Another little detail I'd like to add:
In the scene where Mozart is composing on a snooker table, while writing music down he casually pushed the ball away without looking, the ball bounced off the walls a couple of times but always arrived right back in his hand.
Someone mentioned it a long time ago, that it's not as easy as it looks. You kinda need a little mathematical knowledge to achieve that little stunt. Many had also made the claim that Mozart's music helps with our logical thinking. Speaking for myself, I often have images of geometrical patterns in my head when I listen to his music, due to its often well-balanced intricate structure. Perhaps he's also gifted in the mathematical field. :}

The priest who presides over Mozart's funeral at the end is the same priest who performed his wedding.

After watching the movie several times, did anyone else notice that sometimes the same extras would be used to play townspeople, soldiers, musicians, and audience members?

The priest was in Salieri's hospital room from the morning he arrived until the next daybreak. It took Salieri that long to confess his story.

Thank you, very clever analysis, but I don't recall any scene when Salieri talks to a priest AT NIGHT, but I's probably just me, it's been only like 50 days since last time I watched it it and I'm starting to don't remember it, great this is the definitive proof that I have the memory of a goldfish.
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I noticed that in some of the scenes when Salieri is talking to the priest at night, half of his face is dark i.e. the lighting only shows on side of his face. Perhaps it was to show his incompleteness or his dual nature: he came off as a perfect gentleman but he had dark thoughts; he also acted as Mozart's friend but sought to destroy him behind his back.
A previous poster mentioned Mozart's wardrobe changing for light to dark to signify his downward spiral. Salieri's clothes however remain mostly the same. In a way this may reflect his stagnation. He does not "change" and this leads to his own downfall.
I noticed and felt that this movie was also advocating the idea that one should not be afraid to "think outside the box". It made me think when watching the film just now that perhaps Mozart's genius was not only his innate musical ability but also his willingness to push boundaries and bring something new to the table. This was something that Salieri throughout the whole film never tried to do. Salieri was so fixated on the idea that Mozart was better that he did not try to think outside the box.

It's the second time i'm watching it I realized that Amadeus is the only wig-wearing male character that changes wig various times, whether the other wig-wearing male charcters use the same wig in the entire movie.
Is this a way to enhance the frivolous and childish person Mozart is?

I really love point number 1 (I read them all, honestly!) Such a great detail and you're right, he's always wearing it. I've never noticed before!

Interesting thread.
As a character study and an exploration of genius and creativity, this movie is beyond parallel.
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What interests me is that Salieri was familiar with Mozart's music, long before he encountered him. Prior to meeting Mozart, he seemed fine - not at all tormented by the other's genius. It was only once he met Mozart that the "madness" began. It was the idea that God could give this genius to a "dirty minded creature" that so repelled Salieri - NOT that someone else was inherently more talented, but that that talent should belong to someone he found so offensive.
Now this leads to the very meaning of this film: What is the purpose of talents? Salieri believes that talents are created by God to sing God's high glory on the earth, while the talent of Mozart clearly defies this notion. It is like God shouting at the face of Salieri: Why do I want you to celebrate me, you moron? Celebrat love, and youth, and life. That's the best thing you can do with your telent. That's the reason I endow this extreme talent into this exteremly little man, because he konw how to make the best use of it.

When Salieri answers "yes" he is yelling queitly in his heart "Of course! Don't you see that this is exactly what I have been suffering - being burned by the fire of jealous that never dies? I am living in hell before I even die!"
Absolutely. This is exactly the way I've always interpreted Salieri's response. He's been consumed with jealousy and hatred ever since he met Mozart.
I don't think Salieri, at that time, was remotely thinking about going to hell for what he was doing to Mozart, he was too tortured by his own inadequacies and blinded by ambition.
The idea of having to 'pay for his sins' came later, when he was an old man.
What interests me is that Salieri was familiar with Mozart's music, long before he encountered him. Prior to meeting Mozart, he seemed fine - not at all tormented by the other's genius. It was only once he met Mozart that the "madness" began. It was the idea that God could give this genius to a "dirty minded creature" that so repelled Salieri - NOT that someone else was inherently more talented, but that that talent should belong to someone he found so offensive.
So put some spice in my sauce, honey in my tea, an ace up my sleeve and a slinkyplanb

but I don't think this is mutually exclusive with my interpretation
Sure. And that's just another proof how rich the film is.

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In that precise moment Salieri, a religious man, is thinking about HIS OWN damnation, deserved for what he is doing to Mozart.
Well I think quite the contrary. Salieri is hardly a "religious" man up to this point. He's been defying God ever since Mozart came along.
When Mozart asks the quetion, as being very sick, he is obviously thinking about th possibility of being burned forever for all those responsibilities he has neglected in life, especially those to his father. When Salieri answers "yes" he is yelling queitly in his heart "Of course! Don't you see that this is exactly what I have been suffering - being burned by the fire of jealous that never dies? I am living in hell before I even die!"

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There's another one I thought of quite a while ago but never took the time to write down.
When Mozart tells Salieri that he threw the "Figaro" score into the fire and that Constanze pulled it out in time, take note of how Salieri says "Thank God." It's very, very dry but dripping with irony at the same time.

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I think the IMDB staffs delete threads that haven't been active for a while to save space on their website.
It's sad I know. There used to be so many in-depth discussions about this movie as well as others. All gone..
The best way to try and save the good threads is to keep them somewhat active I guess..

Why does IMDB delete threads?
There have been really good threads with no fighting or anything in other movies that are gone.
why is that?
One ring to bring them all, and in the darkness bind them.

Agreed - very good observations. I saw the film for the very first time tonight, and I'm already looking forward to a 2nd viewing. That, for me, is VERY rare.

Good stuff, man!
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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.
   That's a great one. I think I always noticed that subconsciously but never actually thought about it. I guess that's kind of the point of the effect though

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.

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.