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Software<br />
those ignorant of serious music that <strong>the</strong>y<br />
couldn’t possibly be missing much.<br />
The exception has long been Amadeus,<br />
Milos Forman’s awesome masterpiece<br />
about Mozart and his contemporary<br />
composer, Antonio Salieri.<br />
In a way, of course, <strong>the</strong> film wasn’t<br />
truly about Mozart at all, but about<br />
Salieri and God. In Peter Shaffer’s<br />
brilliant play, which he adapted for <strong>the</strong><br />
screen, Salieri is a youth with a powerful<br />
vocation for music. He offers God<br />
a bargain: if <strong>the</strong> Lord will make him<br />
a musician, he will offer his industry,<br />
his piety, his extreme humility and<br />
his chastity. God comes through, but<br />
Salieri doesn’t deliver his end of <strong>the</strong><br />
bargain. God’s vengeance is terrible: he<br />
denies Salieri <strong>the</strong> talent to accompany<br />
his creative urge, and gives it instead to<br />
Mozart, a vulgarian who has nothing<br />
to recommend him, beyond <strong>the</strong> fact<br />
that he sets notes to paper as though he<br />
were taking dictation from <strong>the</strong> Creator<br />
himself. God’s ultimate curse is to leave<br />
Salieri just enough talent so he may realize<br />
how much better Mozart’s music is<br />
than his own, and a long life of watching<br />
his own music forgotten while Mozart’s<br />
is praised — appropriately enough — to<br />
<strong>the</strong> skies.<br />
I have watched this wonderful film<br />
countless times, first on VHS, and <strong>the</strong>n<br />
on <strong>the</strong> original DVD. There is always<br />
more to discover, and of course <strong>the</strong>re<br />
is <strong>the</strong> music. When Warner brought<br />
out this director’s cut, with an extra<br />
20 minutes of material, I was intrigued.<br />
The editing of Amadeus is nothing less<br />
than brilliant. Would “undoing” some of<br />
that editing by picking up deleted scenes<br />
make it a better film, or a poorer one?<br />
I feared <strong>the</strong> latter. Still, Milos Forman<br />
says that <strong>the</strong> film on this DVD is actually<br />
<strong>the</strong> cut he wanted to put out, but<br />
that producer Saul Zaentz persuaded<br />
him that people wouldn’t sit still for<br />
a three hour film about 18th Century<br />
musicians.<br />
I’m not certain Zaentz was right, but<br />
<strong>the</strong>n again I’m not sure Forman was right<br />
ei<strong>the</strong>r. Of course, anyone who has seen<br />
a film dozens of time will resist change,<br />
but some of <strong>the</strong> new scenes disturbed<br />
me.<br />
Consider <strong>the</strong> scene when Katerina<br />
Cavalieri, <strong>the</strong> pretty blonde soprano<br />
68 ULTRA HIGH FIDELITY <strong>Magazine</strong><br />
Salieri relishes, plays her role in Mozart’s<br />
Abduction from <strong>the</strong> Seraglio. Immediately<br />
after, when it is revealed that Mozart is<br />
engaged to marry Constanze, Katerina<br />
smashes her bouquet across Mozart’s<br />
face, thus revealing to a horrified Salieri<br />
that “He’d had her, he’d had my darling<br />
girl.” The scene is one of <strong>the</strong> best-articulated<br />
I can recall seeing in a movie, with<br />
editing worthy of a place in film school<br />
curriculums. The new <strong>version</strong> includes<br />
an extended scene in Katerina’s dressing<br />
room after <strong>the</strong> opera, in which Mozart<br />
attempts to explain <strong>the</strong> unexplainable.<br />
The scene is pointless and <strong>the</strong> impact is<br />
greatly diminished.<br />
There is worse to come. When<br />
Constanze comes to see Salieri with a<br />
sheaf of Mozart’s compositions, hoping<br />
to get him a teaching post, Salieri turns<br />
<strong>the</strong> pages, and hears in his head piece<br />
after piece of divinely-inspired music.<br />
You may recall that, when Constanze<br />
asks him whe<strong>the</strong>r he will help, he turns<br />
on his heel.<br />
That was in <strong>the</strong> original. The uncut<br />
<strong>version</strong> plays totally differently. Salieri<br />
offers Constanze his aid if she will, in<br />
return, come back that evening for a<br />
sexual tryst. “That is <strong>the</strong> price you<br />
