being so early for once... also hi again!

I need to see this again! the only time I did was in the early 90s , in the theatre, somwhere between 8 and 10. So damn right PG :) (though in Romania at that time there were no rules really). I remember it being super colourful , funny and also educational (complementary to the swashbuckle books I was reading on and off), and taking place relatively close to where I was, in Transylvania, which was kinda new too.

One of the best movies ever produced. At the time of the theatrical release, I thought Constanza's reaction to Saleri was simply his failure to award the commission to Mozart when he so clearly deserved it. While I agree the deleted scene provides a better motive for her anger and tension and gives further meaningful context to her "we don't have servants to show you out" the theatrical cut gives plenty of sufficient context to her anger toward Saleri. Any way, good analysis. But either way, still one of the most masterful movies ever produced. Better than any of the Godfather movies.

Was so moved by his Requiem, I used to walk in the rain listening to it.

I saw the theatrical cut of the movie... actually in the theater. I agree on the differences between the two cuts of the movie. Seeing both cuts of the movie makes both better. Each has it's merits.

I never thought that Salieri simply walking out of the room without saying another word didn't make sense. He has just seen Mozart's genius on paper, page after page of perfect music without any corrections needed, and it makes him really upset and angry. Walking away , refusing to help, is a much better way of showing his jealousy than shouting a monologue at her, which lesser films would've made him do.

It is my experience that directors' cuts are more often than not a come down. For instance, Wim Wenders with "Until the End of the World" and Ridley Scott with "Blade Runner," not to mention George Lucas' tinkering with (ruining) Star Wars with added CGI. I am so glad that Forman's dir. ver. is an (imperfect) improvement on an already great movie. FYI, for Milos Forman fans, note that he made movies in Czechoslovakia before coming to the US. Czech out "The Fireman's Ball" (1967).

Huh! Turns out i have the theatrical version, never seen the director's cut. I've never considered him walking out on Stanzie as awkward. To me, it was utter rejection to assist them and give Amadeus the job. Funny note: a friend and i watched it the first time on video, waiting for a murderous scene at the end. Only to have him pass away on them (and us) when we all weren't watching him. We were yelling, "What happened?! That's it??" It's actually perfect but sure took us by surprise. Lol

For me it's the greatest film ever made.

Wow, what a fantastic video about my favourite movie. It is fascinating to see how one can view this scene so differently about a movie we both love, while I agree with you that most of the added scenes are unnecessary, the scene with Constanze completely destroys the Directors Cut for me. The original scene was always the pinnacle point for me: Salieri finally brakes with god, because the jealousy takes over, he clearly realizes that Mozart's talent is god given, the talent he craves so much but doesn't posess. The way he walks straight into his office and burns the cross symbolizes the point of no return. Salieri already gave his chastity to god years ago, he wasn't really interested in something sexual, that's why I don't like this scene, in my opinion it just doesn't fit his character and personality. As he said he was in love with Catarina, but I always interpreted this in an emotional, not physical way. You are right that the final scene with Constanze and Salerie makes more sense the other way around, but it never bothered me that much. Anyway, this movie is just a masterpiecel

When I saw the film the first time, I was surprised that a modern film would carry a major religious theme, namely, how could God give such a gift as musical genius to such an apparently unworthy wastrel and hedonist as Mozart when he denied this gift to such an apparently faithful man as Salierli who worked his whole life for this wonderful gift? It was this question that helped to carry me through the amazingly beautiful scenes. It was not his religion that failed him, but Salieri's own thinking that he could bargain with God. It is without saying that it was Salieri's own chastity and industry that got him to where he was. Yet, after living such a life of virtue, he came to feel betrayed by God and planned to kill Mozart and pass off Mozart's Requiem Mass as Salieri's own while having it played at Mozart's funeral. In this way, he could get his revenge on both Mozart and God. What an amazing movie! Sadly, I thought, Salieri never realized his folly in thinking that God should bend Himself to Salieri's will. Thank you for showing us so much that goes into moviemaking.

I am 49, and this is the best film EVER. I have seen it like 20 times.

Great video and like you I prefer the original theatrical release to the director's cut. If it's true that the original is no longer available that majorly sucks. I can't agree though that Constanza's behavior in her later confrontation with Salieri makes no sense without the earlier seduction scene in his chambers. Salieri's brusque, wordless exit (in the original) after she says "So you will help us?" is just the kind of unexplained "ghosting" that makes for chronic, festering resentment on the part of one ghosted. And it's precisely the kind of move Salieri would make if he wanted to keep Wolfgang in obscurity. Constanza would certainly have known of her husband's disdain for the other, more powerful, more connected composer, how he never did anything to help them, and that he's not to be trusted. Naturally, she's suspicious upon unexpectedly finding this hostile, untrustworthy element in her apartment and would rather it vacated the premises. Don't see a flaw here let alone a fatal one. Bring back the original cut, it's the greatest movie ever made!