Murray Abraham gives the performance of a lifetime: brooding, soul-deep, an Iago of seething passion, who always keeps the audience close, intimate to his plans. For it is he alone, beyond even Mozart himself, who recognises the true genius of those creations, a conflict that will drive him to a moral dementia – to destroy a beauty he adores. Here is a man consumed by envy and a furious religious piety demanding that surely, he, the devoted disciple, should be able to access such dizzying musical creations. Yet, the film’s dark heart, its poise and class, all stem from his less-talented rival Salieri. There is something punk rock about Mozart’s giddy excess, and echoes of Hollywood’s own bratty talents. Forman craftily invited his actors to retain their American accents, liberating the film from the rigid confines of RSC eloquence and opening it up for audiences. He looks as if he is fit to burst, the burden of these angelic voices too much for his meagre spirit to bare. As Mozart, Tom Hulce, jabbers and warbles like a lunatic, a bumptious, unpleasant, self-centred man blessed with a blazing talent, a “diction from God”. To this day, it remains up in the Gods.Īkin to Shakespeare with his turmolic spurts of history, it is the characters who bite deep into our hearts. In a mid-‘80s governed by bombastic, inch-deep action-comedies, this film stood, head and shoulders, above the masses, the masterpiece of its time.
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Hence, Milos Forman’s extraordinarily sumptuous, witty, dark, moving and majestic movie has a texture very much its own, a shadowy intimacy that transcends even the scope and splendour.
Few historical, Oscar washed epics have as fully grasped the intricacies of man’s capacity to destroy himself as Peter Shaffer’s adaptation of his own stageplay.
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