First, allow me to say that I hate how IMDB removed so many great threads especially on this board. I remember having so
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ErgonomicSpliff — 9 years ago(December 02, 2016 10:12 AM)
They are talking about the actual rental, when we see the servant walk out of the shop with the box. Salieri's servant rents the costume. It isn't the servant inside the costume, it is obviously Salieri, as you noted.
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crm22 — 11 years ago(April 05, 2014 09:49 AM)
do you ever think about just how tortured Salieri must have felt over Mozart's death? When he attempts suicide, he's old, but Mozart died when he was still fairly young, so that must have been decades of doing nothing but turning over that thought in his mind. imagine twenty years of constant "you killed Mozart. you destroyed God's beloved." over and over and over. and then he finally snaps
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Chepseh — 11 years ago(September 16, 2014 02:34 PM)
- When Salieri spies on/lusts for the yummy buffet at the Archbishop's festivity, and servants carrying more food get close to noticing this, he acts as if he's examining a candelabra to appear innocent. Cute.
- Salieri likes Caterina despite everything still enough to let her play the title role in his opera we see, "Axur".
- After Salieri is honored with the Emperor's medal for "Axur", the singers leave the stage and Mozart walks to Salieri. While the two men talk, we can see Caterina in the background explicitly stopping and staying to watch them.
- During "Seraglio" and "Figaro", look in the front row - right in the middle sits of course Emperor Joseph, next to him - I think it's the princess Mozart was supposed to teach? - and then next to the princess there is a big golden chair -just- for the tiny lap dop of the princess!
- When old Salieri talks about how he would play the requiem during Mozart's funeral and everyone would think it is his creation, he calls Mozart only "Wolfgang Mozart". Did he leave out the Amadeus deliberately to stress his triumph over the "beloved by god"?
But then I noticed Peter Shaffer also calls him Wolfgang Mozart during the audio commentary on the DVD. Is this maybe a bit of an English thing? Here (Germany) he is either just Mozart or Wolfgang Amadeus Mozart, never Wolfang Mozart. - During "The magic flute" children in the audience walk towards the orchestra in curiosity but then get send back by some sort of 18th century usher.
- When Salieri spies on/lusts for the yummy buffet at the Archbishop's festivity, and servants carrying more food get close to noticing this, he acts as if he's examining a candelabra to appear innocent. Cute.
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DoctorShemp — 11 years ago(September 28, 2014 06:49 AM)
But then I noticed Peter Shaffer also calls him Wolfgang Mozart during the audio commentary on the DVD. Is this maybe a bit of an English thing? Here (Germany) he is either just Mozart or Wolfgang Amadeus Mozart, never Wolfang Mozart.
I usually only see the full "Wolfgang Amadeus Mozart" when it's written down rather than spoken. To my ears, it sounds a tad formal when said aloud, like a bigger introduction than what's usually necessary. -
tsalagicelt — 10 years ago(December 04, 2015 10:06 AM)
You're mostly right, about this era, after the film "Amadeus" was such a sensation to America (and obviously to the rest of the world, since this had a large world-wide appeal, but I can only speak to the situation in America). Even in this post-"Amadeus" era, I still sometimes hear his "full name" without the middle name, but not as often as the true full name with the middle name.
I'm a baby-boomer, so I can also speak to the period from the end of WWII to 1984. The fact is that, prior to the movie's release in 1984, apart from fairly-serious classical music fans, almost no one had heard Mozart's middle name. Even if they had heard it, it didn't register as important and was immediately forgotten.
Even most classical music fans didn't usually use it. In general society, one only said "Wolfgang Mozart" when saying his "full name." Truth be told, the majority of the people couldn't even recall his first name.
Within weeks after the movie exploded on the scene, nearly everyone knew that Mozart's middle name was "Amadeus." By a year or so after the release, when referring to Mozart with other than just his last name, almost everyone added the middle name. The people's memory of the middle name was later exceedingly reinforced by the silly, annoying to many, but very catchy rock song "Rock Me, Amadeus." Since those two events occurred, almost no one has forgotten the middle name, and it's usually included when saying his full name.
Anyway, that's what I offer regarding this from my own experience and memory of the past. -
wingtip71 — 14 years ago(May 23, 2011 01:05 PM)
As far as #10 goes, both "Abduction from the Seraglio" and "Magic Flute" are sung in English in the movie because they were written in German. Since everyone in the movie is supposedly speaking German, they just translated everything that was supposed to be in German into English for the sake of continuity. Both "Don Giovanni" (written in Italian) and the Requiem (in Latin) are sung in their original languages, to show that they were a foreign language from Mozart's mother tongue.
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DoctorShemp — 14 years ago(July 29, 2011 07:33 PM)
Here's a good one:
I'm
pretty
sure that Saleri's servant in the beginning (the tall guy who brings him the doughnuts) is the same servant boy that Salieri has around in the flashback scenes. Just a little something I never thought about -
frog-34 — 14 years ago(October 11, 2011 03:14 PM)
After watching this movie for many, many years, it only occurred to me just a moment ago that there is no tangible reason for Salieri to believe in his old age that he murdered Mozart. What we see toward the end of the film is that Stanzi, Salieri, and Mozart's son are all present when Mozart dies in 1791. Thus, one of the overarching themes of the film is that people eventually reach a pont in life where they are prone to believe whatever they want to believe, and nothing will dissuade them.
JEB BUSH IN '012 !!!!!!!!!!!!!!!! -
frog-34 — 14 years ago(October 11, 2011 03:38 PM)
Here's something else. Try to keep an eye open for the little ways Salieri tries to distance himself from his schemes to derail Mozart's career. A previous poster mentioned that Salieri's servant is the one who actually buys the black costume from the costume shop. Also keep your eye on Salieri when the emperor attends the "Figaro" rehearsal and wants to "see the scene with the music back." Before calling for the palace set, Mozart bows in the direction of both Salieri and the emperor who are sitting just a few seats apart. The emperor could easily, and correctly, believe that Mozart is acknowleding him. At the same time, Salieri is waving his hand to Mozart in a "low sign" gesture, as if to say "No, nono need to be formal. Just get on with it." This could maintain in Mozart's mind the fiction that Salieri is working on his behalf and that it was Salieri who convinced the emperor that the music should be restored. It's quick, and it's subtlebut it's there.
JEB BUSH IN '012 !!!!!!!!!!!!!!!! -
Low_Rent — 14 years ago(January 10, 2012 06:30 AM)
I might be wrong on this but one thing I remember from the last time I watched the movie was that whenever we saw an opera by Salieri the set design on stage was in dark colors but Mozart's were of bright colors (with the exception of Don Giovanni). Did anyone else notice this? The difference in colors meant to give the film audience the idea that Mozart's work was better then Salieri's.
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yolhanson — 14 years ago(January 16, 2012 06:58 AM)
Salieri: That was Mozart. Wolfgang Amadeus Mozart.
Priest: The man you accuse yourself of killing.
Salieri: You've heard that?
The glint in Salieri's eye reveals his desire, still, to be talked about and be the subject of gossip. This speaks to his character throughout to film. It's also a great little piece of acting.
2. When the priest first walks into the room and positions the chair, Salieri is improvising a melody with a simple chordal accompaniment. The melody and chords are not "resolved" (for non-musical types, that means they don't come to the natural finish you would probably expect)this establishes Salieri as a character who feels incomplete, both musically and personally.