History YMMV / Amadeus

* MostWonderfulNoise: An interesting example with Mozart's AnnoyingLaugh. It's meant to be irritating, but both the hyena like giggle and the circumstances around it make it so that the viewer will likely be laughing along with him whenever he lets out that cackle.

* MostWonderfulSound: An interesting example with Mozart's AnnoyingLaugh. It's meant to be irritating, but both the hyena like giggle and the circumstances around it make it so that the viewer will likely be laughing along with him whenever he lets out that cackle.

* HarsherInHindsight: Constance stopping Mozart from working on his Requiem right before he dies bears some extremely uncomfortable similarities to how Creator/OsamuTezuka died just a few years after this film was released.

** In the social media age, Salieri's line "Because you are unfair, unjust, unkind, I will block you" sounds less like he's renouncing his devotion to God so much as [[Website/{{Facebook}} unfriending]] Him.[[note]]The prequel to ''Series/GodFriendedMe''.[[/note]]

** In the social media age, Salieri's line "Because you are unfair, unjust, unkind, I will block you" sounds less like he's renouncing his devotion to God so much as [[Website/{{Facebook}} unfriending]] Him.[[note]]The prequel to ''Series/GodFriendedMe''.[[/note]

** In the social media age, Salieri's line "Because you are unfair, unjust, unkind, I will block you" sounds less like he's renouncing his devotion to God so much as [[Website/{{Facebook}} unfriending]] Him.

** The scene from the director's cut in which Saliari calls his valet in to show out Constanze just as [[spoiler:she's undressing for him]]. Does a crisis of conscience cause him to change his mind before going through with it, or was it an elaborate plan to {{blackmail}} her by having someone else witness that Mozart's wife [[spoiler:[[SlutShaming is a whore]]]]?[[note]]This is a case of AdaptationDisplacement. In the play, Constanze brings some of Mozart's music to Salieri in an attempt to convince him to support her husband, leaving it with him for a few hours to read. By the time she returns, Salieri has become even more jealous and resentful of Mozart's talents and hates him so much that he doesn't even ''want'' to [[spoiler:sleep with his wife]] any more, sending her away in a rage. The truncation of all these details may be why it was only in the director's cut, where it's left more to interpretation.[[/note]]

** In the social media age, Saliari's line "Because you are unfair, unjust, unkind, I will block you" sounds less like he's renouncing his devotion to God so much as [[Website/{{Facebook}} unfriending]] Him.

* FamilyUnfriendlyAesop: Talent and character are completely unrelated. A handful of rare individuals are born special, for no reason or merit, a few others are sharp enough to see talent in others but do not have it themselves and are doomed to carry the burden of mediocrity. And most people are just mindless morons.
** A more charitable reason is to appreciate what you have and not be a GreenEyedMonster. Saleri and Mozart, had they been like they were in real life, could have supported each other to achieve much better ends.

* FanDisservice:
** Elizabeth Berridge is quite nice to look at, but the scene in which Constanze is topless is so humiliating for her that it's pretty hard to find it sexy.
** Many viewers could have done without the scene at the beginning where a nude inmate of the asylum tries to accost Father Vogler.

* TearJerker:
** The death of Mozart, scored to his own death requiem (The Lacrimosa, which he only composed 8 measures of): only a handful of people attend his funeral, and custom dictates they cannot follow the funeral cortege to the burial site. Which is just as well, as at the cemetery the body is unceremoniously thrown into a mass-grave, with lime dumped on top to aid decomposition. To this day, no-one knows exactly where the real Mozart is buried (there's a local legend that the nightingales sing more sweetly over his grave than anywhere else in Europe).
*** Though historically, the real Mozart's body was not given a pauper's funeral nor placed in a mass-grave. By all accounts, Mozart had a perfectly normal burial for a citizen of his renown, based on contemporary Viennese custom, and the bill for said funeral was footed by his friend Baron Gottfried van Swieten. The idea that it he was placed in a mass grave is because his grave was described as a "common" grave. But a "common grave" was not in any way a communal grave, it was merely a term for a grave belonging to a citizen not of the aristocracy, although this properly also feeds into why Mozart's grave cannot be found. By Austrian law, a grave belonging to the aristocracy was to lie undisturbed forever, a common grave was only required to lie undisturbed for ten years, and which the city had the right to dig it up and use it for a later burial. Something like this probably happened to his grave at some point.
** Mozart's young maid who's in Salieri's service. She never really knew ''what'' was going on, but what happened will haunt her forever.
** Constanze. The poor girl is so devoted and loving, and very young, and all she wants is to have a happy, loving family. She's willing to [[spoiler:give Salieri sex if it will help her husband.]] When he sends her away, Mozart comes home to find her sobbing on their bed, with no explanation. Her husband's constant spending leaves them constantly broke despite the fact that works like a dog, and [[spoiler:he dies mere minutes after she returns to him.]] In real life she was left with their debt after Mozart passed away.
** Salieri's AppealToObscurity with Father Vogler, where he plays segments from two of his own compositions which are unrecognized, then plays one of Mozart's which the priest immediately grasps and begins humming along to. Then Salieri reveals the switch, and Father Vogler appears instantly grief stricken and horrified at having unknowingly contributed to Salieri's despair.

