Amadeus on Sky boldly reimagines a story already perfected on screen – miraculously, it works

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I have to say, Amadeus really had to prove itself to get people watching. It felt like Sky’s new drama had an extra challenge convincing viewers it was worth their time, and I think it absolutely rose to it!

Remakes often face a lot of criticism, and even though this new version of Amadeus isn’t a direct remake—it’s based on the same play that the 1984 film was—people are evaluating it as if it were.

The 1984 film version of 1984 is widely considered a classic, and for good reason – it’s a remarkably well-made movie. While stage adaptations have featured notable actors like Simon Callow, Ian McKellen, Mark Hamill, and Michael Sheen, most people watching the new series on Sky will likely compare it to the film.

I approached this with a fresh perspective, as I hadn’t actually seen the Miloš Forman film beforehand, but I’ve watched it now. This gives me a unique ability to view the series in two ways: first, as someone completely new to the story, and second, with the film as a point of reference.

I enjoyed the series when I first saw it, but I was a little hesitant. I was concerned that watching the highly praised film afterward might lessen my enjoyment of the series, even though I liked it right away.

But when I finally saw the movie, something unexpected occurred. Not only did I love it, but it actually made me appreciate the original series even more. Here’s how…

Similar to the play that came before it, Amadeus presents a dramatized, yet historically inspired, story about the intense rivalry between Wolfgang Amadeus Mozart and Antonio Salieri.

In 1781 Vienna, Paul Bettany portrays Salieri, the court composer, as Mozart arrives in town. The two musicians are complete opposites: Salieri is respected and devout, but secretly envious, while Mozart is rough around the edges, loud, and unrestrained.

Salieri quickly realizes Mozart’s music is breathtaking and appears effortless. This sparks a fierce rivalry, leading Salieri to reject his faith and dedicate himself to ruining Mozart’s life, including his career, marriage to Constanze, and public image.

It’s common to wonder why filmmakers or artists revisit well-known stories. When a movie or play is turned into a longer series, the usual explanation is that the new format allows for a more thorough exploration of characters and ideas that couldn’t be fully developed before.

I don’t think this is a very strong argument. If a play or movie is already successful and well-received, why change it? The decision to split the musical Wicked into two films is a good example – though many fans and box office numbers suggest I might be wrong about that.

Interestingly, the claims made about Amadeus turned out to be accurate. This doesn’t diminish the quality of the film or play, but rather proves the value of this new series. Its five episodes are well-spent, and the series as a whole is worthwhile because it explores the story in fresh and compelling ways.

The show largely follows the same key plot points as the original film, but allows certain moments to unfold more fully. A prime example is Salieri’s outburst against God – already impactful in the 1984 movie, it’s expanded upon here to stunning effect, becoming one of the show’s most moving scenes and a highlight of Jeremy Bettany’s performance.

Honestly, what really got me about this version was how much more developed the characters were. They weren’t just sketches anymore – they felt fully realized, like actual people with depth. It really added a lot to the story, making them feel so much more three-dimensional than before.

Joe Barton’s writing is brilliant in how it centers on the personal life and a specific heartbreaking event in Mozart and Constanze’s story. By grounding the narrative in historical fact, he makes it feel more genuine, relatable, and emotionally powerful.

The story of Constanze has been significantly expanded, giving her more control over her own actions but also making her a more flawed and conflicted character with a wider range of emotions. Her relationship with Mozart is portrayed as much more strained and complex than in the movie, featuring increased tension and a depth that wasn’t there before.

This change in the character also affects the overall mood of the film. While the movie previously started light and slowly became darker, this new version feels rougher and more intense from the beginning, with a noticeable edge of anger.

This is particularly clear in the character of Salieri, who wrestles with a conflict between his religious beliefs and his darker desires, creating some deeply unsettling scenes.

This could easily be gratuitous, but it actually deepens our understanding of the character, revealing him as someone with problems that go beyond his career.

The film usually portrays Mozart as charming, though sometimes a bit rough around the edges. However, in this instance, he’s often shown as childishly sulky, easily upset, self-absorbed, and mean-spirited.

This version of the character is a significant departure from previous portrayals, and it works remarkably well. It fuels a compelling on-screen rivalry and, crucially, adds depth to the series’ exploration of his identity and lasting impact as the story concludes.

The actors in these stories deliver outstanding performances. Sharpe truly embodies Mozart, Bettany gives what many are calling the best performance of his career, and Creevy more than holds her own, matching her co-stars in every scene.

I was really impressed by the actors who played the supporting roles! Jonathan Aris was fantastic as Mozart’s difficult father, and Rory Kinnear perfectly captured the Emperor, though honestly, it wasn’t surprising – he’s played so many Prime Ministers on screen that portraying someone clueless about culture felt totally natural for him.

Considering everything, you might think the series is better than the movie, but that doesn’t quite seem right.

While some individual parts aren’t perfect, the film flows together much better and feels surprisingly polished. The musical numbers are also more impactful, and the visuals are noticeably more vibrant, unique, and engaging.

The show has beautiful costumes, stunning settings, and impressive production design. However, it feels a little bland overall, especially when compared to the vibrant colors and visual richness of the original movie.

The characters don’t age very convincingly throughout the show, which is a noticeable flaw.

Ultimately, focusing on a direct comparison isn’t the most important thing. While it’s possible to analyze every detail of each one and highlight their similarities and differences – and some people certainly will – that’s not the real goal.

What’s truly impressive is that Barton, along with directors Julian Farino and Alice Seabright, have created something that feels like a wonderful extension of the original film. It offers a deep and insightful look at the source material, features beautiful acting, and is simply a pleasure to watch.

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Honestly, my biggest fear is that this movie will just get overlooked. Releasing it right before Christmas feels like a strange move. So many people are busy with holiday traditions and re-watching their favorite festive films – and, let’s be real, eating a lot of mince pies – that it might slip under the radar of viewers who would normally love it.

I’m asking you to give the series Amadeus a try this Christmas. While it might not be the most groundbreaking show of the year, it could easily be among the very best – which is quite remarkable considering the incredible history of similar productions.

Amadeus will launch on Sky and NOW on 21st December – sign up for Sky TV here.

Don’t miss out! Add Amadeus to your watchlist in the TopMob: What to Watch app. Download it today for daily TV suggestions, exclusive content, and more.

Authors

James HibbsDrama Writer

James Hibbs writes about TV dramas for TopMob, covering shows on streaming services and traditional channels. Before becoming a writer, he worked in public relations, first at a business-to-business agency and then at Fremantle, an international TV production company. He has a Bachelor’s degree in English and Theatre Studies, as well as a Level 5 Diploma in Journalism.

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2025-12-15 03:36