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Amadeus (Double Sided Disc)

F. Murray Abraham (Actor), Tom Hulce (Actor), Milos Forman (Director) Rated:
R
Format: DVD
4.7 4.7 out of 5 stars 14,812 ratings
IMDb8.4/10.0
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Genre Art House & International/Period Piece, Drama
Format Dolby, Subtitled, Color, Widescreen, Multiple Formats, NTSC
Contributor Saul Zaentz, Tom Hulce, Bertil Ohlsson, F. Murray Abraham, Milos Forman, Michael Hausman, Christine Ebersole, Elizabeth Berridge, Simon Callow, Jeffrey Jones, Roy Dotrice See more
Initial release date 2009-11-03
Language English, French
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Product Description

Gripping human drama. Sumptuous period epic. Glorious celebration of the music of Wolfgang Amadeus Mozart. This marvelous winner of eight Academy Awards(R) portrays the rivalry between the genius Mozart (Tom Hulce) and the jealous court composer (Best Actor Oscar(R) Winner F.Murray Abraham) who may have ruined Mozart's career and shortened his life.

Note:The disc is double-sided disc. Please flip over to watch the rest of the movie

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ R (Restricted)
  • Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 0.01 ounces
  • Item model number ‏ : ‎ WHV1000111493DVD
  • Director ‏ : ‎ Milos Forman
  • Media Format ‏ : ‎ Dolby, Subtitled, Color, Widescreen, Multiple Formats, NTSC
  • Run time ‏ : ‎ 2 hours and 40 minutes
  • Release date ‏ : ‎ November 3, 2009
  • Actors ‏ : ‎ F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow, Roy Dotrice
  • Subtitles: ‏ : ‎ English, French
  • Producers ‏ : ‎ Michael Hausman, Saul Zaentz, Bertil Ohlsson
  • Language ‏ : ‎ French (Dolby Digital 4.0), English (Dolby Digital 5.1)
  • Studio ‏ : ‎ Warner Home Video
  • ASIN ‏ : ‎ B002NZK5QY
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.7 4.7 out of 5 stars 14,812 ratings

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4.7 out of 5 stars
14,812 global ratings

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Issue with the case.
4 out of 5 stars
Issue with the case.
No complaints about a thing other than the condition of the case. There's what appears to be a cut on the back of the case like someone took a box cutter to it.
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Top reviews from the United States

  • Jordan Anderson
    5.0 out of 5 stars One of the most beautiful movies of all time, literally
    Reviewed in the United States on February 1, 2025
    Verified Purchase
    This movie is just gorgeous, and the director's cut adds context to a lot of scenes - I'm convinced Milos Foreman wanted to make a movie worthy of Mozart's music, and I think he managed to do that -- no small feat.
    7 people found this helpful
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  • Derek Tyler
    5.0 out of 5 stars EPIC
    Reviewed in the United States on February 16, 2025
    Verified Purchase
    One of my favorite movies
    One person found this helpful
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  • Francis Booth Lynch
    5.0 out of 5 stars As genius as its namesake
    Reviewed in the United States on February 24, 2021
    Verified Purchase
    Movie 3 of 1984 and 113 overall in my journey through films of my lifetime.

    Everyone around me seems to have very diverse tastes in music. I have a monolithic ear with some branching interests, or even sounds for the sake of utility. For example I will seek out and take the time to listen to all different kinds of metal music. I've loved that genre since the first time I heard it. My friends all "grew out of it" but not me. I still love it. Metal takes me to heights, it makes me feel important or what I'm doing has great meaning. I do also enjoy classical but I won't seek it out like I do metal. Rather it's useful to me like when I'm studying or falling asleep. With all of this it may come as little surprise that I never sought out to see "Amadeus."

    Recently two efforts in the entertainment industry have been very instructive. First is the movie "Star Wars: The Last Jedi" where it tried so hard to subvert audience's  expectations that it actually threatened the canonocity of itself and any subsequent entries into the series. The second is the final season of "The Game of Thrones" which suffers a similar fate. "Amadeus" also subverts expectations but it's subtle unlike the two former examples. Where our two examples went over the top to give grand twists to the point that we were barely even being told a coherent story "Amadeus" was subtle. For instance: at the beginning we think the story will be seen from the perspective of a priest that may be seeking a confession from a man that might be Mozart himself. Of course music is used very effectively to demonstrate that this man is not Mozart. It's jarring in a wonderful way. Later, another example of toying with audience vision, we discover that the narrative is running through the rival of Mozart (which itself is brilliant). His condemnations are reasonable, his objections to Mozart make perfect sense as this kind of a man is not worthy of such greatness. Where the surprise comes is the objection to Mozart isn't actually directed at him at all but at God. This level of talent can only be provided to an instrument of God. This introduces us to the theology that permeates and informs the ethos of the culture. An astute viewer should have been very surprised by this turn of events. The best part is that while it "drops the other foot," so to speak, it shifts the story in a way that could not be forecast. No writer or filmmaker today has anywhere near the sense to tell a story this way. Additionally we should grant that this is a unique story and required a deft hand to write.