** The scene from the director's cut in which Saliari calls his valet in to show out Constanze just as [[spoiler:she's undressing for him]]. Does a crisis of conscience cause him to change his mind before going through with it, or was it an elaborate plan to {{blackmail}} her by threatening to tell anyone who might want to hire Mozart that [[spoiler:[[SlutShaming his wife is a whore]]]]?[[note]]This is a case of AdaptationDisplacement. In the play, Constanze brings some of Mozart's music to Salieri in an attempt to convince him to support her husband, leaving it with him for a few hours to read. By the time she returns, Salieri has become even more jealous and resentful of Mozart's talents and hates him so much that he doesn't even ''want'' to [[spoiler:sleep with his wife]] any more, sending her away in a rage. The truncation of all these details may be why it was only in the director's cut, where it's left more to interpretation.[[/note]]

* AlternativeCharacterInterpretation: The scene from the director's cut in which Saliari calls his valet in to show out Constanze just as [[spoiler:she's undressing for him]]. Does a crisis of conscience cause him to change his mind before going through with it, or was it an elaborate plan to {{blackmail}} her by threatening to tell anyone who might want to hire Mozart that [[spoiler:[[SlutShaming his wife is a whore]]]]?[[note]]This is a case of AdaptationDisplacement. In the play, Constanze brings some of Mozart's music to Salieri in an attempt to convince him to support her husband, leaving it with him for a few hours to read. By the time she returns, Salieri has become even more jealous and resentful of Mozart's talents and hates him so much that he doesn't even ''want'' to [[spoiler:sleep with his wife]] any more, sending her away in a rage. The truncation of all these details may be why it was only in the director's cut, where it's left more to interpretation.[[/note]]

* FridgeBrilliance: The film does use an ArtisticLicenseHistory. But in real life Salieri was suffering from severe dementia. So in a way the film could just be how Salieri remembered these events.

** In the social media age, Saliari's line "Because you are unfair, unjust, unkind, I will block you" makes it sound less like he's renouncing his devotion to God so much as [[Website/{{Facebook}} unfriending]] him.

** "Because you are unfair, unjust, unkind, I will block you." Did Saliari just [[Website/{{Facebook}} unfriend]] God?

* AlternativeCharacterInterpretation: The scene from the director's cut in which Saliari calls his valet in to show out Constanze just as [[spoiler:she's undressing for him]]. Does a crisis of conscience cause him to change his mind before going through with it, or was it an elaborate plan to {{blackmail}} her by threatening to tell anyone who might want to hire Mozart that [[spoiler:[[SlutShaming his wife is a whore]]]]?[[note]]This is a case of AdaptationDisplacement. In the play, Constanze brings some of Mozart's music to Salieri in an attempt to convince him to support her husband, leaving it with him for a few hours to read. By the time she returns, Salieri has become even more jealous and resentful of Mozart's talents and hates him so much that he doesn't even ''want'' to [[spoiler:sleep with his wife]] any more, sending her away in a rage. The truncation of all these details may be why it was only in the director's cute, where it's left more to interpretation.[[/note]]

* FoeYay: Salieri’s borderline obsession with Mozart may raise a few eyebrows and can perhaps be translated as something more. The two have a surprising amount of chemistry together, the scene in which they write Mozart’s Requiem a prime example.

* HoYay: Salieri’s borderline obsession with Mozart may raise a few eyebrows and can perhaps be translated as something more. The two have a surprising amount of chemistry together, the scene in which they write Mozart’s Requiem a prime example.

* HoYay: Salieri’s borderline obsession with Mozart may raise a few eyebrows and can perhaps be translated as something more. Mozart also sees Salieri as his most reliable companion, confiding in him when faced with a problem on more than one occasion.

* AlternativeCharacterInterpretation: The scene from the director's cut in which Saliari calls his valet in to show out Constanze just as [[spoiler:she's undressing for him]]. Does a crisis of conscience cause him to change his mind before going through with it, or was it an elaborate plan to {{blackmail}} her by threatening to tell anyone who might want to hire Mozart that [[spoiler:[[SlutShaming his wife is a whore]]]]?
** The play is more clear about his reasoning; Constanze had brought some of Mozart's music to Salieri in an attempt to convince him to support her husband and when she went away the first time she left the music for Salieri to read until she came back in the evening. Salieri spent the time until her return reading the music, and the talent he saw there made his jealousy and resentment grow until he hated Mozart so much that he didn't even ''want'' to [[spoiler:sleep with his wife]] any more and sent her away in a rage. This didn't come through in the deleted movie scene.

* FridgeBrilliance: The film does use ArtisticLincenseHistory a lot. But in real life Salieri was suffering from severe dementia. So in a way the film could just be how Salieri remembered these events.

* AdaptationDisplacement: Creator/AlexanderPushkin's play ''Mozart and Salieri'' (and Nikolai Rimsky-Korsakov's operatic adaptation) is little more than a footnote.

* MostAnnoyingSound: Mozart. Please. STOP. [[AnnoyingLaugh LAUGHING]].