Right, let me tell you something proper fascinating – I’ve just emerged from a packed screening of Amadeus, and blimey, does F Murray Abraham’s gorgeously villainous Salieri still pack a punch! While today’s baddies are all about world domination and flashy CGI, there’s something utterly delicious about watching a mediocre composer absolutely lose his marbles over Mozart’s raw talent.
Remember that mate who unfollowed you after you got promoted? Well, multiply that petty drama by about a thousand, and you’re somewhere near Salieri’s level of professional jealousy. Abraham’s performance as the bitter court composer is like watching a masterclass in passive-aggressive behaviour – if passive-aggressive included possibly poisoning your rival.
What makes this 2025 re-release particularly spicy is how relevant it feels in our era of social media comparison and imposter syndrome. Watching Salieri seethe while Tom Hulce’s Mozart (with that instantly recognizable giggle that sounds like he’s been hitting the nitrous) effortlessly creates masterpieces feels weirdly like scrolling through LinkedIn, doesn’t it?
Speaking of performances that age like fine wine – have you caught Abraham in The White Lotus recently? The man hasn’t lost an ounce of his ability to play morally questionable characters with style. But it’s here, in Amadeus, where his villainous chops truly shine. Every raised eyebrow, every whispered confession to the priest, every chocolate-coated scheme (literally – watch how he uses sweets to seduce his way through Viennese society) is absolute perfection.
In an age where we’re constantly bombarded with tales of AI creativity and debates about authentic artistry, Amadeus’s exploration of divine talent versus learned skill feels surprisingly current. Salieri’s mediocrity isn’t just personal – it’s existential. When he rages against God for blessing Mozart instead of him, you can almost hear the echo of modern creators throwing their hands up at ChatGPT’s latest masterpiece.
This release presents the original 1984 theatrical version, running at a tight 161 minutes. While the director’s cut offers additional scenes, this version maintains the perfect dramatic tension that won it eight Academy Awards.
While the film takes creative liberties, the core conflict between Mozart and Salieri is based on historical rumors. However, there’s no evidence that Salieri actually plotted Mozart’s demise – that’s just brilliant dramatic license.
The film will be available on major streaming platforms post-theatrical release, but trust me – this is one you want to see on the big screen. The costume design and orchestral sequences deserve the full cinema treatment.
Whether you’re a classical music buff or just someone who enjoys watching perfectly crafted drama, this re-release of Amadeus is absolutely essential viewing. F Murray Abraham’s Salieri remains one of cinema’s most compelling villains – not because he’s evil, but because his mediocrity is so painfully relatable. Now, if you’ll excuse me, I’m off to delete my SoundCloud account…
Hit me up in the comments with your thoughts on cinema’s greatest musical rivalries. Is Salieri vs Mozart the GOAT, or does Whiplash’s Fletcher give him a run for his money? Let’s get this debate started!