    Aside from the incredible twists, we actually need them because the story has the challenge of presenting Mozart as not only a once in a generation genius, but as a socially awkward baffoon. The efforts accomplish their goal and it's quite a treat.

    The second half slows the pace down, it also spends a little more time showing Mozart doing his work. What doesn't slow down is its continual efforts to demonstrate his genius. The joy of watching "Amadeus" truly is its expression of the gifts of this man and it ultimately accomplishes its goal in its own ingenious way. This was the best movie of this retrospective so far!

    Pros
    -as genius as its subject
    -brilliant use of the expected use of music
    -wardrobe and set pieces immerse you
    -all elements of the cast and crew are flawless

    Cons
    -some may not like this period of history and it is seeped in it.
    14 people found this helpful
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  • Fred Derry
    5.0 out of 5 stars Too Many Notes: Why The Director's Cut Sucks
    Reviewed in the United States on March 30, 2016
    Verified Purchase
    ORIGINAL VERSION. The one that won the Oscar.

    Just-Okay yet Popular Italian composer Salieri is in love, or lust, with a beautiful singer. Opera singer. Christine Ebersole. Who on earth wouldn't be?

    But he fears, oh so much, that she instead loves his personal, inner-twisted demon of a surreptitious rival in the bratty, spoiled genius known as Mozart. So on stage, after a great performance, Mozart gives this opera singer, in whom Salieri is, as mentioned, in deep love with, flowers. Then, out of nowhere, Mozart's fat future mother-in-law and most importantly, Mozart's beautiful future bridge-to-be, his lovely fiance, are lifted onto the stage, and introduced. Mozart is a deer caught in headlights as the beautiful singer... No, as Salieri WATCHES the singer slam the flowers at Mozart and STORM like a tempest off the stage.

    AND NOW WE CUT TO: The old Salieri, who we go back and forth from, saying, "That's when I knew, the creature had had her..." Basically, that's when it was all too clear where the little devil's pitchfork was all along... where he, Salieri, wanted to be. And with the same talent; a gift of God given to a clown, in his opinion. In modern terms: Really Famous Musicians get all the tail.

    NOW THE DIRECTOR'S CUT:

    Instead of cutting back to the aged Salieri after the singer shows her passionate jealousy that loudly rivals that of Salieri's silent hatred... The scene doesn't cut, it actually continues. For a long, pointless, boring, plodding while, until the no-longer jealous but now more curious Italian composer visits the singer in her dressing room. Herein, we get a boring, soap operatic seven-minute scene where she finally, says that she slept with MOZART. At this point, his jealousy means nothing. So when we cut back to him telling the priest, "THAT'S when I knew..." It means nothing at all.

    Sorry fans of the Director's Cut, but the editors, all professionals, KNEW, like Salieri KNEW... what ANYONE WOULD KNOW when to cut that scene and when to KNOW just why the flowers were used as a weapon, and there are other examples as well as other lame characters and disposable avenues added to what was originally, THE ORIGINAL PERFECT FILM, yet this one "creature flower" scene in particular really embodies the differences between the Theatrical movie that won the Oscar and was, from opening night, considered one of the greatest movies of all time, from the Vanity Project Hatched-Job that allowed a once-great director, now old and, obviously out of touch, to spray-paint a mustache on the Mona Lisa. In the eighties, Milos Foreman, who had already won for CUCKOO'S NEST, wasn't blacklisted. He wasn't Orson Welles trying to get his vision across with everyone against him. So what's the problem? Maybe these answers will suffice:

    1) Boredom for a director with nothing to do and
    2) The Studio makes MORE money with another version, thus making it the ONLY version and...

    God knows why. Why! WHY!!!

    Oh well. It's tough to find the ORIGINAL THEATRICAL nowadays; that is, in Blu Ray Remastered format. But I'm telling you, as someone who knows a thing or two about this movie, having seen the original about 100 times since at the theater as a kid, loving to see Pinto from Animal House playing this really talented crazy guy, and then, years later, after so many viewings, sitting in compete awe at the changes and additions that were basically a 20-minute dead third wing on an already soaring angel in flight...

    The original IS the classic. Always was, and always will be. That's not opinion. It's fact: the movie that played in theaters was the better one. If you weren't there to witness it, you would not know. Which is WHY it is, and was, and always will be, the better and... ONLY ONE to see. For the Director's cut... yes, that's it...

    What's wrong with the Director's cut is there are simply... Too Many Notes.