pay,” he says harshly. That evening, not<br />
sure whe<strong>the</strong>r she will indeed return,<br />
he offers God ano<strong>the</strong>r bargain: if He<br />
will grant Salieri just one masterpiece,<br />
Salieri will help Mozart without condition.<br />
When Frau Mozart arrives and<br />
begins to strip off her clo<strong>the</strong>s, Salieri<br />
recognizes her arrival as God’s refusal<br />
of his offer. He summons a servant to<br />
show <strong>the</strong> half-naked woman to <strong>the</strong> door.<br />
To be sure, <strong>the</strong> added scene goes a long<br />
way to explaining Constanze’s enmity to<br />
Salieri, but it puts a hard edge on Salieri’s<br />
personality that I found downright disturbing,<br />
because <strong>the</strong>re is nothing else in<br />
<strong>the</strong> film to suggest it.<br />
The third extended scene shows<br />
Mozart hoping to make money tutoring<br />
students. He shows up in a household full<br />
of dogs whose reaction to music is not<br />
what any musician could wish. The scene<br />
is very funny, but it is played as farce, and<br />
none of <strong>the</strong> rest of <strong>the</strong> film is. It properly<br />
belongs in some o<strong>the</strong>r movie.<br />
Some of <strong>the</strong> additions are happier.<br />
Several opera segments are leng<strong>the</strong>ned,<br />
and I’m not about to complain. Also<br />
slightly leng<strong>the</strong>ned is <strong>the</strong> stupendous<br />
scene showing <strong>the</strong> dying Mozart composing<br />
<strong>the</strong> Confutatis from his Requiem<br />
Mass while Salieri takes dictation.<br />
Best of all is <strong>the</strong> enhancement of both<br />
image and sound. The colors are better<br />
reproduced, though <strong>the</strong> film is slightly<br />
dark and I found myself boosting <strong>the</strong><br />
brightness a touch. The full picture’s<br />
2.35:1 ratio is shown, with some scenes<br />
so wide that straight lines actually look<br />
convex. The sound is far superior to <strong>the</strong><br />
original DVD’s grey soundtrack, with<br />
its unconvincing stereo effect.<br />
I’d like to add a word about <strong>the</strong><br />
French-language soundtrack on this <strong>version</strong>.<br />
Though I loa<strong>the</strong> most dubbed films<br />
with a passion, <strong>the</strong> dubbing on Amadeus<br />
was astonishingly good. F. Murray Abraham’s<br />
Salieri was as good as <strong>the</strong> original<br />
(rumor was he had dubbed it himself),<br />
and Elizabeth Berridge (Constanze) no<br />
longer had her pronounced New York<br />
accent. For this extended <strong>version</strong> <strong>the</strong> dub<br />
had to be redone, and it is much poorer,<br />
with <strong>the</strong> usual overacting that afflicts<br />
nearly all dubbed movies.<br />
The set includes a second disc with<br />
extra material that is worth <strong>the</strong> cost all by<br />
itself. It explains <strong>the</strong> unfortunate choice<br />
of Elizabeth Berridge as Constanze: <strong>the</strong><br />
original actress chosen, Meg Tilley,<br />
injured herself in a soccer game <strong>the</strong> day<br />
before shooting was to begin. It details<br />
<strong>the</strong> difficulties of shooting in what was<br />
<strong>the</strong>n a closed Communist society. And<br />
it is replete with delicious anecdotes.<br />
When <strong>the</strong> crew first visited Prague’s<br />
Tyl Theatre, where Don Giovanni was<br />
premiered, and where <strong>the</strong> Don Giovanni<br />
scene was to be filmed, Forman and<br />
Zaentz realized <strong>the</strong>y had lost Peter<br />
Shaffer, <strong>the</strong> author. They found him in<br />
<strong>the</strong> hall, weeping.<br />
But I’m of two minds about <strong>the</strong> extra<br />
scenes. I wish <strong>the</strong>y had been put in an<br />
“outtakes” section, as such scenes often<br />
are. Alternatively, I wish <strong>the</strong>re were an<br />
option to see <strong>the</strong> film with and without<br />
<strong>the</strong> restored scenes, a possibility that is<br />
within <strong>the</strong> reach of DVD technology.<br />
When Mozart runs into opposition<br />
on his opera The Marriage of Figaro, he<br />
tells Salieri, “It is perfect as it is. I can’t<br />
rewrite something that is perfect.” I wish<br />
Forman had taken that line to heart.