本片从一个宫廷乐师萨里埃利的角度，为我们呈现了天才莫扎特的一生。萨里埃利（F·莫里·亚伯拉罕 F. Murray Abraham饰）是维也纳音乐界里有名的人物，自视甚高的他自从遇到了莫扎特（汤姆·休斯克 Tom Hulce饰），心里的妒嫉之火便熊熊燃烧不能平息。莫扎特总能以他超乎常人的音乐作品赢得全场惊叹，他的《费加罗的婚礼》等歌剧，都成了传颂千古的经典。
萨里埃利对莫扎特又羡慕又嫉恨的心理已经发展到几乎扭曲的地步。他在莫扎特的事业上一次次的从中作梗——故意缩短歌剧的上演周期，恶意删改莫扎特的作品，在莫扎特承受着丧父之痛时给他无情的精神折磨。贫穷虚弱的莫扎特在生命最后的几年里，写就遗作《安魂曲》，一代大师35岁就与世长辞，留下不朽作品。而萨里埃利，早有等待他的宿命般的结局。

Music. Power. Jealousy.
Lucian Msamati (Luther, Game of Thrones, NT Live: The Comedy of Errors) plays Salieri in Peter Shaffer’s iconic play, broadcast live from the National Theatre, and with live orchestral accompaniment by Southbank Sinfonia.
Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna, the music capital of the world – and he’s determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy his name. Seized by obsessive jealousy he begins a war with Mozart, with music, and ultimately, with God.
After winning multiple Olivier and Tony Awards when it had its premiere at the National Theatre in 1979, Amadeus was adapted into an Academy Award-winning film.

讲西班牙殖民者征服印加帝国的历史。

一名马童令人费解地戳瞎了6匹马的眼睛。“恋马”的情节围绕性唤醒、希腊神话和宗教展开。虽然精神病医师试图解释艾伦的残忍行为，但在此过程中，他必须面对自己的心魔。

When a straight-laced British accountant marries a free-spirited American, he starts trying to change her. His wife doesn't keep regular hours, so he suspects an affair and hires a detective (Topol). The wife notices she is being followed, and maintaining their distance she and the detective explore London for 10 days in a game of follow-the-leader without ever exchanging a word.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

Since the original run, Shaffer has extensively revised his play, including changes to plot details; the following is common to all revisions.

At the opening of the tale, Salieri is an old man, having long outlived his fame, and is convinced he used poison to assassinate Mozart. Speaking directly to the audience, he promises to explain himself. The action then flashes back to the eighteenth century, at a time when Salieri has not met Mozart in person, but has heard of him and his music. He adores Mozart's compositions, and is thrilled at the chance to meet Mozart in person, during a salon at which some of Mozart's compositions will be played. When he finally does catch sight of Mozart, however, he is deeply disappointed to find that Mozart's personality does not match the grace or charm of his compositions. When Salieri first meets him, Mozart is crawling around on his hands and knees, engaging in profane talk with his future bride Constanze Weber .

Salieri cannot reconcile Mozart's boorish behaviour with the genius that God has inexplicably bestowed upon him. Indeed, Salieri, who has been a devout Catholic all his life, cannot believe that God would choose Mozart over him for such a gift. Salieri renounces God and vows to do everything in his power to destroy Mozart as a way of getting back at his Creator.

Throughout much of the rest of the play, Salieri masquerades as Mozart's ally to his face while doing his utmost to destroy his reputation and any success his compositions may have. On more than one occasion it is only the direct intervention of the Emperor himself that allows Mozart to continue (interventions which Salieri opposes, and then is all too happy to take credit for when Mozart assumes it was he who intervened). Salieri also humiliates Mozart's wife when she comes to Salieri for aid, and smears Mozart's character with the Emperor and the court. A major theme in Amadeus is Mozart's repeated attempts to win over the aristocratic "public" with increasingly brilliant compositions, which are always frustrated either by Salieri or by the aristocracy's own inability to appreciate Mozart's genius.

The play ends with Salieri attempting suicide in a last attempt to be remembered, leaving a false confession of having murdered Mozart with arsenic . He survives, however, and his confession is disbelieved by all, leaving him to wallow once again in mediocrity.

《马》(Equus)又名《恋马狂》，是Perter Shaffer的一部震撼人心的经典佳作，曾在1975年获得托尼奖最佳剧本奖。
主角艾伦是一个17岁的男孩，他戳瞎6匹马的眼睛后被送进了精神病院。艾伦极度爱马，甚至将马当成神来崇拜，他夜半裸体骑马在郊外狂奔，既是他独创的敬神仪式，也是一种欲望的发泄，他之所以刺瞎马眼，也是出于对神祇的敬畏。心理医生狄萨特在分析治疗时，经过种种挫折，最终发现病因并“治愈”了艾伦，而他自己的信仰与内心世界也在治疗艾伦的过程中一次次地经受着震撼与改变。全剧抽丝剥茧如侦探小说般，自医生与病人首次会面，逐步回溯以往，展现艾伦这一“异端”青年的个性、家庭及悲剧发生的主因。《马》探讨的是信仰问题、更是人与社会的问题。

