Computer Age

Amadeus (1984)

Director: Milos Forman
Interpreters: F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Simon Callow

On October 13, and as part of the celebrations of the Barrio del Pilar de Madrid (this year devoted to Mozart performed at the 250th anniversary of his birth), for the umpteenth time I saw the film Amadeus, which projected a completely free on the big screen. That night I had two choices: either kick once again the market eighteenth century style planted in the Parc de la Vaguada and the adjacent exhibition, or watch the movie and have a good time, although it is envisaged in (creepy) version bent. The election was sung.

Released in 1984, and then rerun in 2002 with twenty minutes extra in one of those "director's montages" that were so fashionable during those years, Amadeus was one of the major milestones of the cinema of the 80s. Peter Shaffer (author of the libretto theater in which the film is based) and the director, the Czech Milos Forman, worked side by side for months to get a good script with which to shoot a great movie, and things could not get out better, to the point that most of those who participated in the principal cast members were devoured by the enormous success of the film: They have never managed to reach the bar so high that left after shooting the movie at hand and One Flew Over the Cuckoo's Nest (actually it was difficult). The triad of actors (sensational Tom Hulce, Elizabeth Berridge and F. Murray Abraham) was also unable to overcome what they had achieved, and all through the years would end their respective careers are mired in gloom more discreet.

Last time, and after having seen the movie dozens of times, in the original version and dubbed in the film (and rerun the premiere) and on DVD, yet I am surprised that a film so, "epic" and as "classical "Theoretically so far from the canons of commercial cinema then (and despite all filmed with an undeniable eye for the box office) could have the impact on the masses. Leaving aside some vehement critics (particularly liked me a lot that I read in a magazine, accusing the tape to be "basically a film about Salieri"), the reality is that Amadeus exudes quality on all four sides. But the best quality of this tape was to help in their day to the dissemination of classical music, and in particular that of Mozart, in a way like never before been achieved. The "Mozartmanía" found hole, and even covers, in magazines "poppys" and catalogs of music as the legendary BID (Newsletter Discoplay), spaces usually reserved for artists from radio formula. Suddenly the whole world had gone crazy for music that only a few months before was something of "music lovers", members of symphony orchestras and uncles rare as those who go to the opera dressed label. It was something really cool but beautiful, worthy of the music of the great genius of Salztburgo.

Total, which returned to enjoy as a dwarf in just under three and a half hours (which takes the "assembly of the director") with one of those movies that is so rarely performed in the modern cinema, majestic and spectacular than no power , While very entertaining despite its largísimo footage. And that I have at home the two versions. And despite the dubbing: only missed less able to change the language of projection and select the VOS. Because as Carlos Pumar would say, look who is BAD, BAD, BAD BAD and the dubbing of the extended version. What fucking worse, really.