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Anyone seeing Amadeus Directors cut?? Should be sweet:)

N

Nefrodite

Banned
its 100% on rotten tomatoes right now. i'm definetly seeing since i never got a chance to see it in the theaters the first time it was out. remastered soundtrack should be awesome. i've only seen it on the original dvd😛 great movie😉



plus, compared to the lame lame lame competition out this week it shold be a no brainer for anyone that gives s sh*t about movies
 
no, this is the one about mozart, who was a little horny genius bastard that laughs like a maniac🙂 i think he dies of stds or something hehe.


the one your thinking of is immortal beloved, also a good movie. that guy went deaf.. and was a tormented genius😛 i think amadeus is the better of the two. It won 8 Oscars.


Amadeus 100% tomato meter🙂


LOL...
Beethoven...


hehe yes, its Amadeus Mozart🙂 not Amadeus beethoven😉

all the more reason for you to see it🙂 as for u watching immortal beloved at school.. oh god the horror. Watching a movie about beautiful music on a 27" inch tv with blurry picture and mono sound, thats injustice. i'm sure that takes a big chunk of impact out of it.

and don't take me for a film snob either, i saw blade 2 3 times hehe😉 Amadeus is not one of those boring movies about people long ago😛

 
I haven't seen this in ages...I must go pick this movie up...damn...

its in the theaters right now.

the dvd out right now is the old version. the one in thea theater has a rerecorded soundtrack.



arghhh! just checked and its not a wide release yet. %#@%#@&%#. anyone know which bay area indi theater has decent soundsystems? ones i've been to have sh*t quality.🙁
 
Amadeus was the first DVD I bought, and I'll definitely be buying this edition. Greatest musical genius ever.
 
Ohhh, yeah, motzart, immortal beloved that was extra credit, I saw it on my friends like 82" tv, too bad it sucked. I got the movies mixed, I did see Amedeus at school, now I remember. It pribably would have been way better in a big screen ans surroundsound, no it definetly would have been better.


<< Watching a movie about beautiful music on a 27" inch tv with blurry picture and mono sound >>


not everything is like that though, my teacher has one of those 1000$ lcd projectors(some teachers heve them) and he played the movie ghandi in all its widescreen glory. there the explanations from the teacher were usefull, but he was using some crappy computer speakers. He also recently got 2 Koss(I think it was) speakers and was playing some of the famous WWII speaches. Wow I totally got off topic. oh well.

Oh BTW, I go to a public school, and yes we watch a lot of movies in my class, but the teacher is really good.
 
not everything is like that though, my teacher has one of those 1000$ lcd projectors(some teachers heve them) and he played the movie ghandi in all its widescreen glory. there the explanations from the teacher were usefull, but he was using some crappy computer speakers. He also recently got 2 Koss(I think it was) speakers and was playing some of the famous WWII speaches. Wow I totally got off topic. oh well.


damn! your lucky🙂 and my school was so ghetto..... oh wow😛 i only saw immortal beloved and amadeus on dvd😛
 
just got back from seeing it.. wow🙂 the extra scenes do really add to the film, they make saliari far darker..they weren't just thrown in on a whim. the movie amazingly doesn't age, everything is filmed beautifully. it could have easily been made today unlike ET where its obviously dated. not a fair comparison, but still a valid observation since i've seen both rereleases. the sound was crystal clear🙂 Its like a beautiful mind in a way, but better. The palo alto theater was definetly nice, decent screen, good sound.. clear projection. like i said, it was like new🙂 and you know the mark of a good film is you don't notice how long it is.

this movie was meant to be seen on a nice wide screen.


hehe mozarts laugh.. that actors great🙂 i think this movie has the most pushed up boobage ever😛 hehe

definently was worth it.


don't think its one of those boring yawn inducing stuffy emma thompson pics... mozart says sh*t 😉
 
Eberts take on Amadeus- in his great movies section of course😉

and for the lazy..the last part takes a swipe at the mpaa and ashcroft😉
Amadeus

April 14, 2002


BY ROGER EBERT







Happy people are pleased by the happiness of others. The miserable are poisoned by envy. They vote with Gore Vidal and David Merrick, both credited with saying, "It is not enough that I succeed. Others must fail." Milos Forman's "Amadeus" is not about the genius of Mozart but about the envy of his rival Salieri, whose curse was to have the talent of a third-rate composer but the ear of a first-rate music lover, so that he knew how bad he was, and how good Mozart was.

The most moving scene in the movie takes place at Mozart's deathbed, where the great composer, only 35, dictates the final pages of his great "Requiem" to Salieri, sitting at the foot of the bed with quill and manuscript, dragging the notes from Mozart's fevered brain. This scene is moving not because Mozart is dying, but because Salieri, his lifelong rival, is striving to extract from the dying man yet another masterpiece that will illuminate how shabby Salieri's work is. Salieri hates Mozart but loves music more, and cannot live without yet one more work that he can resent for its perfection. True, Salieri plans to claim the work as his own--but for a man like him, that will be one more turn of the screw.

"Amadeus" (1984) swept the Academy Awards and had a considerable popular success. When you consider that 98 percent of the American public never listens to a classical music station, it is astonishing that Mozart became for a time a best-seller, and not only to women assured by talk-show gurus that his music boosted the IQs of embryos. The movie's success is partly explained, I think, by its strategy of portraying Mozart not as a paragon whose greatness is a burden to us all, but as a goofy proto-hippie with a high-pitched giggle, an overfondness for drink, and a buxom wife who liked to chase him on all fours.

