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The beyond-annoying giggle in the film most likely interprets as a comical effect and a dramatic device, as well. The frantic giggles of Amadeus embody the mocking laughter of the gods, as Salieri states.

By Marija VucicBA Natural Sciences and GraphicsBased in Zagreb, Croatia, I am a contributing writer and an aspiring poetry writer. Graduating from the University of Zagreb in Natural Sciences and Graphics, I value the importance of visual arts and design. As a former journalism student, I possess a fair amount of knowledge regarding literary journalism. I am very passionate about anything concerning films, music, and culture at large.

Amadeus Film Download

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Mozart's open-air concert for the Pope was filmed at the Wallenstein Gardens of Valdtejnsk palc (Wallenstein Palace), Valdstejnske nam 4. This vast palace complex, the first monumental early Baroque secular building in Prague, was built in 1630 for one of the most powerful and wealthy Czech noblemen of the period, Albrecht von Wallenstein. Today it is the seat of the Czech Senate, and the gardens are open to the public.

The performances of Hulce and, especially, Abraham (in an Oscar-winning turn), along with the mesmerizingly beautiful and powerful music, combine to cement Amadeus as one of the better films in the Warner Bros. 50 Film Collection, one of the better films of the 1980s, and one of my personal favorite films of all time.

The transcendent power of musical genius, as heard in the films "Purple Rain" and "Amadeus"; the graphic and transformational horrors of war in Oliver Stone's "Platoon"; and Martin Scorsese's "The Last Waltz," which helped redefine the modern documentary-concert film, are just a few of the milestone movies being inducted today into the Library of Congress' National Film Registry.

Twenty-five films are added each year to the Registry, which are chosen for their cultural, historic and aesthetic importance to America's film heritage, in order that they be preserved for future generations. The Registry spans all genres of Hollywood studio and independently-produced films, as well as documentaries, animation, experimental films, newsreels, and even home movies.

Titles added to the Registry this year include "Purple Rain," which marked the film debut of Prince in a semi-autobiographical musical that won an Oscar for Best Original Song Score; Milos Forman's "Amadeus," in which court composer Antonio Salieri (F. Murray Abraham) seeks to destroy the young Wolfgang Amadeus Mozart (Tom Hulce), whose talent he can nowhere near match; and "Platoon," the first Hollywood film about the Vietnam War directed by a Vietnam veteran, which became a cathartic experience for many former service members.

Notable cinema debuts are recognized, from the first films starring Paul Robeson ("Body and Soul") and America Ferrera ("Real Women Have Curves"), to the first features directed by Elaine May ("A New Leaf"), Spike Lee ("She's Gotta Have It"), and Kevin Smith ("Clerks"). Smith's slacker comedy received the most votes from the public nominating this year's additions.

Mostly foam and fabric, all from my special effects days. You can make anything out of foam. I just free form fabricated this gigantic slug that lived in my living room. I took it outside one day and it lived outside where I painted it for a few days. Then the film ended up being in black and white anyway.

The film, so magnificent and ornate, is posing very human conflicts on a grand scale: self-aware mediocrity versus blind talent, liberated creativity versus the establishment. Shaffer, trimming the over-explanatory aspects of his play, fills the film with very modern preoccupations without ever breaking the spell: homoeroticism, ego, creative rivalry, the nature of identity and evil all bubbling and boiling to the surface.

The lives of these characters are fascinating, because they feel real. For all their flaws, they are never easy to define, and therein lies the beauty of this film. We see them, we accept them, and we mourn for them.

Benjamin is a film connoisseur and Oscar watcher who lives in Minneapolis and, when not reviewing movies, works at the Hennepin County Library.

You can reach Benjamin via email or on twitter

Having never seen the 1984 film Amadeus, I must admit that, despite its reputation for historical inaccuracies, it is certainly a gripping drama that portrays Mozart (played by Tom Hulce) as intensely human. That said, during the Sunday afternoon screening of the movie at Hill Auditorium with the Detroit Symphony Orchestra performing the soundtrack live, I had to keep reminding myself to watch the movie, not the orchestra.