《马》(Equus)又名《恋马狂》，是Perter Shaffer的一部震撼人心的经典佳作，曾在1975年获得托尼奖最佳剧本奖。
主角艾伦是一个17岁的男孩，他戳瞎6匹马的眼睛后被送进了精神病院。艾伦极度爱马，甚至将马当成神来崇拜，他夜半裸体骑马在郊外狂奔，既是他独创的敬神仪式，也是一种欲望的发泄，他之所以刺瞎马眼，也是出于对神祇的敬畏。心理医生狄萨特在分析治疗时，经过种种挫折，最终发现病因并“治愈”了艾伦，而他自己的信仰与内心世界也在治疗艾伦的过程中一次次地经受着震撼与改变。全剧抽丝剥茧如侦探小说般，自医生与病人首次会面，逐步回溯以往，展现艾伦这一“异端”青年的个性、家庭及悲剧发生的主因。《马》探讨的是信仰问题、更是人与社会的问题。

《马》(Equus)又名《恋马狂》，是Perter Shaffer的一部震撼人心的经典佳作，曾在1975年获得托尼奖最佳剧本奖。
主角艾伦是一个17岁的男孩，他戳瞎6匹马的眼睛后被送进了精神病院。艾伦极度爱马，甚至将马当成神来崇拜，他夜半裸体骑马在郊外狂奔，既是他独创的敬神仪式，也是一种欲望的发泄，他之所以刺瞎马眼，也是出于对神祇的敬畏。心理医生狄萨特在分析治疗时，经过种种挫折，最终发现病因并“治愈”了艾伦，而他自己的信仰与内心世界也在治疗艾伦的过程中一次次地经受着震撼与改变。全剧抽丝剥茧如侦探小说般，自医生与病人首次会面，逐步回溯以往，展现艾伦这一“异端”青年的个性、家庭及悲剧发生的主因。《马》探讨的是信仰问题、更是人与社会的问题。

《马》(Equus)又名《恋马狂》，是Perter Shaffer的一部震撼人心的经典佳作，曾在1975年获得托尼奖最佳剧本奖。
主角艾伦是一个17岁的男孩，他戳瞎6匹马的眼睛后被送进了精神病院。艾伦极度爱马，甚至将马当成神来崇拜，他夜半裸体骑马在郊外狂奔，既是他独创的敬神仪式，也是一种欲望的发泄，他之所以刺瞎马眼，也是出于对神祇的敬畏。心理医生狄萨特在分析治疗时，经过种种挫折，最终发现病因并“治愈”了艾伦，而他自己的信仰与内心世界也在治疗艾伦的过程中一次次地经受着震撼与改变。全剧抽丝剥茧如侦探小说般，自医生与病人首次会面，逐步回溯以往，展现艾伦这一“异端”青年的个性、家庭及悲剧发生的主因。《马》探讨的是信仰问题、更是人与社会的问题。

《马》(Equus)又名《恋马狂》，是Perter Shaffer的一部震撼人心的经典佳作，曾在1975年获得托尼奖最佳剧本奖。
主角艾伦是一个17岁的男孩，他戳瞎6匹马的眼睛后被送进了精神病院。艾伦极度爱马，甚至将马当成神来崇拜，他夜半裸体骑马在郊外狂奔，既是他独创的敬神仪式，也是一种欲望的发泄，他之所以刺瞎马眼，也是出于对神祇的敬畏。心理医生狄萨特在分析治疗时，经过种种挫折，最终发现病因并“治愈”了艾伦，而他自己的信仰与内心世界也在治疗艾伦的过程中一次次地经受着震撼与改变。全剧抽丝剥茧如侦探小说般，自医生与病人首次会面，逐步回溯以往，展现艾伦这一“异端”青年的个性、家庭及悲剧发生的主因。《马》探讨的是信仰问题、更是人与社会的问题。

该剧改编自彼得·谢弗的经典剧作《上帝的宠儿》。
25岁的沃尔夫冈·阿玛多伊斯·莫扎特（福田知盛 饰）在父亲去世后失去生计，孤身前往维也纳谋生。一次偶然，他与才华横溢的女歌手康斯坦泽·韦伯（加布瑞拉·克里维 饰）结为盟友，后者凭借人脉将其引荐至宫廷作曲家安东尼奥·萨列里（保罗·贝坦尼 饰）的权贵圈层。原本的机遇却逐渐演变为一场天才与野心、艺术与权力的终极博弈——两人的对立不仅重塑了彼此的人生轨迹，更在古典音乐史上刻下了一段纠缠半生的传奇宿怨。

该剧改编自彼得·谢弗的经典剧作《上帝的宠儿》。
25岁的沃尔夫冈·阿玛多伊斯·莫扎特（福田知盛 饰）在父亲去世后失去生计，孤身前往维也纳谋生。一次偶然，他与才华横溢的女歌手康斯坦泽·韦伯（加布瑞拉·克里维 饰）结为盟友，后者凭借人脉将其引荐至宫廷作曲家安东尼奥·萨列里（保罗·贝坦尼 饰）的权贵圈层。原本的机遇却逐渐演变为一场天才与野心、艺术与权力的终极博弈——两人的对立不仅重塑了彼此的人生轨迹，更在古典音乐史上刻下了一段纠缠半生的传奇宿怨。