    That God what I saw in theaters so long ago was what I searched to finally see, even though it's the cardboard Warner Brothers old school non-remastered DVD. But so sad for a young generation who will grow up on brilliance ruined by money, driven by mediocrity.
    61 people found this helpful
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Top reviews from other countries

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  • arov
    5.0 out of 5 stars Excelente Producción. De colección
    Reviewed in Mexico on January 24, 2025
    Verified Purchase
    Una de mis películas favoritas. Con la mejor imagen posible y excelente sonido. Con algunas escenas que no se incluyeron en ediciones anteriores.
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  • Sasha Bell
    5.0 out of 5 stars Exquisite
    Reviewed in the United Kingdom on May 24, 2024
    Verified Purchase
    Still resonates as an epic of sumptuous quality after all these years. Truly magnificent, includes cast, locations, and of course the music. A very interesting item included in the extras is the behind the scenes interview of how they filmed 'Salzburg' in a soviet controlled country ( this was before the Berlin wall came down), amazing.
    The extra 20 minutes of the directors cut, for me, actually didn't add anything to the original film, I can understand why they cut those scenes originally. But the film is still a masterpiece.
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  • Pascal Rob
    5.0 out of 5 stars Superbe biopic pour faire apprécier Mozart
    Reviewed in France on August 17, 2023
    Verified Purchase
    Je ne voudrais pas répéter ici tous les autres commentaires: c'est une biographie fictive mais savoureuse. Les images, les acteurs sont superbes. Mais surtout cela pourra faire apprécier toutes les oeuvres de Mozart (et surtout son Requiem) à de jeunes oreilles. C'est aussi un très bon film à faire découvrir par exemple à des collégiens (en cours de musique ou de français). Les versions des oeuvres proposées sont également magnifiques. J'ai découvert ce film pour ma part dès sa sortie (ce qui ne me rajeunit pas) et j'avais abandonné l'idée de pouvoir retrouver sa version en VHS car elle est restée longtemps inédite (ou retirée de la vente ?) C'est une aubaine de pouvoir le trouver en DVD !
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  • Jörgen Broström
    5.0 out of 5 stars Klassiker
    Reviewed in Sweden on February 3, 2023
    Verified Purchase
    Helt klart topp 3 av mina favoritfilmer. Går att se om och om igen. Musiken är fantastisk, och skådespeleriet likaså.
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  • Bernhard Nowak
    5.0 out of 5 stars Beeindruckender und wunderbarer Film
    Reviewed in Germany on January 29, 2006
    Verified Purchase
    Basierend auf Puschkins Erzählung: "Mozart und Salieri" hat Peter Schaeffer sein gleichnamiges Theaterstück: "Amadeus" geschrieben. Milos Forman hat daraus den gleichnamigen Film gemacht. Allerdings ist nicht der aus meiner Sicht oft zu exaltiert und übertrieben agierende Tom Hulce als Mozart die wichtigste Figur in dem Film, sondern der Wiener Hofkompositeur Antonio Salieri, hervorragend dargestellt durch F. Murray Abraham. Es ist dieser Schauspieler - und nicht Tom Hulce als Mozart - der diesem Film Format gibt und - neben der wunderbaren Musik und opulenten Ausstattung (man sehe sich die Schlußszene aus "Don Giovanni" an, die in ganzer Länge den Höhepunkt des Filmes darstellt) dazu beitrug, dass dieser Film mit 8 Oscars zu recht prämiert wurde. Es war daher auch Abraham und nicht Hulce, der zu recht den Oscar als bester Hauptdarsteller erhalten hat. Nun ist die Ermordung Mozarts durch Salieri zwar Legende, der Stoff des Filmes trotzdem von psychologischer Meisterschaft. Mit einem psychologischen Falkenblick ohnegleichen wird gezeigt, wie Salieri an seiner Mittelmäßigkeit - dabei hat auch er wunderbare Musik komponiert - leidet (er hat 1786 sogar einen Wettbewerb gegen Mozart gewonnen, dies kommt ansatzweise in dem Film vor) und daraus folgend einen Hass auf den begabteren Nebenbuhler entwickelt. Auch die anderen Schauspieler - etwa der Kaiser Joseph II. und Mozarts Vater - sind hervorragend dargestellt, das spannungsreiche Verhältnis zwischen Leopold und Wolfgang Mozart wird fabelhaft herausgearbeitet.
    Deshalb ist dieser Film ein Meilenstein der Filmgeschichte und - zugegebermaßen - der Film, der mich - was Komponistenportraits angeht - bis heute am meisten beeindruckt hat.
    Schwächen: In der deutschen Synchronisation wird die Zauberflöte mit englischem Text dargestellt - warum? Der Tod Josephs II. und seine Nachfolge durch seinen Bruder, Kaiser Leopold wird nicht erwähnt, so dass die Verarmung Mozarts (Leopold hatte im Gegensatz zu seinem verstorbenen Bruder kein Faible für Musik und hielt die Komponisten an seinem Hof sehr "kurz") nur unzureichend erklärt wird. Die Szenen der Don-Giovanni-Parodie mit Schikaneder in der zweiten Hälfte des Films sind meines Erachtens unnötig, sie ziehen den Film nur in die Länge.
    Aber ansonsten: ein hervorragender und sehr beeindruckender Film, der - zurecht - inzwischen zu den Klassikern des Genres zählt.
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