This is not a vulgarization of Mozart, but a way of dramatizing that true geniuses rarely take their own work seriously, because it comes so easily for them. Great writers (Nabokov, Dickens, Wodehouse) make it look like play. Almost-great writers (Mann, Galsworthy, Wolfe) make it look like Herculean triumph. It is as true in every field; compare Shakespeare to Shaw, Jordan to Barkley, Picasso to Rothko, Kennedy to Nixon. Salieri could strain and moan and bring forth tinkling jingles; Mozart could compose so joyously that he seemed, Salieri complained, to be "taking dictation from God."

"Amadeus" was brought forth by the independent producer Saul Zaentz ("One Flew Over the Cuckoo's Nest," "Unbearable Lightness of Being," "The English Patient"), who brought Peter Shaffer's play and assigned the playwright to adapt it with the director Milos Forman. Zaentz's pattern, as you can see, is to take literary successes that seem unfilmable--too ambitious, too specialized--and film them. Forman, a Czech filmmaker who turned his back on the Russians and came to work in America, but not exactly in Hollywood, had directed "Cuckoo's Nest" (1975), "Hair" (1981) and "Ragtime" (1984).

The key precursor is "Hair." He sees Wolfgang Amadeus Mozart as a spiritual brother of the hippies who thumbed their noses at convention, muddled their senses with intoxicants, and delighted in lecturing their elders. In a film where everybody wears wigs, Mozart's wigs (I noted in my original review) do not look like everybody else's. They have just the slightest suggestion of punk, just the smallest shading of pink. There is something about Mozart's Vienna apartment, especially toward the end, that reminds you of the pad of a newly-rich rock musician: The rent is sky-high, the furnishings are sparse and haphazard, work is scattered everywhere, housekeeping has been neglected, there are empty bottles in the corners, and the bed is the center of life.

The flower child Mozart tries to govern his life, unsuccessfully, by the lights of three older men. His father Leopold (Roy Dotrice) trained the child genius to amaze the courts of Europe, but now stands aside, disapproving, at the untidy mess Mozart has made of his adulthood. His patron, Emperor Joseph II (Jeffrey Jones) passes strict rules (no ballet in operas!) but cannot enforce them because, God love him, he enjoys what he would forbid. Then there is Salieri (F. Murray Abraham), who poses as his friend while plotting against him, sabotaging productions, blocking appointments. The irony (not least to Salieri) is that Salieri is honored and admired while Mozart is so new and unfamiliar that no one knows how good he is, except Salieri. Even the emperor, who indulges him, is as amused by Mozart's insolence as by his art. Mozart's role in the court of Joseph II is as the fool, saying truth wrapped in giggles. Mozart's ally in his struggles with authority is his wife Constanze (Elizabeth Berridge), who seems a child, stays too late in bed, calls him "Wolfie," but yet has a good head for business and a sharp eye for treachery.

The film is told in flashback by Salieri at the end of his life, confined in a madhouse, confiding to a young priest. He thinks perhaps he killed Mozart. It is more likely Mozart killed himself, by some deadly cocktail of tuberculosis and cirrhosis, but Salieri seems to have killed Mozart's art, and for that he feels remorse. It is all there in Mozart's deathbed scene: The agony of the older rival who hates to lose, who would lie and betray, and yet cannot deny that the young man's music is sublime.

The movie was shot on location in Forman's native Prague, one of a handful of European cities still in large parts unchanged since the 18th century. The film is a visual feast of palaces, costumes, wigs, feasts, opening nights, champagne, and mountains of debt. Mozart never had enough money, or much cared; Salieri had money, but look at his face when people snicker behind his back while he plays one of his compositions, and you will see what small consolation it was.

"Director's cuts" are a mixed blessing in this age of the DVD. Many of them seem inspired entirely by the desire to sell another video. Forman says his new version of "Amadeus," which runs 20 minutes longer than the 1984 version, is in fact the original cut: Afraid that a historical biopic about Mozart would find tough sailing at the box office, Forman and Zaentz made trims for pragmatic reasons. The major addition to the film is a scene explaining more fully why Constanze has such contempt for Salieri. Salieri, the court composer, has in his gift a lucrative appointment that, he explains to the young bride, will be her husband's--if she will grant Salieri her favors. Since there is little indication that Salieri has any great interest in women (or in anything, other than Mozart) this favor seems motivated not by sexual desire but by the need to humiliate Mozart. Constanze, desperate to help her Wolfie, does indeed visit Salieri at his apartments, and bares her breasts before having second thoughts.

In a film of grand gestures, some of the finest moments are very subtle. Notice the way Jeffrey Jones, as the emperor, balances his duty to appear serious and his delight in Mozart's impudence. Watch Jones' face as he decides he may have been wrong to ban ballet from opera. And watch Abraham's face as he internalizes envy, resentment and rage. What a smile he puts on the face of his misery! Then watch his face again at Mozart's deathbed, as he takes the final dictation. He knows how good it is. And he knows at that moment there is only one thing he loves more than himself, and that is Mozart's music.

Note: The restored Director's Cut of "Amadeus" opens Friday at the Landmark Century, and is in revival around the country. The one brief scene of Constanze's breasts, in medium-long shot, has inspired the flywheels at the MPAA to re-rate the movie R from its original PG. Thus high school students are discouraged from seeing this movie. Our rating system is held hostage by sick crypto-moralists. Surely PG-13 would have been adequate to advise parents of this scene, while acknowledging that anyone over 13 in America who is alarmed by the simple sight of a woman's breasts is in need of counseling (I include our attorney general).
 
no, this isn't a frivolous "directors cut". it was probably the original cut as stated in that article.


and lol, i really wonder what a directors cut pron would be🙂
 
For anyone interested, it's playing at the redone Cineramadome in Hollywood. I definitely plan on seeing it there. Ooo....cinemascope...drool...
 
Does the Directors cut come with a brand new Directors cut version of "Rock Me Amadeus" by Falco?

Oh, wait.... forgot, he's dead.
 
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