The narrative is almost like a particularly pulpy piece of fiction. A man in a sanitarium confesses about his misdeeds, and it is a story of wild mayhem and jealousy, the story of how this man was blinded by self-righteousness and rage against a more naturally gifted contemporary. But blinded enough to kill him, as he claims?

The man telling the story is Antonio Salieri, and he is speaking of having killed Wolfgang Amadeus Mozart, and while the story is an extremely fictionalised tale based only very loosely on fact, Forman sets the film in Prague and endows it with such compelling magnificence that we can't take our eyes off the screen -- while Mozart naturally ensures that our ears belong to him.

A subtly fascinating character study, Amadeus recounts how Salieri, who believes in his musical talent as a blessing from God earned through staunch reverence, is scandalised by the oafish, debauched and unashamedly salacious Mozart. Unable to comprehend that the wild youth is more talented than himself, Salieri finds his belief system -- and his musical reputation -- in tatters, and sets out to salvage his life any way he possibly can.

It is a sordid tale of intrigue, and yet Milos Forman plays up the humour and the colours, the magic and the brilliance of the Maestro's music complemented by a tale with an essentially upbeat heart. Mozart's high-pitched laughter before the end-credits even signals that the entire narrative, for the spirited genius composer, is but an in-joke.

F Murray Abraham plays a spectacular Salieri, and is deftly complemented by Tom Hulce, playing the part with a face and manner resembling present-day superstar Robert Downey Jr. And while Salieri's machinations are sinister and eventually thwarted, this film achieves greatness only because it explores his point of view.

Consumed by a vile jealousy, Salieri even goes to an ill Mozart dressed in his father's mask to get the sickly composer to craft a requiem -- a requiem Salieri plans to use as his own for Mozart's death. It is a chilling plan, and the scenes of its execution, and of Old Salieri's recounting of the narrative, show just why this film is considered a classic: Click here for video.

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