Parents need to know that Amadeus is a 1984 movie based on a play. There are two versions; one is rated PG and an extended version is rated R. The film includes an attempted suicide, disturbing images of mentally ill men kept chained and naked in a sanitarium, and some sexual hanky-panky. A naked backside and partial breasts are shown. Implied sexual liaisons between Mozart and the star of one of his operas. Mozart's opera The Marriage of Figaro is set in a brothel, which provokes strong objections from the king as well as other composers. Mozart has his wife-to-be translate when he says backward phrases such as "eat my s--t" and "kiss my ass." Words like "damn," "hell," and "s--twit" also are used. "C--t" is used in the R-rated version. Mozart is frequently shown to be drunk, working or running around town with a bottle of wine close at hand. Parents also should know that there's no real evidence to back up this movie's plot. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails.

This won the Academy Award for Best Picture, and it is to me what a Best Picture conceptually should be: The peak of Hollywood filmmaking in cinematic power. Even if it is a musical biopic. Amadeus is a masterpiece, and so I think I can forgive it for that.

The film ends with written titles superimposed over photographs relating how each criminal either escaped without harm or received a light punishment. The final titles read: Alain Charnier was ... >>

Although onscreen credits note that the film was adapted from "Grimms' Fairy Tales," only "Schneewittchen" has been identified as a literary source. "Schneewittchen" was first translated into English ... >>

The Eighties were a truly intriguing time for cinema. While Americans buried the auteur driven films of the Seventies with glitzy, glamorous films influenced by rock videos, world cinema began to grow ever more introspective.

It seemed as though no one was willing to bridge the gap, to make grand films the way they used to, the kind of films that should be shown in big old movie palaces. No one seemed to interest to in stimulating the heart, mind, and funny bone, all the while delivering pure entertainment.

Amadeus proved that they could make them like they used to. In fact, they could make them bigger and grander then ever before. Of course, it took a European director to marry the two sensibilities together and bridge the gap. Milos Forman, that pioneering Czech director who gave the world One Flew Over The Cuckoos Nest, set out to create the greatest music film ever produced. In actuality, he made the greatest film of the decade.

When we meet Salieri, he is an old man attempting suicide. It is an atonement for sins that we will learn about as the films progresses. He survives and is sent to an asylum where he is visited by a kindly Father whom Salieri wishes to hear his confession.

Then, dropped into the middle of all this like an ancient relic, comes Amadeus. It had the look and feel of films like Barry Lyndon and The Taking Of Power by Louis XIV, and was filled with bravura performances akin the films of Olivier and Welles. It was almost three hours long and contained no exciting action sequences, long opera performances, and a subject who is mostly known today through marble sculptures and background music. Yet, the film was a critical and commercial smash.

It won an astonishing eight academy awards, including Best Picture, Actor, Director, and Adapted Screenplay. More importantly, it proved that classic film techniques and storytelling were alive and well, and that director driven, auteur films could still be huge successes.

Most of the time throughout Hollywood history when filmmakers decided to take their audience to the eighteenth century, things tended to look stagey. Costumes look like costumes and the settings look like sets. Rarely did the viewer ever feel truly transported back in time.

Take, for example, the famous party scene in which party goers call out different composers for him to mimic (or really, mock). If you were to change the clothing and the setting to that of a high school party, yet leave the rest of the scene untouched, you could easily slide it into the films of John Hughes or Cameron Crowe from that era.

There are many other scenes peppered throughout the film that show the influence of the decade, but they are cleverly woven into the fabric of the period and only enhance the feeling of transportation.

When the academy was forced to pick between the two of them, the nod went to Abraham for tackling the tougher role. His work as an old man, buried beneath some of the most convincing prosthetics ever filmed, is truly the jewel in his crown as an actor.

Probably the finest aspect of this film - above the script, above the cinematography, above the music - is the performances given by Tom Hulce as Mozart and F. Murray Abraham as Salieri. Both were nominated for the best actor Oscar with Abraham taking the gold, and it is clear why.

The event is a tribute to the famed film that tells the story of two clashing composers: a joyful and frivolous genius (Tom Hulce as Mozart) and a lofty, talentless court composer (Oscar-winner F. Murray Abraham as Salieri). Amadeus Live is a treat both for music lovers and fans of cinema who want to celebrate one of the most acclaimed movies of the 20th century. 006ab0faaa